Mc256MKIII Operators Manual V5160 DRAFT1

mc²56 MKIII
Operators Manual
Version: 5.16.0/DRAFT1
Edition: 27 July 2018
To obtain the latest documentation and software downloads, please visit:

www.lawo.com/downloads
Copyright
All rights reserved. Permission to reprint or electronically reproduce any document or graphic in whole or
in part for any reason is expressly prohibited, unless prior written consent is obtained from the Lawo AG.
All trademarks and registered trademarks belong to their respective owners. It cannot be guaranteed that
all product names, products, trademarks, requisitions, regulations, guidelines, specifications and norms
are free from trade mark rights of third parties.
All entries in this document have been thoroughly checked; however no guarantee for correctness can be
given. Lawo AG cannot be held responsible for any misleading or incorrect information provided throughout
this manual.
Lawo AG reserves the right to change specifications at any time without notice.
© Lawo AG, 2018

Table of Contents
Table of Contents
1. Introduction ......................................................................................................................................... 4
2. Important Safety Instructions ................................................................................................................ 5
3. Overview ............................................................................................................................................. 6
4. Front Panel Controls ............................................................................................................................ 9
5. Working with the Central GUI .............................................................................................................. 25
6. Selecting a Channel ........................................................................................................................... 40
7. Getting Started .................................................................................................................................. 46
8. Signal Flow Configuration .................................................................................................................... 69
9. Control Surface Configuration .............................................................................................................. 91
10. Channel Operations .......................................................................................................................... 116
11. Stereo Channels .............................................................................................................................. 184
12. Surround Channels ........................................................................................................................... 192
13. Metering .......................................................................................................................................... 219
14. Monitoring & Talkback ...................................................................................................................... 236
15. Control Channels & Grouping ............................................................................................................ 243
16. Console Reset ................................................................................................................................. 256
17. Timecode Automation ....................................................................................................................... 366
18. Signal Routing & Settings ................................................................................................................. 435
19. mxDSP ........................................................................................................................................... 483
20. System Configuration ....................................................................................................................... 496
21. mxGUI ............................................................................................................................................ 579
22. Lawo Remote App ............................................................................................................................ 621
23. Fault Finding & Diagnostics .............................................................................................................. 634
24. Trouble-shooting ............................................................................................................................... 644
25. Appendices ..................................................................................................................................... 650
mc²56 MKIII Operators Manual Version: 5.16.0/DRAFT1 3/686

1. Introduction
1. Introduction
Welcome to the mc²56 Operators Manual.
About this Manual

This document describes the operation of the console. The specification is valid for mc 2 Version 5.16.0.x.
All included options are described in this manual. For more on the hardware, installation, configuration and
maintenance, please see the "mc²56 MKIII Technical Manual". All Lawo manuals are available from the
Downloads area at www.lawo.com (after Login).
Look out for the following which indicate:
Notes - points of clarification.
Tips - useful tips and short cuts.
WARNINGS: Alert you when an action should always be observed.
Utility Software
The mxGUI installer is free to download from the Lawo website (after Login).
Once installed, you can launch the following applications from a computer connected to the Lawo system
network:
· mxGUI - for offline setup or remote operation.
· CFCard Creator - to create backup CF Cards for the control system and, in a console, the Bayserver(s).
· mxUpdater - to update the software of the mc 2/Nova control system, or backup and restore user data.
Lawo User Registration

For access to the Download-Center and to receive regular product updates, please register at:
www.lawo.com/user-registration.
4/686 Version: 5.16.0/DRAFT1 mc²56 MKIII Operators Manual

2. Important Safety Instructions
2. Important Safety Instructions

Please observe all of the instructions provided in the "General Safety Information for Lawo Equipment" booklet
delivered with your device. Double-click here to open the same information (as a pdf).

3. Overview
3. Overview
System Components
The mc²56 uses the same architecture, operating system and application software as other mc 2 products. As a
result, it benefits from a powerful feature-set and can be networked to the other mc 2 and Nova systems. Each
system consists of three main components: Control surface + Nova73 + Remote IO.
The control surface is available in a range of frame sizes. Every surface includes a centre section with 16 main
faders plus a number of 16-fader channel bays. The minimum frame size is 16C = centre section only.
Example Frame Configuration: 16 + 16C + 16
The Nova73 handles all audio interfacing, signal processing, routing and control. It is available in two sizes:
Nova73 HD (10RU) or Nova73 Compact (7RU). Both frames use the same plug-in Router, DSP and IO modules;
the number and type determine the signal processing and IO capabilities of the system.
Remote IO devices can connect to the Nova73 to increase the IO capability. Options include the DALLIS modular
IO system, the Compact IO stagebox and Virtual Devices such as Lawo's A__line. If a new interface is installed,
then the system configuration must be edited using AdminHD.
Signal Processing
The DSP resources provide a mixture of input channels (INP), monitor return channels (MON), groups (GRP),
main outputs (SUM) and auxiliary sends (AUX). All full processing channels include all DSP modules, allowing
EQ, Dynamics, Delay, etc. to be applied to both inputs and outputs.
Two global channel types are supported: Recording or Broadcast. Recording channels have more signal
processing and full flexibility, including up to 128 aux sends. Broadcast channels have simplified signal
processing and a maximum of 32 aux sends. As a result, using Broadcast channels offers twice as many
channels from the same amount of DSP resource.
Signal Flow: Recording Channels
Signal Flow: Broadcast Channels
The global channel type and number of inputs, groups, sums, etc. are defined in the DSP Configuration display.

3. Overview
Stereo & Surround

Any pair of odd/even channels can be configured for stereo, and adjacent channels for surround.
The following tools provide easy management of surround sources and outputs: Surround VCAs (multi-
channel control from a single fader strip); REVEAL (reveal the surround slaves); Hyper Pan (reposition a
surround source); AMBIT (upmix and spatialise processing); Downmix Matrix (convert surround back to
stereo).
Hyper Panning of a Surround VCA
Banks & Layers

Any physical fader strip can control any channel type. This allows you to position input channels and audio or
control masters where you want them. The console supports six control surface banks (1 to 6), each with two
layers - Layer 1 and Layer 2. Think of each bank as a separate console, with fast global switching from one bank
to another. Within each bank, layers can be switched globally or individually. This makes layers ideal for related
channels - for example, to flip between a presenter's input channel and their mix minus return.
Console Reset & Automation

One of the major benefits of the mc²56 is the ability to store and recall your settings.
Productions form the top level for user data storage and store all the settings required to reset the system. If you
only need one version of the system's settings, then it is enough to save (and load) a production. However, within
a production you can also store multiple snapshots, cuelists and mixes.
Snapshots can be used to store different setups within the same production, or to reset the system during a
show. To manage the recall, you can isolate individual channels, specific modules or global elements of the desk.
Cuelists are provided for convenient recall of snapshots and other events during a live show. A cuelist contains a
series of "cue points" which can be loaded in sequence. Each cue point can load a snapshot, a series of output
events, or a combination of both. When loading snapshots, continuous parameters can crossfade, and offsets can
be applied to deal with changes such as a different artist.
Mixes store the console's automated settings referenced to timecode. Automation data can be written for any
channel module, with modes to step in/out of write and trim existing moves. The 'Pass Tree' allows you to A/B
between passes and perform offline edits such as a copy/paste or delete.
Presets are stored independently of productions and snapshots. They can store settings for individual modules or
for a complete channel. For example, to save your favourite vocal EQ, or all settings for an announcer's channel.
All user data is stored on an internal flashcard (located on the Nova73 Router Module) and can be imported and
exported to a USB memory stick, networked file server or mxGUI computer.
Configuration
The console is delivered in a fully configured state and can be customised in a number of ways.
At an operator level, user buttons and other custom functions are programmed from the Custom Functions and
Command Triggers displays. Operators can also create their own productions (and snapshots) to reset the
system's routing, fader strip assignments, DSP settings, etc.
At a lower level, are a number of files which configure the system hardware components and the organisation of
signals within the Signal List display. These files can be modified using a tool called AdminHD (described in
your Technical Manual). The AdminHD configuration will need to be edited if you install a new interface or change
the hardware setup in any way.
A number of other functions are factory-configured using TCL (Tool Command Language). TCL files can only be
edited by Lawo personnel, and are designed to provide some flexibility at the specification stage. Console
monitoring is one of the functions defined by TCL.

3. Overview
Studio Integration
The system supports a wide range of options for further control and integration with third-party devices.
mxGUI is a free-of-charge application which provides offline setup or remote operation of any mc 2/Nova system.
The Lawo Remote App is a free-of-charge app providing remote control of parameters from an iOS device.
The Remote Desktop function is programmed from the Custom Functions display and can switch any console
TFT to a remote server. This allows you to view and control other applications from the mixing position - for
example: KICK, the Waves plug-in server, an external DAW, etc.
KICK is a chargeable option designed for automated "close-ball" mixing. The software uses data from an external
graphics tracking system to follow the position of the ball and other points of interest. It then produces an
automatic mix of the close-ball action by controlling the relevant audio channels within the console.
The Waves SoundGrid Plug-in Server is a chargeable option requiring additional hardware. It allows Waves
plug-ins to be controlled directly from the Central GUI and reset by snapshots and productions.
A range of TCP/IP protocols are supported including Lawo's Remote MNOPL, ROSS Audio Protocol (RAP),
Ember+ and RTP MIDI. These can be used to communicate with external devices. Typical applications include:
· Third-party matrix control of crosspoints.
· Triggering of Audio Follow Video (AFV) events.
· General Purpose Channel (GPC) control of an external workstation (DAW) or Camera Control Unit (CCU).
KICK - viewed on Central GUI Waves SoundGrid Server
Note that all included options are described in this manual.

For more information on chargeable options such as KICK or the Waves SoundGrid Plug-in Server, please refer to
the separate manuals for those products.

4. Front Panel Controls

This chapter describes the front panel controls.
Topics include:
· Surface Overview
· Console Variants
· The Channel Display
· Channel Fader Strips
· Main Fader Strips
· The Central Control Section
· The Central GUI
· The Centre Section

4.1 Surface Overview

The mc 256 MKIII is available in a range of frame sizes scaling from 16 up to 64 faders. The smallest frame size
(16C) includes only the centre section panels; the surface can then be expanded by adding 16-fader channel
bays. All frame sizes have an identical set of controls. Space is available in the Overbridge to fit a range of
options including RTW metering and/or Lawo User Panels. On a standard console, the controls are divided into
the following areas:
1 Channel Displays - metering and touch-screen operation of channel assignments.

2 Channel Fader Strips - dedicated mixing controls.
3 Main Fader Strips - identical to the Channel Fader Strips but without Free Controls.
4 Central Control Section - parameter control for the channel in access: EQ, DYNAMICS, etc.
5 Central GUI - metering and touch-screen operation of the console's setup displays.
6 Centre Section - master controls including SCREEN CONTROL navigation.
7 Overbridge - RTW metering and/or Lawo User Panels (optional).
8 Headphone, Network & USB Ports - 1 x stereo headphone out*, 1 x ETHERNET A and 4 x USB ports.
* A second stereo headphone out can be found further along the front buffer.
Note that the console keyboard is floating and is usually connected to the USB port in the centre section (above
the PRODUCTION UPDATE button)..

4.2 Console Variants

In the current release, there are no console variants.

4.3 The Channel Display

The Channel display is a high resolution, touch-screen display. It provides visual feedback and metering, and
can be used for touch-based operation of channel assignments:
Up to three metering rows can be enabled. The lower row always meters the active bank/layer, while the upper
rows can be assigned to any bank/layer using the "Multirow Metering" options in the System Settings display.
The lower row includes the following elements. Note that some elements can be removed if you wish
to simplify the display (using the "Strip Layout" options in the System Settings).
· AFV – the Audio Follow Video event number plus a camera icon if the event is active.
· VCA – the name and color coding of VCA or Surround VCA masters.
· Link Group Name – the name and color coding of link groups.
· N-1 – the name and color coding of the N-1 bus.
· Bus assignments – onto the GROUP, TRACK, AUX and SUM busses.
TRACK busses are supported by Recording channels only.
AUX bus assignments are color coded to indicate pre-fader, pre-EQ (Recording channels
only) or post-fader assignments.
You can choose how many buses are shown using the "Bay Bus Count" options in the
System Settings display.
· Channel Meter – peak metering, loudness metering or both, see Bargraph Types.
· G E C L A – gain reduction metering for the Gate, Expander, Compressor and Limiter, plus
the Automix Level. If a module is enabled, then the corresponding letter lights in green. In
our example, the Gate and Compressor are enabled, and the Compressor is active.
· Automix – the name and color coding of the Automix group.
· Mini Display – graphical feedback on parameter values (e.g. EQ). If the processing module
is turned on, then the outline of the mini display is green. If nothing is assigned to the fader
strip, then the console logo is shown.
· Name or Label – the name or label of the channels assigned to the 1st and 2nd layer. In
our example, input 1 is assigned to the A input on the active layer (A: INP 1); there is
nothing assigned to the alternate layer.
· GAIN – the source gain for the channel (mic/line or digital gain depending on the source).

4.3.1 Touch-screen Operations
Bus Assign Metering Options Mini Display Assign
1. Touch the screen to edit the channel's bus or group assignments.

Any of the following can be edited in this way: VCA, N-1, GROUP, SUM, AUX, TRK, or Automix.
2. Touch the meter to change the mode and pickup point. You can select different options for the Peak
and Loudness bargraphs.
3. Touch the mini display to select a different DSP module.
4. Touch the source label to assign a new input source.
In each case, an expanded pop-up window appears offering the relevant options.
5. To close the pop-up, touch the X in the top right corner, touch twice in quick succession anywhere else
on the display, or wait 3 seconds for the window to close.
4.3.2 Local BANK/LAYER Switching & ISO Bay

In addition, you will find the local BANK / LAYER switching and ISO BAY controls above the first metering row.
ADD GRAPHIC OF CH DISPLAY TOUCH-SCREEN BUTTONS
The BANK 1 to 6 and LAYER FLIP buttons provide local bank and layer switching for the 16 fader strips. They
can be used with ISO BAY on or off. If ISO BAY is off, then the bank and layer will be reset by the global
BANK/LAYER buttons in the centre section.
The ISOLATE button isolates the bay so that it is unaffected by the centre section BANK and LAYER switching.
This makes it ideal for multi-operator mixing. Isolated bays can be excluded from snapshot loads, and can feed a
separate AFL/PFL bus if the ISO BAY AFL2/PFL2 option is enabled. In addition, you can work in expanded
parameter mode as follows - first, select a channel within the bay; then press EQ, DYN, AUX, MISC or BUS to
spread the parameters across all Free Controls within the bay. In the case of BUS, use the left and right arrow
keys to scroll through the available pages of busses.

4.4 Channel Fader Strips

Every channel bay includes 16 fader strips, each with the following controls.
1 Input Gain
This control always adjusts source gain (mic/line or digital). The amount of GAIN is
shown at the bottom of the Channel display.
2 A/B Input Switching

For any input channel, you can assign two sources (A and B) to provide a main and
backup source for the channel. Press the A and B input select buttons to switch
between the two sources. If nothing has been assigned to the B input, then the button
cannot be selected. Note that the global "Channel A/B Input Switch Enable" option must
be turned on to allow A/B input switching; the option defaults to off.
3 Free Controls (FCs)

Every fader strip includes four Free Controls for local access to parameters such as aux
send levels, EQ gain, etc. The controls are color-coded, making it easy to distinguish
between Auxes (green), EQ (blue), Dynamics (magenta), etc.
Each control has its own push button and display. The button function depends on the
assigned parameter (e.g. Aux on/off). The display shows the control function (AUX 1) and
its current value (0.00 dB).
Free Controls can be assigned to any channel parameter, and assignments can vary from channel to channel.
For example, to access Compressor Threshold and EQ Gain on mic inputs; Aux send levels on music channels;
etc.
You can temporarily override the default assignments by recalling an FC PRESET. These change the function of
the Free Controls globally, and are great way to access say aux sends 1, 2, 3, etc. across the console. When
you deselect an FC PRESET, the controls return to their default assignments.
All rotary controls support two modes of operation: turn for fine control, OR push down and turn for coarse
adjustment. The modes can be reversed using the "Console -> Potentiometer" option in the System
Settings display.

4 SEL (Select)
This button selects the channel - otherwise known as placing a channel "in access". It is
used for lots of operations including assigning the channel to the Central Control Section.
5 Fader User Buttons

These four buttons can be customised, globally for all fader strips, and are labeled by the
display.
Four pages of functions are available, switched from the centre section's FADER USER
BUTTON panel. By default, the first page is programmed for mix minus control (CORD
and CONF), snapshot isolate (SNAP ISO) and talkback (TALK).
All user buttons are programmed from the Custom Functions display on the Central GUI. Note that custom
functions are stored at a lower level to productions and, therefore, any changes will affect all users.
6 Fader Label
This area of the display shows the name or label of the channel assigned to the fader strip plus the channel level
(in dB). The centre section's LABEL buttons determine what "label" is in view:
· CHANNEL NAME = the system name of the channel (e.g. INP 1, INP 2, etc).
· USER LABEL = the user label given to the channel (e.g. GUEST, MUSIC, etc).
· INHERIT SOURCE = the user label given to the source routed to the channel (e.g. MIC 1, CD, etc).
Additionally, if you turn on IMAGE and an image has been assigned to the source or channel, then you will see
the image instead of the text label. Touch a fader and the image is enlarged. See Working with User Labels.
Image assigned to source or channel Fader touched = image fills the display
The background color of the display indicates the channel type: white = input channels, blue = VCAs, red =
Sums, etc. See Interrogating the Fader Strips.
7 Input Meter & Status Indicators

The display includes a meter which always monitors the channel input. You can use this to check that signal is
present before opening a fader.
There are also several channel status indicators. When lit, they show the following:
· LNK = processing modules within the channel are linked as part of a link group
· AUT = automation is enabled (for the fader).
· C/L = either the compressor or limiter is active; G/E = either the gate or expander is active.
· SUR = the channel is surround; or STE = the channel is stereo.
· ABV = direction of play pass is higher than (above) the current fader level; or BLW = direction of play
pass is lower than (below) the current fader level. See Automation.

8 Mute
Press the MUTE button to mute the channel. Note the buttons can be disabled (globally)
and their position altered (from after-fader to input) using the "Mute" and "Channel Mute"
options in the System Settings display (under Global -> Status).
9 Layer FLIP
Press FLIP to switch the fader strip from Layer 1 to 2, or vice versa. Note that layers can
also be switched locally within the bay or globally from the centre section.
10 Level
The 100mm fader is motorised and touch sensitive. Level can be adjusted from –128dB
to +15dB.
11 AFL & PFL

Press AFL to listen to the post-fade channel signal. Press PFL to listen to the pre-fade
channel signal. The listen busses can be switched to different monitor outputs from the
centre section's MONITORING panel.

4.5 Main Fader Strips

The centre section includes 16 fader strips known as the "main faders". These are identical to channel fader
strips, except they do not have an input section, Free Controls, or Channel display.
Instead, use the Central Control Section to adjust channel parameters, and open the Main Faders display on the
Central GUI for "Channel Display" functionality.

4.6 The Central Control Section
The Central Control Section provides parameter control for the channel in access:
1. Select a channel - either by pressing its fader SEL button or using the ACCESS/ASSIGN panel.
2. Reach out to adjust a parameter - a pop-up window automatically appears whenever you touch a
control. For a more permanent overview of channel parameters, open the Main display.
Rotary controls are color coded, making it easy to distinguish between gain (orange), dynamics (magenta), EQ
(blue), etc. Note that controls will be black (unlit) if a processing module is not supported. This could be for a
variety of reasons: for example, IMAGE is not available for mono channels; not all DSP modules are supported
when using Broadcast channels; etc.
Use the Couple group to quickly adjust parameters across a range of channels.
The Central Control Section includes the following modules:

· INPUT - input gain, microphone preamplifier settings, stereo input balance/controls and tone to channel.
· DIG AMP - digital amplifier (gain); DELAY - channel delay; INSERT - insert return on/off and send level.
· DIROUT - channel direct output level and mute.
· IMAGE - width and positioning for a stereo channel.
· DYNAMICS: independent GATE, EXPANDER, COMPRESSOR and LIMITER. Recording Channels
support sidechain filtering (SCF) and an external KEY input.
· EQUALIZER - 4-band equaliser (EQ) plus, on Recording Channels, 2-band filters (FILTER) and sidechain
filters (SCF).
· CHANNEL - other channel parameters including MUTE and FADER level.
· AUX SENDS - aux send levels, on/off and pickup points; AUDIO FOLLOW VIDEO - AFV parameters.
· PANNING - multi-channel panning onto the channel’s mix bus outputs.
Note that every module includes a SEL (select) button, and at the bottom of the CHANNEL area there is a SEL
ALL button (to select or deselect all modules). During normal operation, these buttons perform no function. They
are used whenever you need to make a selection - for example, to copy or reset a parameter, link modules
between channels, select modules for snapshot crossfades, etc. See Selecting Channel Parameters for details.

4.7 The Central GUI
The Central GUI (Graphical User Interface) is a high resolution touch-screen display above the console's centre
section. It is used to setup the console, and provide visual feedback and metering. It can be operated using the
touch-screen, trackball and mouse keys, SCREEN CONTROL panel or console keyboard. The operation is
described in more detail later.

4.8 The Centre Section

The rest of the centre section includes the following master controls:
1 TALKBACK
This area provides four central user buttons (ideal for global talkback functions). At the top right of the panel, you
will also find a female XLR connector for your engineer's talkback mic.
The user buttons are programmed from the Custom Functions display.
The XLR is wired directly to the TB connector on the console's rear panel. From here you can connect to an
external communications system (via a mic preamp), or to the console's local MIC IN 16 (on the rear panel). If
using the latter option, the mic input should be defined as the talkback source in all user-defined Custom
Functions.
2 PRODUCTION - UPDATE
This button saves the current console settings into the active production. Note that the button overwrites
(updates) the active production. If new snapshots have been saved, then the button flashes as a reminder to
save.
Above the button is a USB port. This can be used to connect a memory stick to import or export productions
and other user data.
3 MONITORING
The CRM 1 and CRM 2 rotary control adjust the level of the control room monitoring outputs. The physical
controls work in conjunction with the Central GUI, and are covered in more detail later.
4 FC PRESETS
The FC PRESETs assign parameters onto the fader strip Free Controls. They temporarily override the default
assignments, and are great way to access say aux sends 1, 2, 3, etc. globally across the console.
The upper row of buttons are pre-defined at the factory (PAN, LVL/DLY, etc.), while the lower row can stored
user-defined parameter combinations. In both cases, the PAGE button can be used to access two pages of
functions - for example, Aux sends 1-4 or 5-8.
To store a user-defined preset: first, select a fader strip with the Free Control parameters you wish to store; then
press and hold one of the USER preset buttons until it flashes - this stores the selected channel's Free Control
assignments. To recall a preset, press the USER preset button quickly - the stored assignment is recalled
globally across the console.
When all FC PRESET buttons are deselected (off), the fader strip Free Controls return to their default
assignments.

5 LINK
The MODULE LINK and LINK OFFSET buttons are used to create and manage link groups. The COUPLE
button can be used to create a couple.
6 STRIP ISOLATE
These buttons can be used to isolate fader strips from BANK switching. Turn on MAIN FADER to isolate all
main fader strips. Or, press SEL FADER and then select the strips you wish to isolate (by pressing their fader
SEL buttons: red = selected). To clear all isolations, press CLEAR.
7 VCA / SURROUND - REVEAL

This button reveals VCA or Surround VCA slaves so that you can offset fader levels and other relative
parameters.
First, select the VCA or Surround VCA master (by pressing its fader SEL button). Then press REVEAL - the
slave channels automatically appear in their predetermined position (defined by the "Reveal" options in the
System Settings display).
8 FADER CONTROL
These buttons temporarily assign another level parameter onto the console's faders. For example, press AUX
SENDS to assign an aux send - the electronic label shows the name of the send (e.g. AUX 1). Then, use the
arrow buttons to scroll through each aux. Alternatively, touch the aux send on the Central Control Section and
then press USE TYPE - this switches the faders directly to say Aux Send 28 without scrolling.
The following level parameters can be controlled in this manner: AUX SENDS (send levels); DIG AMP (digital
amplifier gain); INSERT SEND (insert send level); DIR OUT (direct output level); AFV (audio follow video On
level); LFE (Subwoofer level).
When active, the fader labels across the console show the parameter name, and flash to warn you that you are
now controlling something other than the main channel level!
9 BUS ASSIGNMENT
These buttons are used to make bus assignments, either forwards from the channel in access, or in reverse to
the channel in access.
For example, to assign several input channels to a sum: first, select the SUM by pressing its fader SEL button;
then press FADER REV - the fader SEL buttons across the console show the current assignments (red =
assigned; flashing green = unassigned); now press the fader SEL buttons to change the assignments.
The same method can be used to assign channels to a group, aux or VCA.
Or, use FADER FWD to assign forwards from the channel in access - for example, from an input channel onto to
group, sum, aux or VCA.
10 STRIP ASSIGNMENT
These buttons assign channels to fader strips. You can assign a single or range of channels; insert, re-locate or
swap channels; and make assignments across multiple banks and layers. These operations are described in
more detail later.

11 LAYER & BANK Switching

The BANK 1 to 6 buttons switch the fader strips, globally, between banks. One button is
always lit; this is the active bank. Six banks are available.
Within each bank, you can press LAYER FLIP to invert the layers; ALL 1ST to switch to
layer 1; and ALL 2ND to switch to layer 2. Note that the ALL 1ST and ALL 2ND buttons are
temporary, so any FLIP states are reinstated when you deselect the button. To permanently
reset the flip states, press and hold ALL 1ST or ALL 2ND for more than 3 seconds.
The MAIN BAY button can be used with both BANK and LAYER switching. When it is turned
on, the bank/layer selections affect only the main faders. When it is turned off, the bank/layer
selections affect all fader strips across the console, except for those in an isolated bay (ISO
BAY on) or with an ISO state active (see 6).
12 CENTRAL USER BUTTON

These buttons can be customised for master functions. Typical applications include enabling
the second metering row on Channel displays; start/stop/reset for integrated loudness
measurements; copy and paste for copying levels to auxes.
All user buttons are programmed from the Custom Functions display. Note that custom
functions are stored at a lower level to productions and, therefore, any changes will affect all
users.
13 LABEL
These buttons change the fader strip labels as described earlier. The options are:
· INHERIT SOURCE = the user label given to the source routed to the channel (e.g.
MIC 1, CD, etc).
Additionally, if you turn on IMAGE and an image has been assigned to the source or channel,
then you will see the image instead of the text label. See Working with User Labels.

14 FADER USER BUTTON

Press the 1-4, 5-8, 9-12 or 13-16 buttons to switch the fader strip user
buttons between their four pages of functions. The four functions appear in
the display.
15 ACCESS/ASSIGN
This button switches the touch-screen buttons on the right of the Central
GUI between MONITORING and ACCESS/ASSIGN functions. See Working
with the Central GUI.
16 SCREEN CONTROL
This area works in conjunction with the Central GUI and is described later.
Note that you can press the ESC (ESCAPE) button at any time to cancel
out of an operation - for example, to cancel a bus assign, a fader strip
assign, etc.

4.9 Overbridge Options
Space is available in the Overbridge to fit either RTW metering (shown above) and/or up to two Lawo User
Panels.
The permitted variations are:
Part Number Description

977/90 Blank Panel (full height)
977/91 TM 9 (shown above)
977/92 TM 7 + 1 x User Panel
977/93 2 x User Panel
When the RTW TM7 or TM9 are fitted, they provide 4 x AES3 inputs for multi-channel metering and 5 x GPI for
external control.
Note that the RTW TM9 has a built-in fan which will become active at extreme temperatures (>70°C). To check
the fan's functionality, it starts momentarily at power on. Under normal operating conditions, the fan is inactive.
The default configuration usually sets the RTW to automatically follow the CRM 1 monitor source selector.
The User Panel options are as follows.

The panels can be fitted in either position (upper or lower). You can fit two 40 KEY panels to provide 80 buttons if
you wish. Unless otherwise specified, the console ships with a single full height blanking panel (977/90).
Part No Name Description

978/24 40 KEY USER PANEL 40 user-programmable buttons, defined from the Custom Functions
display.
978/25 REVEAL FADER 5 dedicated faders for revealing surround slaves.
978/26 AUTOMATION Controls for the timecode automation system.
40 KEY USER PANEL REVEAL FADER AUTOMATION

5. Working with the Central GUI

This chapter describes the operation of the Central GUI.
Topics include:
· Display Areas
· Changing the SCREEN CONTROL Display
· SCREEN CONTROL Panel Operations
· Navigation and Making Selections
· Adjusting Parameter Values
· Sorting & Resizing
· Using the Console Keyboard

5.1 Display Areas

The Central GUI is divided into five separate areas.
The title bar (1) and status bar (3) are always visible, while the main working area (2) is switched between different
SCREEN CONTROL displays. The mini meters (4) can be enabled or disabled. The side panel (5) is always
visible and provides access to additional touch-screen functions.
1 Title Bar (Headline)

Across the top you will always see the page select buttons, the name and label of the channel in access, the
headline (local time, timecode or integrated loudness), and the name of the current production and snapshot.
2 SCREEN CONTROL Displays

This area can be paged between different displays.
To change display, press one of the dedicated buttons on the SCREEN CONTROL panel (in the centre section);
touch the page icon or Next/Previous buttons (in the title bar); or use a keyboard shortcut.
The Signal List display shown above is used to connect sources to destinations. For live mixing, the Main
Faders display is recommended as it provides "Channel Display" functionality for the main fader strips.
3 Status Bar
The status bar provides feedback on the amount of used data storage space (%) and the software release version.
The icons on the right indicate the status of the sync source, control surface PSU(s) and any networked system
connections.
4 Main Fader Mini Meters

These meters can be enabled or disabled from the System Settings display (see GUI Options). When enabled,
you will always see metering for the main fader strips beneath the current SCREEN CONTROL display.
5 Side Panel
This area is reserved for additional touch-screen functions. It can be switched between MONITORING and
ACCESS/ASSIGN using the ACCESS/ASSIGN button on the SCREEN CONTROL panel. Then use the on-
screen left/right arrow buttons to scroll through the available pages.

5.1.1 Title Bar (Headline)
The title bar includes the following elements:
1 PAGE Selection
Select the PAGE icon to choose a SCREEN CONTROL display. Or, select the Left (or Right) arrow button to
switch to the Previous (or Next) page. The name of the current display is shown below the headline (e.g. Signal
List).
2 Channel In Access
These two text fields always show the name and label of the channel in access – e.g. INP 1, Kick.
3 Headline
The headline can display either Timecode or Loudness metering. Click on the current option to make a
change:
Select Timecode to display one of the following:

· Local = the local system time in 24 hour clock.
· Timecode = SMPTE timecode from your selected timecode reference.
· Offset TC = SMPTE timecode + the Midnight offset.
Alternatively, select Loudness metering to display the integrated loudness measurement for a particular
summing channel (in LUFS).
4 Status Flags
To the right of the headline is an area which can show:
· A yellow warning triangle - if the global alarm is triggered. Click on the triangle to interrogate the error.
· A locked icon - if the console keyboard is locked.
5 Active Production & Snapshot

These two fields always show the name of the active production and current snapshot (if one has been loaded) –
e.g. production0015 and snapshot0014. The fields are for information only and cannot be edited.
6 LAWO Logo
Click on the LAWO logo to manually time stamp the system logfile. This marks the messages file at a moment
in time, and can assist Lawo's service department when diagnosing system behaviour.
Log files can be copied from the system via the File display.

5.1.2 SCREEN CONTROL Displays

One of the following displays will always appear in the main working area:
PAGE Button Display Name Application Conditions
SIGNAL Signal List signal routing; user labels; channel formats
" Signal Settings IO parameters; check the hardware status
" Thumbnail image assignment for fader strip labels 96 & 56MKIII
Assignment only
MATRIX mx Routing crosspoint control of signal routing
" mxDSP settings on mxDSP modules see 1
" Downmix parameters for downmix matrices see 2
BUS Bus Assign bus assign from the channel in access

" Busses Reverse bus assign to the channel in access
" Automix create and control automix groups
PLUGIN Plugin setup set up the remote plug-in server optional,
see 3
" Plugin Edit edit plug-in parameters
CHAN CONFIG Main Display parameters for the channel in access
" Channel Config signal flow for the channel in access
METER Meter 1 to 4 assignable meters
" Main Faders "channel display" for the main faders
SYSTEM DSP System Settings system options
" DSP Config DSP Configuration
" Custom Functions program custom functions (e.g. user buttons)
" Command Triggers program command triggers (e.g. fader starts)
SNAP CUE Snapshots List load, save and manage console snapshots
" Cuelist create and play out real-time automation

" Snapshot Trim Sets snapshot offset parameters
" Iso Sets module-specific snapshot isolates
AUTO Mixes record and play back timecode automation (mixes) not
supported
" Passes manage automation passes (within the active mix)
by mc 236 or
" Machine Locators create and manage timecode locators MicroCore
PROD FILE Productions load, save and manage productions

" File import or export productions to/from USB or a network server
XTRA Extra Buttons additional functions
Explanation of Conditions:
1 To use this display, your system must be installed with at least one mxDSP module.
2To use this display, at least one Downmix Matrix must be configured. This can be defined by AdminHD if matrix
resources are available.
3The PLUGIN pages are only available if the external plug-in server is installed. Please refer to the separate "Waves
SoundGrid for mc2 User Guide" for details.

5.1.3 Status Bar

The status bar provides feedback on the amount of used data storage space (%) and the software release
version. You will also see the progress of operations when you perform tasks such as loading or saving
production.
The icons on the right indicate the status of the sync source, control surface PSUs and, if applicable, the
connection to a Lawo networked system and Waves Multirack host computer. In each case, hover over the
icons to reveal more information - for example:
If cuelist automation is enabled, then you will also see the names of the Previous, Current and Next cuepoints:
5.1.4 Central Metering

To view metering for the main faders all the time, you can turn on the "Display Central Metering" option in the
System Settings.
This mini display shows peak metering, loudness metering, or a combination of both for each channel assigned
to the main fader strips. Once enabled, they will remain in view regardless of the selected SCREEN CONTROL
display:
5.1.5 Side Panel

The touch-screen buttons on the right of the Central GUI provides access to either MONITORING or
ACCESS/ASSIGN functions. To switch between the two modes:
1. Press the ACCESS/ASSIGN button on the SCREEN CONTROL panel:

Ø MONITORING Mode
In MONITORING mode, there are four pages:
MON 1-2 VAP 1 VAP 2 VSM REMOTE
Page 1 provides access to control room monitoring, while pages 2 and 3 provide access to timecode automation
functions (described later). Page 4 can be used to emulate a VSM key panel (for custom-configured functions).

Ø ACCESS/ASSIGN
In ACCESS/ASSIGN mode, there are three pages:
ACCESS/ASSIGN 1 ACCESS/ASSIGN 2 ACCESS/ASSIGN 3

ADD PIC ADD PIC
The first page can be used to change the channel in access as described later.
The second page provides strip assignment functions. In addition, it can be used to edit the electronic labels for
the BANK 1 to 6 buttons as follows:
1. Touch the button's label area to edit the existing text - you can enter up to 8 characters.
2. Press Enter to confirm - the label updates on both the GUI and console surface.
The third page provides copy/reset, link grouping, module ISO and cuelist functions.

5.2 Changing the SCREEN CONTROL Display

There are a number of ways to change the display in the main working area:
1. Press one of the dedicated buttons on the SCREEN CONTROL panel.
Each button can access more than one page, so keep pressing to cycle through all available displays.
2. On the Central GUI, touch the PAGE icon (top left) and select a page:
3. On the Central GUI, touch Next or Previous Page buttons - these are the arrows beside the PAGE icon:
The buttons work just like the Forward and Back buttons on a web browser. So, if you have viewed say the DSP
Configuration, then the Snapshots list, and then the Main display, you can use the Left arrow to step
backwards through this sequence. The last 16 page views are stored. When you reach the first (or last) page in
the sequence, the button turns grey indicating that no further selections are available.
4. Use a keyboard shortcut as follows:
· Press ALT + P to open the Page menu. Then press an underlined letter to select a display – for
example, S to open Signals, M to open Matrix, etc.
· Use any of the key combinations shown - for example, press [CTRL] + [1] to cycle through the available
Signals displays: Signal List and Signal Settings.
· Press [ALT] + [Cursor Left]/ [Cursor Right] to select the Next or Previous page.

5.3 SCREEN CONTROL Panel Operations
The following operations can be performed from the SCREEN CONTROL panel:
· Press ACCESS/ASSIGN to open the "Access/Assign" view (on the right of the Central GUI).
· Use the upper buttons (SIGNAL, etc.) to select a SCREEN CONTROL display. Each button can access
more than one page, so keep pressing to cycle through all available displays.
· The Left/Right and Up/Down arrows change which part of the display is in focus.
· The rotary control can adjust values if a parameter field is selected, OR scroll up and down lists if a list
is in focus.
· Press ENTER whenever you need to confirm an operation.
· Press ESC to cancel out of an operation.
· The eight soft key functions vary depending on the selected SCREEN CONTROL display and the area in
focus. They are labeled by the electronic displays.
· Use the trackball to move the pointer around the Central GUI - left-click to make a selection or
enable/disable on-screen buttons; right-click to view the context menu options.

5.3.1 Using the Soft Keys

The soft key functions update whenever you change the SCREEN CONTROL display or focus on a different
area. In our example, the Snapshot List is in focus and, therefore, the keys can be used to LOAD the selected
snapshot, save a PARTIAL snapshot, etc.
Soft key functions are duplicated on-screen, either as a dedicated button or context menu (right-click)
option.

5.4 Navigation and Making Selections

To navigate around a display and make selections you can use the touch-screen, trackball & mouse keys,
SCREEN CONTROL panel or console keyboard.
Touch-screen
Anything which is a button or menu option can be selected by touching the screen. Buttons change color when
enabled (e.g. the DESK Global Snapshot ISO). List selections are highlighted in black (e.g. snapshot0000):
Trackball & Mouse Keys

Use the trackball to position the cursor and press the left mouse key to make a selection. Additional functions
appear if you right-click on a selection.
SCREEN CONTROL Panel

When focussed on a list, turn the rotary control on the SCREEN CONTROL panel, or press the Up/Down arrow
buttons, to scroll up and down the list and make a selection. You can tell which part of the display is "in focus"
by the dotted outline.
Console Keyboard
You can also use keyboard shortcuts ("Hot Keys") to move around the display and make selections:
· [TAB] or [SHIFT] + [TAB] - changes the focus area.
· [Cursor Up]/ [Cursor Down] - scrolls up or down through the entries in a list.

5.5 Adjusting Parameter Values

On some displays, you can adjust a value from the trackball, SCREEN CONTROL
panel or console keyboard:
1. Using the trackball and mouse keys, left-click on the arrows beside a
parameter (e.g. GAIN) to increase or decrease its value.
2. With the cursor inside a value field, turn the rotary control on the SCREEN
CONTROL panel.
3. With the cursor inside a value field, press the keyboard's UP or DOWN
arrow keys to increase or decrease the value. Or, type in a value and press
ENTER.

5.6 Sorting & Resizing

1. In "list" displays, you can sort the list by clicking on a column heading: e.g. Name, Date or Size.
2. If you see a blue separator bar, then a window area can be resized.
For example, to make the Productions list bigger (and Fallback productions list smaller), click and drag on the
blue bar; the window areas resize accordingly. Note that if there is no blue separator bar, then resizing is not
possible. You can also use this method to "hide" an area if you wish.
3. You can also change the order of columns within a list – for example, to move the padlock (protection)
column, position the cursor above the column title, then click and drag the column to the left or to the right.
Release the left mouse key when you are happy with the new position of the column.
Note that any changes you make to window sizes and list orders are reset after a system restart.

5.7 Using the Console Keyboard

The console keyboard is used primarily to edit text, but can also change the SCREEN CONTROL display, make
selections and adjust parameter values.
The keyboard layout (English or German) is selected from the System Settings display (via the Global -> System
options).
The console keyboard can be enabled (or disabled) as follows:
1. Press and hold the Fn button, and then press ON.
If the keyboard is disabled, you will see "kbd locked" in the Central GUI title bar.
5.7.1 Editing Text Fields

To edit a text field, such as a snapshot name:
1. Left-click on the text field - either once to overwrite (as shown below), or twice to modify an existing
name (a flashing cursor will appear).
2. Type in your text using the console keyboard.

You can use the left or right arrow keys to move the position of the cursor within the field.
3. Press ENTER to confirm. OR, to exit without making any changes, press ESC.
Once text is selected, you can right-click to access Cut, Copy, Paste, Delete and Select All. Or, use the
CTRL+C and CTRL+V keyboard shortcuts to copy and paste the selected text between fields.

5.7.2 Keyboard Shortcuts (Hot Keys)

Below is a summary of all the keyboard shortcuts (known as "hot keys").
Global "Hot Keys"

· [ALT] + [Cursor Left] or [Cursor Right] - next or previous Page.
· [CTRL] + [1] to [8] - selects a SCREEN CONTROL display.
· [ALT] + [P] - opens the Page menu. Then press [S] to open Signals, [M] to open Matrix, etc.
· [TAB] or [SHIFT] + [TAB] - changes the focus area of the SCREEN CONTROL display.
· [Cursor Up] or [Cursor Down] - when a list is in focus, step up or down the list entries. If a parameter
value is in focus, press to increase or decrease the value.
· [CTRL] + [C]/ [V] - when the contents of a text field are selected, these keys can be used to copy and
paste the entry.
Channel Config display

· [CTRL] + [Cursor Left]/ [Cursor Right] - moves the selected audio module left or right within the
channel signal path.
· [CTRL] + [Cursor Up]/ [Cursor Down] - moves the selected audio module between the track bus,
channel and direct output path.
Signal List display

· [SHIFT] + [Enter] - temporarily enables Easy Edit mode for fast labelling of consecutive signals.
Cue List & Command Trigger displays

· [Cursor Up] or [Cursor Down] - when a list is in focus, scrolls up or down the list entries. If a parameter
value is in focus, press to increase or decrease the value.
· [Enter] or [Backspace] - step forwards or backwards to the next selection window.
· [Escape] - close the current window.
mxGUI only
· [Strg] + [^] - opens and closes the Access/Assign window (German QWERTZ keyboard layout only).

6. Selecting a Channel
This chapter describes how to select a channel.
Topics include:
· The Channel in Access
· Fader Strip SEL
· ACCESS CHANNEL / ASSIGN
· Signal List "Set Access"

6.1 The Channel in Access

In order to adjust channel parameters from the Central Control Section, or to perform an assignment operation
such as a fader strip or bus assign. This is known as placing a channel in access.
6.1.1 Interrogating the Channel in Access

The name and label of the channel in access are always shown in the title bar at the top of the Central GUI - for
example, INP 1, Kick:
6.1.2 Channel in Access Operations

The channel in access is always the channel which is assigned to the Central Control Section for parameter
control. It is also the channel which will be used when you perform an assign operation such as a fader strip
assignment or bus assignment. These operations are covered later in the relevant chapters.
6.1.3 Locking the Channel in Access

The channel in access can be locked, to keep the same channel in access, by pressing the Lock ACC button
located on the Extra Buttons display. Therefore, if you cannot change the current selection, check the status of
this option.

6.2 Fader Strip SEL

Usually the quickest method to select a channel is to press its fader strip SEL button:
The SEL button lights (in white) when selected.

6.3 ACCESS CHANNEL / ASSIGN

A channel can also be selected using the ACCESS CHANNEL / ASSIGN panel.
On the mc²56, this panel is available on the right of the Central GUI. First, press ACCESS/ASSIGN on the
SCREEN CONTROL panel. Then navigate to the first page: ACCESS/ASSIGN 1:
1. Select a channel type - e.g. press INPUT. The button flashes and display shows TYPE NUM.
2. Using the numeric keypad, enter the channel number - e.g. press 1, 5 and ENTER for the number fifteen.
Providing you make a valid selection, the display updates to show the name (and label): e.g. INP 15.
If you make an invalid selection, the display tells you by flashing NOTAVAIL for "Not Available". Press ESC to exit
the operation and start again.
Note that to select a Surround VCA master, there is an extra step: first press SUR VCA, then the channel type
(e.g. SUM); then enter a number (e.g. 1) and confirm with ENTER.
Channel Types
The following channel types can be selected in this manner:
· INP – input channels.
· MON TRK – monitor channels/track buses.
· GRP – group masters.
· SUM – sum masters.
· AUX – auxiliary masters.
· VCA – VCA masters (up to 128).
· SUR VCA – Surround VCA masters (of any type).
· GPC – General Purpose Channels (up to 256).
· MAIN FADER or STRIP – selects the channel assigned to a main fader or channel strip.
Note that for DSP channels, the maximum number of channels available is determined by the preset loaded in the
DSP configuration display.

Further Operations
1. Press NEXT (or PREV) to increment (or decrement) the channel number - for example, if AUX 1 is in
access, press NEXT to select AUX 2.
2. Press the left (or right) arrow key to select the next channel assigned to the surface - for example, if the
channel assigned to fader strip 8 is currently in access, press the left arrow to select the channel assigned to
fader strip 7.

6.4 Signal List "Set Access"

When working in the Signal List display, you can also select a channel using the Set Access option.
1. Right-click on the (source or) destination channel and choose Set Access - the channel in access
updates:
Note that for surround channels, you can select either the component channel or its Surround VCA Master:
· Set Access - selects the component channel (e.g. SUM 1).
· Access Surround / VCA Master - selects the surround VCA Master (e.g. SUR S 1).
The Set Access option only appears if you right-click on a DSP channel; you cannot place an input or output
signal into access.
The Access Surround / VCA Master option only appears if you right-click on a component of a surround
DSP channel; if the channel is not part of a surround group, then you will not see this option.

7. Getting Started
7. Getting Started
This chapter describes how to get up and running, and some of the most common operations.
Topics include:
· Powering On
· Checking the System Components
· Resetting the System
· Interrogating the Fader Strips
· Assigning an Input Source
· Adjusting Input Gain
· Input Metering
· Checking Bus Assignments
· Monitoring Audio
· Creating Your Own Setup
· Loading a DSP Configuration
· Working with the Signal List
· Assigning Channels to Fader Strips
· Using the Couple Group
· Saving Settings
· Next Steps

7. Getting Started
7.1 Powering On
To start the console, turn on power to both the control surface (mains connections at rear) and Nova73 (mains
connections at front).
The components can be powered in either order but note that the control system resides within the Nova73. This
means that the system will boot once you apply power to the Nova73.
The control system boots in a few seconds; during this time you will see the boot-up progress on the console's
displays. Once boot-up is complete, the screens refresh to show the Channel displays and Central GUI. The
console is now ready for operation.
Control Surface Nova73HD Front View
The control surface and Nova73 can be booted before other remote devices. This enables you to prepare
settings, including signal routing, before external stageboxes are connected and powered.

7. Getting Started
7.2 Checking the System Components

At this stage, it is a good idea to check the status of the system components.
In the event of a global alarm, a warning triangle appears in the title bar of the Central GUI. Hover over the triangle
to view the last ten alarm messages. Messages in red indicate active alarms; messages in yellow are resolved.
You can interrogate any active alarms from the Signal Settings display.

7. Getting Started
7.3 Resetting the System

At the end of boot-up process, the system loads its warm start data (the state of all settings at the last
shutdown). This means that when you turn on, you will always get back to wherever you were at the last power
off. Depending on who was last using the console, you may be sat in front of a fully configured control surface or
a series of blank fader strips! In either case, the fastest way to reset the system is to load a production.
Productions form the top level for user data storage and store all the settings required for a production or type of
job. It is good practice to have at least one Basic Setups or Default production which can be used as a
common starting point for all new shows. You should load this production to reset the console, and then save a
new production to store your own settings. If your system does not yet have a Basic Setups or Default
production, then see Creating Your Own Setup.
Ø To load a production:
1. Open the Productions display on the Central GUI.
The Productions list, in the upper half of the display, shows all the productions stored on the internal user data
flash card. This is where you can load, save, update, rename, protect or delete a production.
The active production (marked with an A) is always shown in the title bar of the Central GUI – in our
example, it is named Olympic Games.
2. Right-click on a production - for example Basic Setups - and select Load from the drop-down options.
The console resets and the title bar updates to show that Basic Setups is now the active production.
For additional confirmation, watch the status bar at the bottom of the Central GUI; you should see a loading…
message as the production data loads:

7. Getting Started
7.4 Interrogating the Fader Strips

You can interrogate which channels have been assigned to the fader strips by looking at the following areas.
7.4.1 Fader Strip Label Displays

Fader Strip Labels (CHANNEL NAME) Fader Strip Labels (IMAGE)
Here you will see the channel name (e.g. INP x), channel label, inherited source label or image depending on the
LABEL button selected in the centre section:
If you turn on IMAGE and an image has been assigned to the source or channel, then you will see the image
instead of the text label.
7.4.2 Channel Color Coding

Each channel is also color coded for quick identification. The colors are used in the label display backgrounds, by
buttons in their off state (if Button-Glow is enabled) and by the Channel display (if Show Fadersense is enabled).
The default colors are white = input and monitor channels; yellow = groups; green = aux masters; blue = VCA
masters; red = sums. Note that the colors can be customised from the Channel Config display.

7. Getting Started
7.4.3 Channel Display Metering

Look up at the Channel display for an overview of channel metering and other assignments. Up to three
metering rows can be enabled; the lower row always meters the active bank/layer. The meters show which
channels are mono, stereo and surround, and whether there is signal present. You can also see whether any
bus assignments have been made to the Groups (yellow), Auxes (green) and Sums (red).
Show Fadersense
To help identify the channel you are working on, you can enable Show Fadersense in the System Settings
display. From now on, each time you touch a fader or free control, the corresponding channel will be highlighted
in the Channel display. The color used will match the channel color-coding selected in the Channel Config
display.
7.4.4 Main Fader Metering

During a live mix, it is recommended to view the Main Faders display on the Central GUI. This provides an
identical display to the one shown above, but for channels assigned to the main fader strips.

7. Getting Started
7.5 Assigning an Input Source

On input channels, you can assign any source connected to the console's routing matrix. This can be a local
source (from the Rear Connector Panel), or a remote source (from a remote IO or networked system). Source
routing can be changed from the Channel display touch-screen or from the Central GUI's Signal List display.
Ø To assign a source to an input channel (from the Channel display):
1. Touch the source label at the bottom of the Channel display (e.g. A: INP 1), and then select a
directory, subdirectory and input - for example: Local IO -> Mic -> Mic 01.
Note that sources are listed using both their system name and user label - System name / User Label:
2. Check the assignment by pressing the INHERIT SOURCE LABEL button in the centre section, to view
source labels globally across the console:
This method can be used to assign each of the following: A Input = the main channel input; B Input = the
alternate channel input; Insert Return = the channel insert return. In each case, the directories and
subdirectories provide access to the following source options:
· Bus Out - the bus outputs from the console (Auxes, Groups and Sums).
· Direct Out - the direct output from any other channel.
· Insert Send - the insert send from any other channel.
· External Sources - all external sources. The directory names and their signals are defined by
AdminHD and, therefore, will vary from the screenshot shown above.
3. To disconnect the source from a channel, select Disconnect.

7. Getting Started
7.6 Adjusting Input Gain

Input gain can be adjusted from the fader strip or Central Control Section:
Fader Strip Central Control Section
Fader Strip
The upper rotary control on the channel fader strip is dedicated to source gain - either mic/line or digital
depending on the channel's source. The amount of GAIN is shown on the Channel display above the control.
Central Control Section

Alternatively, assign the channel to the Central Control Section, either by pressing its fader SEL button or using
the ACCESS/ASSIGN panel.
Now you can adjust source GAIN plus other parameters such as 48V, high-pass filter and 20dB PAD (for
mic/line sources); BALANCE, Left to Both, Right to Both, Left/Right reverse (for stereo sources); etc.
For full details, see INPUT Control.

7. Getting Started
7.7 Input Metering

Fader Strips Channel Display
The meter in the fader label display always meters the channel input, while the meter on the Channel display
can be switched to different positions: input, pre-fader, post-fader, etc.
1. Touch the meter on the Channel display to change the Pickup points.
If you select INP, then you will see the level immediately after the source gain and before all signal processing.
Note that the pickup points for the peak and loudness bargraphs can be set independently, see Meter Pickup
Points.

7. Getting Started
7.8 Checking Bus Assignments

You can check each channel's bus assignments by looking up the Channel display:
Here you will see the assignments onto the GROUP, TRACK, AUX and SUM buses. Note that the number of
buses shown is set by the "Bay Bus Count" options in the System Settings display. Note also that TRACK
buses are supported by Recording channel DSP Configurations only.
AUX bus assignments are color coded to indicate post-fader (e.g. Aux 3), pre-fader (e.g. Aux
5) or pre-EQ (e.g. Aux 8). Pre-EQ assignments are possible for Recording channels only.
The formats of all buses (mono, stereo or surround) are defined in the Signal List display, and
are stored in snapshots and productions. The configuration is flexible. For example, Sums 1 to
8 could be used as four stereo buses (1/2, 3/4, 5/6, 7/8), or one 5.1 and one stereo. Each
number on the display represents a mono bus. So, for a 5.1 Sum, you will see all six individual assignments:
SUM 1 = L; SUM 2 = R; SUM 3 = C; SUM 4 = LFE; SUM 5 = Ls; SUM 6 = Rs.
For simplicity at this stage, you should check that all channels are assigned to SUM 1 to 6 (if working in 5.1) or
SUM 1 & 2 (if working in stereo). This ensures that once channel panning is turned ON, you will benefit from
surround, or stereo, panning. There are several ways to change bus assignments. Below are a couple of
methods to get you started.
7.8.1 Bus Assign from the Channel display

1. Touch the screen within one of the bus areas to edit the assignments - an
expanded pop-up window appears.
2. Now touch the numbers to enable (or disable) an assignment.
Note that when you mak e an assignment onto a surround bus, the console assumes you
wish to route to all outputs (e.g. to all six Sums). If this is not the case, then you can
deselect an individual assignment - for example, touch Sum 4 to remove the channel
from the LFE Sum.

7. Getting Started
7.8.2 FADER REVERSE Assign

This method uses the fader SEL buttons to make assignments to the channel in access. It is ideal for assigning
channels onto a destination such as a group, aux or sum.
1. Select the destination channels (e.g. SUM 1) - either by pressing its fader SEL button or using the
ACCESS/ASSIGN panel.
2. Press FADER REVERSE on the BUS ASSIGNMENT panel:
The BUS ASSIGNMENT buttons can be locked, to protect existing assignments, using the Lock ASN
button located on the Extra Buttons display. Therefore, if you cannot make a selection, check the status of
this option.
The button starts to flash, and the fader SEL buttons across the console light to show the current status:
· Steady state red = channel assigned to destination.
· Flashing green = channel not assigned to destination.
· SEL not lit = channel cannot be assigned to destination (for example, you cannot assign another Sum
channel onto SUM 1!)
3. Press a fader SEL button to modify the current assignment - the fader SEL changes state.
If the bus is stereo or surround, then assignments are made to both sides of the stereo bus, or to all
surround component channels, in one operation. To edit individual assignments, use the Channel, Bus
Assign or Busses Reverse display.
4. Deselect FADER REVERSE, or press ESC on the SCREEN CONTROL panel, to exit the bus assign
mode.

7. Getting Started
7.9 Monitoring Audio

7.9.1 Monitor Source Selection, Level, Cut & Dim
The console provides two monitor outputs with independent source selection, volume, cut and dim: CRM 1
supports 5.1 surround, while CRM 2 is stereo. There are also two stereo headphone outputs which follow the
monitor source selectors and have their own level control.
In each case, connections can be made via any IO. However, usually the two monitor outputs connect via the
console's rear panel, and the headphones via the sockets on the front buffer.
Level controls for CRM 1 and CRM 2 are located on the centre section's MONITORING panel. All other controls,
including source selection, are handled by the Central GUI. In order to view the monitoring touch-screen buttons,
first make sure that ACCESS/ASSIGN on the SCREEN CONTROL panel is turned off. Then select the MON 1-2
page using the on-screen arrow buttons. The touch-screen buttons are divided into three columns: CRM 1, CRM
2 and the monitoring page selections:
Monitor Source Selection

Use the right-hand column to select a page of sources: SUM, AUX, GRP, etc. Then make a selection from the
first column to assign a source to CRM 1, and/or a selection from the second column to assign a source to
CRM 2. You can choose sources from different pages to assign say SUM 1-6 to CRM 1 and GRP 7/8 to CRM 2.
The first three source pages provide "hard-wired" access to sums, auxes and groups; page 4 is reserved for
external inputs (these will vary from one installation to another); page 5 provides AFL and PFL options. In page 4
it is a good idea to configure some "GUI" signals. These are virtual destinations which can be connected from
any source using the Signal List display. This allows you to monitor any input to the system.
In the default configuration, headphone 1 follows the CRM 1 source selector and headphone 2 follows CRM 2.

7. Getting Started
Volume, CUT and DIM

Use the rotary controls to adjust the volume of each monitor output. The accompanying buttons will CUT or DIM
each output; the amount of dim defaults to 20dB but can be adjusted from the CTRL page.
The same rotary controls can be used to adjust the volume of two headphone outputs by enabling the VOL HP's
touch-screen button.
In each case, the current level and function appears on the touch-screen display.
CTRL Page
The CRM1ctrl page provides access to other functions such as individual loudspeaker cuts; mono monitoring;
etc. The SET button allows you to adjust the dim level, stereo balance, etc. For example, press SET followed by
DIM and then turn the corresponding rotary control - the electronic label shows that you are now adjusting the
Dim LVL and its new value. For full details, see Monitoring Parameters.
X-tra
The X-tra button is provided for convenience and will open the Extra Buttons display.

7. Getting Started
7.10 Creating Your Own Setup

If the production contains all the connections and fader strip assignments you need, then you are ready to mix!
However, at some point you will need to edit or create a new setup to suit the particular requirements of your
show. The recommended steps are:
1. Load an existing production as described earlier.
Choose something close to your own requirements or a default production if you have one. This will reset the
console to a known starting point. If a default production does not yet exist, then you should create one. Follow
the steps below, but keep the settings more generic so that they are suitable for the installation, rather than a
specific user or show.
2. Check and, if necessary, load a DSP Configuration.
This will define the number of input channels, groups, sums and auxes, and the processing channel type for the
console: Recording or Broadcast.
3. Using the Signal List display, configure your signal routing, user labels and channel formats: mono,
stereo and surround.
By doing this you will know exactly which channels (and signals) are needed on the console surface.
4. Configure the desk layout by assigning your channels to fader strips.
Any type of channel (audio or control) can be assigned to any fader strip on any bank or layer. This allows you to
control your input channel, groups, sums, etc. from the most convenient position.
Bank switching provides fast global access to different sets of channels, or channels in a different layout - for
example, to bring the music channels in a live entertainment up onto the surface when the band are playing!
Layers can be switched on individual fader strips, making them ideal for related signals - for example, to
switch quickly between a presenter's input channel and their mix minus (N-1) return.
5. Set up the default mix parameters using either the Fader Strip controls or Central Control Section.
You can use these areas to adjust any channel parameter - level, mute, AFL, PFL, EQ, Dynamics, Delay, Aux
sends, etc. It is a good idea to check the EQ types (filter, shelf or parametric) and starting frequencies, so that
when you turn on the EQ and start adjusting the gain, you will know what to expect!
6. Save all your settings into a new production.
The production can then be loaded at any time to recall the setup.
The rest of this chapter describes steps 2, 3, 4 and 6 in more detail.

7. Getting Started
7.11 Loading a DSP Configuration

The DSP configuration defines the number of input channels, groups, sums and auxes.
1. Open the DSP Configuration display on the Central GUI.
The upper area lists the Configuration Presets available.

2. Click on the Recording or Broadcast buttons, and on the different DSP board numbers (e.g. 1 to 4), to
view the available options.
The Active summary at the bottom of the display shows the details of the current configuration. The channel
numbers are color-coded and described as x/y, where x = the number of full processing channels and y = the
number of reduced processing (Tiny) channels. The Selected summary provides similar details for the selected
configuration. This allows you to interrogate an alternative configuration before making it active.
All resources are displayed in mono. For example, a configuration with 24 inputs can provide 24 mono or 12
stereo channels. Similarly, if you need a 5.1 sum, then this will use 6 of your sum channels.
3. To change the configuration, select a preset and check the Selected summary.
4. Select the on-screen Load button.
5. Read the confirmation dialogue box and click Yes to proceed - the console updates and the new
configuration appears in the Active summary.

7. Getting Started
7.12 Working with the Signal List

From the Signal List display, you can configure signal routing, edit user labels and define which channels are
mono, stereo and surround.
1. Open the Signal List display on the Central GUI.
The display shows connections from Sources (on the left) to Destinations (on the right). To keep the list
manageable, signals are divided into Directories and Subdirectories. Signals which are connected are indicated
by a red/white cross:
Ø To route a source to an input channel:

1. Select a source directory, subdirectory and signal: e.g. Local IO -> Mic -> Mic 28.
2. Select a destination channel: e.g. Input/Mon A + B -> A Inp 1 -> INP 28A.
Note that input channels have two inputs, A and B. For now, select the A input.
3. Press CONNECT - the Signal List updates with a line between the source and destination.
If the input channel is already assigned to a fader strip, and INHERIT SOURCE is selected (from the centre
section LABEL buttons), then you will see the source label in the fader strip label display. You will also see
signal present on the input meter, and metering on the Channel display (according to the meter pickup point).
Ø To route consecutive sources to consecutive channels:
Follow the steps above, but BEFORE you press CONNECT, enable the on-screen Step mode. This time when
you press CONNECT, the route is made, and both the source and destination selections automatically step
down to the next entries in the list. Keep pressing CONNECT to continue. Note that Step mode can be used
with an offset: for example, to route Microphones 1-16 to Input Channels 17-32. Take care when you reach the
bottom of either list, as Step mode automatically rolls back up to select the first entry!
Ø To remove a route:
1. Select the destination you wish to disconnect: e.g. Input/Mon A + B -> A Inp 1 -> INP 28A.
2. Press DISCONNECT - the line between the source and destination disappears.
If Step mode is enabled, you can keep pressing DISCONNECT to remove multiple connections quickly.

7. Getting Started
7.12.1 Editing User Labels

The user Label for each source and destination can be edited from the Signal List display. It is stored and
recalled by both snapshots and productions:
The source and destination Name is defined by the AdminHD configuration, and cannot be edited from the
Central GUI. This provides a fixed Name, relevant to the installation, which remains consistent for all users.
For input (and monitor return) channels, you can use the Source Label field to edit the INHERIT SOURCE
labels, and the Destination Label field to edit the CHANNEL USER labels. You can also label Sums, Groups
and Auxes in a similar manner.
Ø To edit a label:
1. Click on the label field - either once to overwrite (the text highlights), or twice to modify the existing
2. Enter a new name using the console keyboard.
3. Press ENTER to confirm the new name. Or, if you make a mistake or want to exit without making any
changes, press ESC.
Easy Edit Mode

You can use Easy Edit mode to speed up the labeling process. This mode carries forward your text, so that you
can quickly enter the same label for multiple signals. Or, if the label ends with a number, then the number will
increment.
1. BEFORE editing your first source or destination label, turn on Easy Edit at the bottom of the Signal
List display.
2. Then select and edit your first source or destination label
in the usual manner - e.g. Mic 1.
3. Press ENTER to confirm the new name - the system
now steps down to the next signal in the list, and automatically
carries forward the text label.
If the text ends with a number, then the number increments.
If the label does not end with a number, then the same text is
carried into the next label field.
4. When you have entered the last label, press ESC to exit the labelling mode.
You can temporarily enable Easy Edit using the console keyboard SHIFT button as follows:
· Select the first signal label and enter a new label in the usual manner.
· Press and hold SHIFT and then press ENTER - the system steps down to the next signal in the
list, and automatically carries forward the text label.
· Keep holding SHIFT and pressing ENTER until you have labeled all the required fields.
· Press ESC to exit the labeling mode.

7. Getting Started
7.12.2 Changing Channel Formats

Any odd/even pair of input or output channels can be configured for stereo and controlled from a single fader strip.
Or, multiple channels can be configured for surround (up to 8-channel) and controlled from a single Surround VCA
master.
Ø To create a stereo input channel:

1. Select an odd numbered input channel from the Destinations list (e.g. INP 7).
2. Press the STEREO soft key (on the SCREEN CONTROL panel), or right-click and select the Stereo
option - this links the selected channel to its adjacent DSP path. For example, INP 7 and INP 8.
You can link any odd/even pair of input or monitor channels using this method. Alternatively, select a Bus Out
from the Sources list to create a stereo bus master.
Ø To create a surround sum:

1. Select the first sum for the surround output from the Sources list (e.g. SUM 1).
2. Press the SURROUND soft key (on the SCREEN CONTROL panel), or right-click and select the
Surround option:
This links consecutive sums, according to the global surround format, and automatically assigns a Surround
VCA - in our example, SUR S 1.
You can configure surround sums, groups or auxes using this method. Alternatively, select InputMon from the
Sources list to configure surround input or monitor channels.
For surround inputs, panning is automatically reset so that INP 9 feeds SUM 1, INP 10 feeds SUM 2, etc. The
best way to position a surround channel within the surround field is using Hyper Pan.
Surround channels can only be created in 8-channel blocks, so you must select Sum 1, 9, 17, etc. You
cannot select Surround if you right-click on an invalid channel number.
Note that the front and rear left/right pairs of a surround channel are automatically linked for stereo. This is for
convenience when revealing the component channels. The stereo linking is only a default state; you can
deselect the stereo link at any time.

7. Getting Started
7.13 Assigning Channels to Fader Strips

Ø To assign a single fader strip:
2. Select the ASSIGN button (under STRIP ASSIGNMENT in the centre section):
The fader SEL buttons across the console flash, in green:
3. Press a fader SEL to complete the assignment - the fader strip updates and the SEL button changes
color, from green to red.
4. Deselect the ASSIGN button or press ESC (on the SCREEN CONTROL panel) to exit the strip assign
mode.
Ø To assign a range of channels to consecutive fader strips:
1. Put the first channel you wish to assign into access - e.g INP 1.
2. Then press FIRST LAST (instead of ASSIGN).
3. This time press the fader SEL on the first fader you wish to assign (e.g. strip 1) followed by the fader
SEL on the last fader (e.g. strip 24) - the console incrementally assigns channels from fader strip 1 to 24, and
then cancels the FIRST LAST mode.
4. Deselect the ASSIGN button or press ESC to exit the strip assign mode.
If all the channels are mono, then you will have assigned INP 1 to 24 to fader strips 1 to 24.
If some channels are stereo, then they are automatically assigned to a single fader. For example, if INP 1&2 and
INP 3&4 are stereo, then they are assigned to fader strips 1 and 2; INP 5 is assigned to fader strip 3, INP 6 to
fader strip 4, and so on.
If some channels are surround, then it is the component channels which are assigned (e.g. Front L/R to fader
strip 1, Front C to fader strip 2, etc). Note that the component channels can be controlled from a single Surround
VCA master, but this must be assigned in a separate operation. See Surround VCAs.
The start and end of the "FIRST LAST" range can be at any position across the control surface, and sources
can be routed from left to right or from right to left by reversing the order of your first and last fader selection.

7. Getting Started
7.14 Using the Couple Group

The Couple group provides a quick way to adjust parameters across a range of channels.
7.14.1 Creating a Couple

To create a couple, there are two methods:
Direct Couple
1. Press and hold the fader SEL button on the first and last channels you wish to couple:
The fader SELs turn red to indicate that coupling is active.

2. Now adjust a parameter – for example, turn the EQ gain control on any channel within the couple group
- all EQ gains across the coupled channels are adjusted, and any offsets are retained.
3. To dissolve the couple group, press the fader SEL button on any fader strip outside the couple range.
Using the COUPLE Button

Alternatively you can use the COUPLE button as follows:
1. Select COUPLE from the centre section LINK buttons (or Extra Buttons display) - the button flashes to
indicate that it is active.
And the fader SEL buttons across the console flash, in green.
2. Press the first and last fader SELs on the strips you wish to couple - the fader SELs turn red to indicate
that coupling is active.
3. To dissolve the couple group, deselect COUPLE or press the fader SEL on any fader strip outside the
couple range.

7. Getting Started
7.15 Saving Settings

At any time you can save the current settings of the console into a new production using the Save button on the
Production List display. Note that:
· Save keeps all the current settings, including any snapshot folders, and saves them under a new
production name. (i.e. this operation performs a "Save As..".)
· New will clear all snapshots and folders and create an empty directory. Therefore, to start with an empty
snapshots page, select New before saving.
Ø To save all current settings into a new production:

1. Open the Productions display on the Central GUI.
2. Select Save - a new file is created and given a default name (e.g. production 0012).
The production is time and date stamped, and automatically becomes the active production (A) as indicated in
the title bar. For additional confirmation, watch the status bar at the bottom of the Central GUI; you should see a
saving... message as the production data is saved.
To rename the production, click on its Name field - either once to select all existing text (white) or twice (black
cursor) to modify the existing name. Enter a new name from the console keyboard, and then press Enter.
You can now continue to save regularly into the active production using the PRODUCTION UPDATE button on
the front panel. Note that this button flashes if you have snapshots which have not been saved.
Using Snapshots
Productions form the top level of user data storage and store all the settings required to reset the system. If you
only need one version of the system's settings, then it is enough to save (and load) a production. However,
within a production you can also store snapshots.
Snapshots can be used to load different settings within the same production, or to reset the system while you
are live/on-air. For example, to recall a particular console layout before a live broadcast, a different mix for each
band during an entertainment show, or a different setup for each scene in a theatre production.
When using snapshots, you should create a production for the studio or type of show. Then create "user" or
"show" folders to store your snapshots. To manage the recall, snapshot isolates can be applied to protect
individual channels, specific modules or global elements of the desk.
Snapshots, and their folders, are written onto the user data flash card when you Save or Update a production.
See Console Reset: Snapshots for more details.

7. Getting Started
Transferring User Data

All user data is stored on the system's internal flashcard and can be imported or exported to a USB interface or
mxGUI computer. In a networked installation, a central file server can be made accessible from each console
within the network.
User data is fully compatible with any mc 2 or Nova, regardless of the hardware configuration. This enables
the transfer of user data to and from any system (including any other mc 2), in order to recall settings in a
different studio.
See Console Reset: File Import/Export for more details.

7. Getting Started
7.16 Next Steps

Hopefully, you have enough information to being working with the console. Otherwise keep reading to learn more
about each area of the console’s operation:
· Signal Flow Configuration
· Control Surface Configuration
· Channel Operations
· Stereo Channels
· Surround Channels
· Metering
· Monitoring & Talkback
· Control Channels & Grouping
· Console Reset
· Timecode Automation
· Signal Routing & Settings
· mxDSP
· System Configuration
· mxGUI
· Lawo Remote App
· Fault Finding & Diagnostics

8. Signal Flow Configuration

This chapter deals with configuring the console's signal flow.
Topics include:
· Signal Flow Concepts
· The DSP Configuration Display
· DSP Channel Types
· The Channel Config Display
· Working with Monitor Channels

8.1 Signal Flow Concepts

System Hardware & AdminHD
The total amount of DSP resource is determined by the number of channel DSP boards fitted to the Nova73 and
the sampling rate of the system (48/44.1kHz or 96/88.2kHz). Note that this cannot be modified by the user. If you
wish to add more DSP boards or modify the sampling rate, then you will need to edit the AdminHD configuration.
Operator Configuration
From the GUI, the available DSP resources can be configured for a mixture of input channels, monitor return
channels, groups, sums and auxiliary sends. All full processing channels include all DSP modules, allowing EQ,
Dynamics, Delay, etc. to be applied to both inputs and outputs. You will also find a number of reduced signal
processing channels (known as tiny channels).
Two global channel types are supported: Recording or Broadcast.
· Recording Channels have more signal processing and full flexibility, including up to 128 aux sends.
· Broadcast channels have a simplified signal flow (no track bus send; no independent filter section;
simpler dynamics; 32 aux sends). As a result, using Broadcast mode offers twice as many channels from
the same amount of DSP resource.
The DSP Configuration display
The global channel type and number of inputs, groups, etc. are defined by the preset loaded in the DSP
Configuration display. Each preset supports one channel type; you cannot mix Recording and Broadcast
channels. Note also that the DSP configuration is saved in productions, but not in snapshots (as changing the
DSP configuration causes a brief interruption to audio).
The Channel Config display
Once you have loaded a DSP configuration, you can modify the order of the processing modules (EQ, Delay, etc.)
from the Channel Config display. This allows you to change the signal flow on a channel-by-channel basis. The
signal flow order and all parameters are saved in both productions and snapshots.

8.2 The DSP Configuration Display

The DSP Configuration preset defines the number of input channels, groups, sums and auxes; the processing
channel type for the console: Recording or Broadcast; and whether DSP redundancy is active.
1. Open the DSP Configuration display on the Central GUI.
2. Click on the Recording or Broadcast buttons, and on the different DSP board numbers (e.g. 1 to 4), to
view the available Configuration Presets. In each case, the columns provide the following information:
· A – indicates the active preset. (If this is not in view, then a red outline indicates the path back to the
active preset - in our example, around the 2 and Recording buttons.)
· Inputs and Tiny Inputs – the number of fully featured and reduced processing input channels.
· Sums and Tiny Sums – the number of fully featured and reduced processing sum channels.
· Monitors – the number of monitor return channels (always full processing). Monitor channels are only
available when using Recording channels. A track bus is automatically created for each monitor
channel.
· Groups – the number of group channels (always full processing).
· Auxes and Tiny Auxes – the number of fully featured and reduced processing auxiliary channels.
· Index – this number can be used to quickly identify a preset and states the <DSP-card-count>.<index-
variation> (<Channel-count-variation>). It remains consistent through different software releases.
· Absolute Index – this is a unique reference number which identifies the preset in the current release.
You may be asked for this number when contacting Lawo for operational or technical support.
The Active and Selected summaries, at the bottom of the display, show the details of the current and the
selected configuration. This allows you to interrogate an alternative configuration before making it active. The
channel numbers are color-coded and described as x/y, where x = the number of full processing channels and y
= the number of reduced processing (Tiny) channels.
All resources are displayed as mono channels. For example, a configuration with 24 inputs can provide 24 mono
or 12 stereo channels. Similarly, if you configure a 5.1 sum, then this will use 6 of your sum channels.
The number of DSP boards is determined by your system hardware. By choosing a preset which leaves a DSP
board in reserve, you will enable DSP redundancy.

Note that:
· The variation with 1 DSP board includes: 1 x stereo PFL; 1 x stereo AFL. All other variations include: 2 x
stereo PFL; 1 x stereo AFL; 1 x surround AFL (7.1).
· At higher sample rates (96kHz or 88.2kHz) there are fewer channels than at lower sample rates (48kHz or
44.1kHz).
· More channels, from the same DSP resource, become available if you use Broadcast channels.
· Up to 128 auxes are supported by some Recording channel DSP configurations.
8.2.1 Loading a DSP Configuration

DSP configurations can be changed at any time, making it easy to modify the mix structure if, for example, the
production requires some additional groups or inputs.
Loading a new DSP configuration causes a brief interruption to audio. Therefore, it is not recommended to
change DSP configuration while live on air!
Changing from Recording to Broadcast channels, or vice versa, midway through a production is not advised.
This is because a mix started with Recording channels will not sound the same on Broadcast channels.
Therefore, to avoid confusion, all channel DSP settings are reset to flat and VCA grouping assignments are
canceled if you change the channel type.
1. First, select the number of DSP boards you wish to use and the channel type, Recording or Broadcast.
Note that the Recording and Broadcast buttons do NOT appear if your system cannot support Broadcast
channels, see Broadcast Channel Conditions.
2. Select a Configuration Preset - the details are displayed in the Selected summary.
3. Select the on-screen Load button to continue - one of two possible dialogue confirmation boxes appears
depending on whether the preset will use the same or a different channel type.

Ø Loading a Preset (same channel type)

If the selected preset uses the same channel type (Recording or Broadcast), then loading will cause a brief
interruption to audio, but will not interfere with your DSP settings. In this case, you will see the following
confirmation box:
Select Yes to proceed - the console re-configures its processing, and the Active summary updates.
If the Active summary does not update, then the new DSP configuration could not be loaded. This can
occur if you try to load an invalid selection – for example, a DSP configuration which requires more DSP
boards than are physically available. See Transferring User Data for more details.
After a successful load, a number of things can happen to the DSP resource:
· If you have increased the amount of resource, for example you now have 16 groups rather than 8, any
DSP settings applied to groups 1 to 8 remain intact, and the additional groups become available in the
usual manner.
· If you have reduced the amount of full processing resource, the console will allocate tiny processing
where possible. For example, you have reduced the number of Inputs from 24 to 20 but have 4 Tiny Input
channels available - input channels 21 to 24 are automatically configured with tiny processing.
· If you have reduced the amount of full and tiny processing resource, then channels are removed but their
settings remain in virtual memory. For example, if your input channel count has fallen some input
channels are no longer available and are removed from the control surface. However, all settings for the
previous configuration are stored. This means that if you recall the previous configuration, the settings for
those channels are reinstated

Ø Loading a Preset (different channel type)

If the selected preset uses a different channel type (Recording to Broadcast, or Broadcast to Recording), then
loading will significantly change the signal processing. As a result, all channel DSP settings (including EQ,
Dynamics, Delay, Fader levels, etc.) are reset to their factory defaults, with the exception of bus assignments.
In addition, all VCA grouping assignments are canceled.
To warn you that this is about to occur, the following dialogue box appears:
Select Yes to proceed - the console re-configures its processing, including the channel type, and the Active
summary updates.
After a successful change of channel type, all DSP settings are reset to flat and VCA grouping assignments are
canceled.
If you change the channel type in error, then don’t panic! The system automatically saves a Fallback
snapshot before each DSP configuration load. This provides a way of recovering settings if required.

8.2.2 Fallback Snapshots

The system automatically saves a fallback snapshot before each DSP configuration load. This provides a way of
recovering settings should you change the channel type (Recording to Broadcast, or Broadcast to Recording) by
accident.
Ø To recover your settings:
1. Make a note of the time when you loaded the wrong DSP configuration, and also the correct channel
type for your mix – Recording or Broadcast.
2. Then load a compatible DSP configuration - Recording or Broadcast - from the DSP Configuration
display.
3. Open the Snapshots List display and select the FALLBACK folder:
A fallback snapshot is automatically saved every time a new DSP configuration is loaded. The FALLBACK folder
holds 10 snapshots, providing 10 levels of undo before the oldest fallback snapshot is deleted.
The Channel type column shows whether the snapshot was saved when a Recording or Broadcast channel
DSP configuration was active. In our example, we have been changing between channel types a lot!
4. Load the correct fallback snapshot to match your chosen DSP configuration - your latest mix settings
are reinstated.
Note that the 10 fallback snapshots are saved into the active production whenever you save or update the
production.

8.2.3 Configuring DSP Redundancy

One or more DSP boards can be reserved to provide redundant processing in the event of a DSP board failure.
The allocation occurs automatically depending on the active DSP configuration. For example, if the system is
fitted with 2 DSP boards and the Active configuration uses only 1, then there will be 1 redundant DSP board.
On a Nova73, you can see this by looking at the front panel. The STANDBY LED lights (yellow) on all redundant
DSP boards, while the ACTIVE LED lights (green, blinking) on all active DSP boards.
Note that in a Nova73, the DSP boards are utilized from right to left across the front of the unit. So if board 8 is
redundant, it is the DSP board on the left of the core (when viewed from the front).
In the unlikely event of a DSP module failure, the system automatically switches all DSP resources and settings
from the faulty board to the spare; the faulty board can then be removed and replaced.
Once the replacement is fitted, it will act as the spare board until either the system is restarted or a new DSP
configuration is loaded. The boards are then reset to their default mode of operation - for example, slots 1 to 7 for
main DSP resources and slot 8 in standby.
8.2.4 Upgrading Your DSP Configuration

By now, your hardware specification will have been pre-determined. However, you can upgrade your system by
retrofitting additional DSP boards at any time in the future.
Note that if you add a DSP board, then you will need to edit the AdminHD configuration and upload it to the
system before the new resources become available from the GUI.

8.3 DSP Channel Types

This section describes the different channel types.
8.3.1 Recording Channels

When using Recording channels, every full processing input channel (INP) includes all the following audio
modules:
· IN MIX – channel input gain, phase and stereo input control.

· AMBIT – upmix and spatialise processing.
· DELAY – delay, adjusted in frames, ms or m.
· DIGAMP – digital gain trim.
· FILTER – 2-band filter/equaliser section.
· EQUAL – 4-band equaliser section offering a choice of characteristics.
· IMAGE – controls the image for a stereo channel. (Not active on mono channels.)
· INSERT – insert send and return for outboard processing. The insert send is always active providing an
additional send.
· GATE, EXPAND, COMP, LIMITER – 4 independent dynamics.
· FADER – fader level, mute and AFL/PFL monitoring.
· LOUD – the channel’s loudness meter pickup point.
· PEAK – the channel’s peak meter pickup point.
· AUX PEQ, PF, AF – available pickup points for each aux send (1 to 32). For aux sends > 32, pickup
points are PF and AF only.
· TRKBUS – pickup point for assignments to track busses (if configured).
· BUS – main signal flow feed to group and sum busses.
· DIR-OUT – pickup point for the direct output.
· SCF – the channel’s dynamics sidechain processing.
Note that the AMBIT module replaces the Delay, Filter, Image, Gate and Expander.
When loudness metering is active, the LOUD module replaces your choice of DSP modules.
With the exception of the yellow INMIX and BUS sections, modules can be positioned in any order in the Channel
Config display.

8.3.2 Broadcast Channels

When using Broadcast channels, the signal flow of a full processing input channel (INP) is simplified:
The main differences to Recording Channels are that a Broadcast channel has no track bus send, no Filter
section and simplified Dynamics (Combi-Dynamics or Limiter). In addition, there are some restrictions on module
positioning in the Channel Config display; some limitations on DSP parameter values; and a maximum of 32 aux
sends.
As a result, you should choose Recording channels if you need more than 32 aux busses; track busses (and
monitor channels); or more flexible signal processing. Alternatively, choose Broadcast channels for a simpler
signal flow and more channels from the same DSP resource.
8.3.3 Broadcast vs Recording Channels

The table below describes all of the differences in more detail:
DSP Module/Function Broadcast Channels Recording Channels
INMIX (Input Section) ü ü

DIGAMP (Digital Gain) ü Fixed position. ü Variable position.
IMAGE (stereo ch only) ü Fixed position. ü Variable position.
AMBIT (upmix) ü Suspends Dynamics, Delay and Insert. ü Suspends Dynamics, Delay and Insert.
DELAY ü ü
Min. = 18 smpl / 0.38ms Min. = 1 smpl / 0.02ms
Max. = 1.3 s Max. = 1.8 s
EQ ü ü
(4-band Filter/Shelf/Parametric) Max. 2nd order filter Max. 3rd order filter
FILTER (2-band filters) û ü

SCF (2- band sidechain filters) û ü
INSERT ü ü
Dynamics: Combi-Dynamics OR Limiter 4 independent dynamics
GATE ü û ü
EXPANDER ü û ü
COMPRESSOR ü û ü
LIMITER û ü ü
Combi-Dynamics move together and Modules are completely independent
share Look Ahead Delay. On/off per with own Look Ahead Delay. External
module, but thresholds cannot overlap. keying and sidechain filtering available.
FADER (Level, Mute, AFL, PFL) ü ü

DSP Module/Function Broadcast Channels Recording Channels
LOUD (Loudness Meter) ü Suspends selected DSP modules. ü Suspends selected DSP modules.
PEAK (Peak Metering) ü ü
TRKBUS (Track Bus Send) û ü Defined by the DSP configuration.
BUS (Main Bus Send) ü ü
DIROUT (Direct Out) ü ü
Aux Sends: 32 Up to 128, as defined by the DSP
Pre EQ û configuration.
Pre Fader ü ü (1 to 32 only)
Post Fader (AF) ü (after-fader) ü
ü (pre-bus, instead of after-fader)
8.3.4 Broadcast Channel Conditions

Broadcast channels are NOT supported if:
· Your system is running at higher sample rates such as 96kHz.
· Your system uses a 3K MkI Router module (used in some older mc 2 systems).
· Your system has DSP 983/02 cards (used in some older mc 2 systems).
If any of the above are true, then you will not see the Recording or Broadcast radio buttons on the DSP
Configuration display. In such cases, the channel type is always the default (Recording channels).
If you have upgraded from an earlier software release (to V4.16), then you will need to update your Signal List
configuration (gui_config.tcl), using AdminHD, in order to access the additional input channels, groups and sums.
Once updated, you will see the additional resources (sums and groups up to 96) within the Signal List display
under Bus Out:

8.3.5 Other DSP Channel Types

In addition to input (INP) channels, the system supports the following channel types:
Group Channels
A fully featured group (GRP) channel is identical to an input channel with the exception of no INMIX section:
Group Channel (Recording channel DSP Configuration)
This means that a group can be reassigned to another group or sum, it can feed auxiliary sends, and it has an
independently configured insert point, direct output path (and track bus if using a Recording channel DSP
configuration).
Sum and Aux Channels

A fully featured sum or aux channel is designed to be the final point in the signal chain. It features all signal
processing modules, but cannot be reassigned to another bus (Sum, Group or Aux) and has no independent
direct output path:
Sum Channel (Recording channel DSP Configuration)
Use the Insert Send to take an independent feed from a Sum or Aux channel at any point in the signal
chain.
Broadcast channel DSP configurations support a maximum of 32 Auxes, while up to 128 Auxes are
available in some Recording channel DSP configurations (at the expense of Monitor Channels/Track
Busses).

Monitor Channels and Track Busses

Monitor channels (MON) are designed for monitoring the send or return from a multitrack recorder.
A monitor channel is always associated with its corresponding track bus. So, for example, track bus 1 always
feeds the send to monitor channel 1, track bus 2 feeds monitor channel send 2, etc. This means you can make
track busses mono, stereo or surround by configuring the corresponding monitor channels to be mono, stereo or
surround.
A full processing monitor channel is identical to an input channel with the exception of the INMIX section which
features a send/return switch. The signal flow below shows the monitor channel path and its associated track
bus:
Monitor Channel (Recording channel DSP Configuration)
Broadcast channel DSP configurations do NOT support monitor channels, so you must select a Recording
channel DSP configuration if you wish to use this feature.
The number of monitor channels within the DSP configuration determines the number of track busses.
8.3.6 Reduced (Tiny) DSP Channels

Tiny channels have no signal processing modules (EQ, Dynamics, etc.) and, therefore, provide a channel with:
· FADER – fader level, mute and AFL/PFL monitoring.
· BUS – pickup point for group and sum bus assignments.
· PEAK – peak metering pickup point.
· AUX SEND – auxiliary sends which can be pre fader or post fader.
· TRKBUS – pickup point for track bus assignments (Recording Channels only).
Note that only input channels, auxiliaries and sums appear as tiny channels; groups and monitor channels are
always configured with full audio processing.

8.4 The Channel Config Display

Each channel’s signal flow can be interrogated and modified from the Channel Config display.
2. Open the Channel Config display - in our first example, we are using Recording channels.
Input Channel (Recording channels)
At the top of the display are a number of channel options (Stereo, 2-Channel, Surround, etc.)
Below this you can apply color coding to the selected DSP channel. And to the right, in the Master and Link
fields, you will see the name of any VCA, Surround or Link masters (if assigned).
The main part of the display shows the signal flow for the channel in access – in our example, INP 1, a full
processing input channel from a Recording channel DSP configuration. With the exception of the yellow INMIX
and BUS assignment sections, audio modules can be positioned in any order in the chain. Audio modules
colored blue are switched off; those shown in green are switched on; those in grey are unavailable.
Note that the AMBIT module replaces the Delay, Filter, Image, Gate and Expander.
When loudness metering is active, the LOUD module replaces your choice of DSP modules.
At the bottom of the display you will see the names and labels of any signals connected to and from the channel
– the Input, Insert Send, Insert Return and Direct Out.

Input Channel (Broadcast channels)
If Broadcast channels are the active channel type, then the same principles apply but with the following
differences:
· Broadcast channels have no Filter or SCF module.
· Broadcast channels have no Track bus or pre-EQ aux send.
· The DIGAMP and IMAGE modules always follow the INMIX section and cannot be moved
independently.
· The Channel model defines the dynamics processing for the channel: Combi-Dynamics or Limiter.

8.4.1 Changing the Signal Processing Order

To change the signal processing order of the selected channel:
1. Using the trackball, select the processing module you wish to move - the selected module highlights, in
our example, the Limiter:
2. Press one of the soft keys, or right-click and select:

· LEFT or RIGHT – moves the module left or right within the main channel signal path.
· UP or DOWN – moves the module into or out of the Track Bus, Channel or Direct Output path.
You can also press [CTRL] + [Left/Right/Up/Down] on the console keyboard to move the selected module.
You cannot move the position of the INMIX or BUS modules.

When using Broadcast channels, you cannot move the DIGAMP or IMAGE modules.
3. If you select the PEAK or LOUD audio module (shown in pink), then the soft key/right-click options will
set the meter's pickup point. Note that the available options are pre-defined; you cannot freely position the
meters. See Meter Pickup Points for details.
The signal flow can be customised on a channel-by-channel basis for any input, sum, group, aux or monitor
channel.
To adjust a range of channels, couple them and then make your changes. Or, copy and paste the channel
signal flow (CH) using the Parameter Copy/Assign panel.
The channel signal flow is saved in snapshots and productions.
8.4.2 Choosing the Dynamics Model (on Broadcast Channels)

When using Broadcast channels, the dynamics can operate using one of two "Channel Models":
· Combi-Dynamics = a Gate, Expander and Compressor which move together as one block of
processing within the channel signal flow. Each section can be turned on and off separately, but the
thresholds cannot overlap and the order is always Gate, Expander and then Compressor. The three
sections also share one Look Ahead Delay value. See Combi-Dynamics Conditions for details.
· Limiter – a single Limiter module which operates in the usual manner.
If you wish to re-order the Gate/Expander/Compressor, or have both a Limiter and a Gate, Expander or
Compressor, then you will need to switch to a DSP Configuration which uses Recording channels.

Ø To change the dynamic model on the selected channel:

1. Using the trackball, click on the "Channel model" field and choose an option:
The Channel model field does not appear if a Recording channel DSP configuration is active.
For surround channels, you can only select the Channel model on the surround VCA. This is because all
surround slaves must be switched to the same model – either Limiter or Combi-Dynamics.
2. Then select and position the dynamics module(s) in the usual manner. Note that if you are working with
Combi-Dynamics, then the Gate, Expander and Compressor will move as one block:
To set a range of channels, couple them and then choose the option. Or, copy and paste the channel signal
flow (CH) using the Parameter Copy/Assign panel.
The dynamics model is saved along with the rest of the channel signal flow in snapshots and productions.

8.4.3 Channel Config Options

The Channel Config display includes a number of other options for the channel in access:
If an option is unavailable, then it is “greyed out” - for example, you cannot select 2-Channel on input or aux
channels (only on sums or groups).
In each case you can click to enable (or disable) the option:
· Stereo - enables stereo channel linking.
· 2-Channel - enables 2-channel operation, as an alternative to stereo. Available for sums and groups
only.
· Surround - enables surround channel linking. Note that there are certain restrictions on which channels
can be linked for surround, so this option is greyed out unless you have a valid channel in access.
· Solo Safe - enables solo safe to prevent the channel being muted when a Solo-in-place is active.
· Dir-Out mute by fader - sets the channel's direct output to mute automatically when the channel fader
opens.
· Dir-Out Balance - determines whether the channel pan position affects the direct output. Available for
stereo channels only.
· Link metering - enables link group metering on the Channel Display. Available if the channel is part of
a link group.
8.4.4 Channel Color Coding

The Channel Config display can be used to color code the channel in access. For example, you might want to
set all music channels to be white, presenter mics to be red and so on.
The colors are used in the label display backgrounds, by buttons in their off state (if Button-Glow is enabled) and
by the Channel display (if Show Fadersense is enabled).
The default colors are white = input and monitor channels; yellow = groups; green = aux masters; blue =
VCA masters; red = sums.

Ø To change the color code of the channel in access:

1. Select on an option at the top left of the Channel Config display - in our example, INP 1 is set to
white:
To assign a color to a range of channels, couple them and then select the color.
2. You can use the on-screen SEL button to copy the channel color, as part of a copy and paste operation
(see Parameter Copy/Assign).
3. Click on RESET to reset the color code of an individual channel back to its system default.
4. Or, to reset all DSP channels to their default color codes, select Reset colors (default) from the System
Settings display.
The channel color code is saved in snapshots and productions.

8.5 Working with Monitor Channels

Monitor channels provide the ability to easily configure the mc²56 for multitrack recording applications.
A monitor channel (MON) is identical to an input channel (INP) except for the following:
· Monitor channels feature a send/return switch in the INMIX section. Typically this is used to switch from
monitoring the send to the return of the recorder.
· Monitor channels have no independent direct out (the direct out is used for the track bus).
· There are some special properties for auxiliary sends 17 to 32.
The signal flow below shows the monitor channel path and its associated track bus:
Monitor Channel (Recording channel DSP Configuration)
Broadcast channel DSP configurations do NOT support monitor channels, so you must select a Recording
channel DSP configuration if you wish to use this feature.
The number of monitor channels within the DSP configuration determines the number of track busses.
Each monitor channel is always associated with its corresponding track bus. So, for example, track bus 1
always feeds the send to monitor channel 1, track bus 2 feeds monitor channel send 2, etc. This means you
can make track busses mono, stereo or surround by configuring the corresponding monitor channels to be
mono, stereo or surround.
8.5.1 In-Line Multitrack Recording

To simulate an in-line multitrack recording console:
1. Assign your input channels and monitor channels to the control surface, see Fader Strip Assignment.
We recommend assigning input channels onto Layer 1 fader strips, and monitor return channels onto Layer
2, so that you can quickly switch between them using the fader strip FLIP buttons, see Layer switching.
2. Assign the sources you wish to record to your input channels using the Signal List display, and open
your faders to set the record levels.
3. Assign the returns from the multitrack machine to your monitor channels and open your faders to set the
monitoring levels.
4. And use either Forward or Reverse Bus Assign to route your input channels onto the track busses.
Note that a fixed relationship exists between each track bus and monitor channel. So, track bus 1 = monitor
channel 1, track bus 2 = monitor channel 2, etc. Therefore, to route input channels onto track busses 1-24, you
would select the monitor channels (MON 1 to 24) as your destinations.
You can change the track bus pickup point from the Channel Config display.
You can make track busses mono, stereo or surround by configuring the corresponding monitor channels to be
mono, stereo or surround.
You can also record other busses, such as a group, by assigning group channels rather than input channels to
the monitor channels/track sends.

5. Now flip your monitor channels onto the layer 1 faders, and use the SEND and RETURN functions to
switch the monitor channel input between the recorder send and return.
Note that these functions must be programmed onto two fader strip user buttons from the Custom Functions
display.
You can switch multiple channels using the Channel ALL function.
6. If machine control is configured, then a REC user button may be programmed to record arm the track.
7. Use the layer switching buttons to flip between your input channels (to control the send levels to the
recorder) and monitor channels (to control the monitor mix).
Normally for multitrack operation, a monitor channel cannot be assigned back to its associated track bus in order
to prevent feedback. However, when using monitor channels for non-multitrack applications, you can override this
feature using the Track Self Assign option in the System Settings display.
8.5.2 Switching the Input on Multiple Monitor Channels

The CHANNEL ALL button on the Extra Buttons display can be used to define a cluster of channels so that
inputs are switched across multiple channels. For example, when recording, you can use this feature to switch all
your monitor channels from send to return.
This function is only available for monitor channels.
1. Press the ALL button, located in the Channel section of the Extra Buttons display:
The ALL button flashes and the fader SEL buttons across the console flash, in green.
2. Add channels to the cluster by pressing their fader SEL buttons - selected channels change from green
to red:
3. Now press the SEND fader user button on any channel within the cluster - all channels within the cluster
are switched to the send; channels not in the cluster are unaffected.
The SEND and RET input select buttons will continue to switch inputs within the cluster while the ALL button is
lit.

(Note that SEND and RET must be programmed onto fader strip user buttons from the Custom Functions
display.)
4. To return to individual monitor channel switching, deselect ALL on the Extra Buttons display.
Note that if you re-select the ALL button, the same cluster of channels as defined in step 2 will be reinstated.
8.5.3 Monitor Channels and Auxiliary Sends

When auxiliary sends 17 to 32 are assigned from a monitor channel, their source can be switched between the
monitor send and return from the AUX SENDS panel in the Central Control Section:
· Press the PEQ button to switch the monitor send signal to the auxiliary send.
· Press the PF button to switch the monitor return signal to the auxiliary send.
Note that this source selection occurs on auxiliary sends 17 to 32 from monitor channels only. It is designed for
cue feeds when overdubbing a recording. All other aux sends behave in the usual manner.
To disable the automatic source selection for aux sends 17 to 32, use the Cue Aux Send/Return option in the
8.5.4 Non-Multitrack Applications

The only difference between input channels and monitor channels is that the monitor channel direct out is used to
provide the track bus signal path. This means that you can also use monitor channels in non multitrack
applications to handle any type of source with exactly the same processing facilities as an input channel, except
there is no direct output.
When using monitor channels for non-multitrack applications, you may wish to adjust the Track Self Assign and
Cue Aux Send/Return options in the System Settings display.
The track bus (from the monitor channel) can be used as a mix minus send.

9. Control Surface Configuration

This chapter deals with configuring the control surface.
Topics include:
· Customising the Control Surface
· Fader Strip Assignment
· Working with User Labels
· Banks and Layers
· Isolating Fader Bays (ISO BAY)
· Assigning Default Parameters to Free Controls
· Fader User Buttons
· Centre Section User Buttons

9.1 Customising the Control Surface

The control surface operation can be customised in the following ways:
Fader Strip Assignment

The control surface includes both channel and main fader strips. Any fader strip can control any audio channel
(input, monitor return, group, sum or aux), or any control channel (VCA, Surround VCA or GPC). This allows you
to lay out your source channels, audio masters and control masters exactly where you want them.
User Labels
Each audio and control channel can be labeled, making it easy to identify your source channels, output channels,
VCAs, etc.
Banks and Layers

The physical size of the console does not restrict the number of channels contributing to the mix, as additional
channels can be accessed by switching to different banks and layers.
You can use the six banks to switch globally through different channel layouts or to access different sets of
channels. Within each bank, layers can be switched globally or individually, making them ideal for related
channels such as an input and its mix minus return.
ISO Bay Operation

Isolated bays are unaffected by the centre section BANK and LAYER switching. This makes them ideal for multi-
operator mixing or for working locally within a channel bay. If working with more than one operator, isolated bays
can be excluded from snapshot loads, and can feed a separate AFL/PFL bus (for independent headphone
monitoring).
Free Controls
Every fader strip includes four Free Controls for local access to parameters such as aux send levels, EQ gain,
etc.
Free Controls can be assigned to any channel parameter, and assignments can vary from channel to channel.
This allows you to assign exactly the functions needed for each channel.
User Buttons
Every fader strip includes 16 user buttons which can be customised globally for all fader strips.
In addition, the CENTRAL USER BUTTON and TALKBACK areas include central user buttons for "master"
functions.
You can also program user button functions onto a device running the Lawo Remote App.

9.2 Fader Strip Assignment

Fader strips are assigned using the STRIP ASSIGNMENT buttons in the centre section of the console:
Any audio processing or control channel can be assigned to any physical fader - channel or main fader strips.
If the assigned channel is stereo, then both the left and right sides are automatically controlled from a single
fader strip.
For surround channels, you can assign the Surround VCA, for single fader strip control, and/or the individual
component channels (e.g. L/R, C, LFE, Ls/Rs).
The STRIP ASSIGNMENT buttons can be locked, to protect the existing console layout, by pressing the
Lock ACC button located on the Extra Buttons display. Therefore, if you cannot assign a channel to a fader
strip, check the status of this option.
Fader strip assignments are stored and recalled in snapshots and productions. This allows you to store a single
layout (in a production), or multiple layouts for recall during a show (using snapshots).
9.2.1 Assigning a Single Fader Strip

1. Select the channel you wish to assign - either by pressing its fader SEL button or using the
2. Press the ASSIGN button (under STRIP ASSIGNMENT in the centre section) - the fader SEL buttons
across the console flash, in green:
3. Press a fader SEL to complete the assignment - the fader strip updates and the SEL button changes
color, from green to red.
You can assign the same channel to multiple fader strips by keeping ASSIGN selected - for example, to
assign the same channel to a different bank or layer. Note that this will assign the same channel to multiple
places, so if you choose SEL buttons on the same bank or layer, then you will have lots of faders controlling
a single channel!
4. Deselect the ASSIGN button or press ESC (on the SCREEN CONTROL panel) to exit the strip assign
mode.

9.2.2 Assigning a Range of Channels to Consecutive Fader Strips

1. Select the first channel in the range - either by pressing its fader SEL button or using the
2. Then press FIRST LAST (under STRIP ASSIGNMENT in the centre section) - the fader SEL buttons
across the console flash, in green.
3. Press the fader SEL on the first fader you wish to assign (e.g. strip 1) followed by the fader SEL on the
last fader (e.g. strip 24) - the console incrementally assigns channels from fader strip 1 to 24, and then
cancels the FIRST LAST mode.
4. Deselect the ASSIGN button or press ESC to exit the strip assign mode.
If all the channels are mono, then you will have assigned INP 1 to 24 to fader strips 1 to 24.
If some channels are stereo, then they are automatically assigned to a single fader. For example, if INP 1&2 and
INP 3&4 are stereo, then they are assigned to fader strips 1 and 2; INP 5 is assigned to fader strip 3, INP 6 to
fader strip 4, and so on.
If some channels are surround, then it is the component channels which are assigned (e.g. Front L/R to fader
strip 1, Front C to fader strip 2, etc). Note that the component channels can be controlled from a single Surround
VCA master, but this must be assigned in a separate operation. See Surround VCAs.
The start and end of the "FIRST LAST" range can be at any position across the control surface, and sources
can be routed from left to right or from right to left by reversing the order of your first and last fader selection.
FIRST LAST treats channel and main fader strips independently. This allows you to make changes to
channel fader strips without affecting the main faders, or vice versa.
9.2.3 Clearing an Individual Fader Strip

To remove a channel so that it leaves a blank fader strip:
1. Press CLEAR STRIP (under STRIP ASSIGNMENT in the centre section) - the fader SEL buttons
2. Press the fader SEL button(s) on any fader strips you wish to clear.
3. When you are finished, deselect CLEAR STRIP or press ESC to exit the strip assign mode.
9.2.4 Inserting a Channel

To insert a channel between two existing fader strips:
1. Select the channel you wish to insert - either by pressing its fader SEL button or using the
2. Press INSERT MOVE (under STRIP ASSIGNMENT in the centre section) - the fader SEL buttons
3. Press the fader SEL button where you wish to insert the new channel - for example, on fader strip 5.
The replaced channel, and all channels to its right, move one step to the right across the control surface. If a
channel is assigned to the last fader strip on the right, then this drops off the end of the console and becomes a
virtual fader.
For example, on a 24-fader control surface, the above operation would shift fader strip 24 up onto a virtual fader
strip 25. This fader cannot be accessed, but remains in this location and will be added back to the control
surface if a fader strip assignment is removed.
INSERT MOVE treats channel and main fader strips independently. This allows you to make changes to

9.2.5 Removing a Channel

To remove a channel from a fader strip and automatically close the gap:
1. Select the channel by pressing its fader SEL button.
2. Press INSERT MOVE (under STRIP ASSIGNMENT in the centre section) - the fader SEL buttons
across the console flash, in green, except for the channel in access which should be red.
3. Press the red fader SEL button again to confirm the remove - all channels to the right ripple down the
control surface to fill in the gap.
If any virtual channels have been created, as the result of an insert operation, then these will be added back to
the surface.
INSERT MOVE treats channel and main fader strips independently. This allows you to make changes to
9.2.6 Swapping Fader Strips

This function can be used to swap two individual fader strips, or two different groups of consecutive fader strips.
Ø To swap individual fader strips:
1. Press the fader SEL button on the "source" fader (e.g. on strip 5).
2. Press SWAP (under STRIP ASSIGNMENT in the centre section) - the fader SEL buttons across the
console flash, in green.
3. Press the fader SEL button on the "destination" fader (e.g. on strip 8).
The channel assignments are exchanged - in our example, the channel assigned to strip 5 moves to strip 8, and
vice versa.
Ø To swap two groups of consecutive fader strips:

1. First, create a Couple group by pressing and holding the fader SEL buttons on the "source" faders - the
fader SELs turn red to indicate that coupling is active (e.g. couple fader strips 3 to 6).
2. Press SWAP (under STRIP ASSIGNMENT in the centre section).
3. Now press the fader SEL button on the first "destination" fader (e.g. on strip 9).
The channel assignments are exchanged - in our example, the channels assigned to strips 3 to 6 move to strips
9 to 12, and vice versa.
You can use this method to exchange any number of fader strips as long as you observe the usual Couple group
conditions.

9.2.7 Relocating Channels

This function can be used to relocate an individual fader strip, or a group of consecutive fader strips. In both
cases, the "source" fader strips will be cleared (left unassigned).
Ø To relocate an individual fader strip:

1. Press the fader SEL button on the "source" fader (e.g. on strip 5).
2. Press RELOCATE (under STRIP ASSIGNMENT in the centre section) - the fader SEL buttons across
the console flash, in green.
3. Press the fader SEL button on the "destination" fader (e.g. on strip 8).
The channel assigned to strip 5 moves to strip 8, and strip 5 is cleared (unassigned).
Ø To relocate a group of consecutive fader strips:

1. First, create a Couple group by pressing and holding the fader SEL buttons on the "source" faders - the
fader SELs turn red to indicate that coupling is active (e.g. couple fader strips 3 to 6).
2. Press RELOCATE (under STRIP ASSIGNMENT in the centre section).
3. Now press the fader SEL button on the first "destination" fader (e.g. on strip 9).
The channels assigned to strips 3 to 6 move to strips 9 to 12, and strips 3 to 6 are cleared (unassigned).
You can use this method to relocate any number of fader strips as long as you observe the usual Couple group
conditions.

9.2.8 Assigning Channels to All Banks/Both Layers

The STRIP ASSIGNMENT and BANK buttons can be used together to provide a number of useful short cuts
when you are first laying out the surface:
For example, to assign input channel 1 to fader strip 1 across both layers of all six control surface banks:
1. Select INP 1 - either by pressing its fader SEL button or using the ACCESS/ASSIGN panel.
2. Select ALL BANK and BOTH LAYERS (under STRIP ASSIGNMENT in the centre section).
The fader SEL buttons across the console flash, in green, and the six BANK buttons 1 to 6 are illuminated.
3. Deselect any BANK numbers which you do NOT want to include in the assignment (you cannot
deselect the current bank). For our example, keep all six BANK buttons lit.
4. Deselect BOTH LAYERS if you do NOT want to include both layers in the assignment. For our
example, keep the button lit.
5. Then press a flashing green fader SEL button to complete the assignment - for example, on fader strip
1.
INP 1 is assigned to fader strip 1 across both layers of all the selected banks.
You can assign a channel to any combination of banks, with or without both layers, in order to achieve the
desired fader strip assignment.
9.2.9 Clearing a Bank of Fader Strips

To clear a complete bank of fader strip assignments (including both layers):
1. Press CLEAR BANK (under STRIP ASSIGNMENT in the centre section).
2. Then select the bank or banks you wish to clear using the BANK 1 to 6 buttons.
3. Press ENTER (on the SCREEN CONTROL panel) to complete the operation.
9.2.10 Copying Banks

To copy the control surface configuration to a different bank or banks:
1. Select the bank you wish to copy using the BANK 1 to 6 buttons - the control surface updates
accordingly.
2. Press COPY BANK (under STRIP ASSIGNMENT in the centre section).
3. Then select the bank numbers to copy to, using the BANK 1 to 6 buttons.
4. Press ENTER (on the SCREEN CONTROL panel) to complete the operation.

9.3 Working with User Labels

The centre section LABEL buttons change what is viewed on the fader strip label displays (and the label fields in
the Central GUI Title Bar, Channel display and Signal List display).
Centre Section LABEL buttons
Fader Strip Labels (showing CHANNEL NAMEs)
You can choose one of the following options; each switches the labels globally across the console:
Additionally, if you turn on IMAGE and an image has been assigned to the source or channel, then you will see
the image instead of the text label. Touch a fader and the image is enlarged.
Images assigned to source or channel Fader touched = image fills the display

To make the most of your user names and labels, here are some recommendations:
1. Select CHANNEL NAME while preparing the console.
This enables you to easily view where you are assigning your input channels, group masters, auxiliary masters,
VCA masters, etc.
2. Select USER LABEL to see the generic label for each channel - e.g. PRESENTER, GUEST, etc.
This can be useful if want to start laying out the surface, but do not yet know the final signal list. For example, if
the presenter and guest mics change for each show.
3. Select INHERIT SOURCE once your console fader strips are configured and you have started to assign
sources to your input channels.
If no source is assigned to an input or monitor channel, then the USER LABEL for the channel is displayed.
(This also applies to other channel types: Group, Sum, Aux, VCA, Surround VCA or GPC.)
This means that you can use INHERIT SOURCE to check your signal routing as follows. For example, if you
have used the names Com1, Com2 and Guest as channel user labels, and Mic1, Mic2 and Mic3 as source
labels for microphone inputs, then when you begin to route sources to channels, the fader strip label displays
should update. If they don't and you see say Mic1, Mic2 and then Guest, you know that first two mic channels
are correctly routed, but the Guest channel has no connected source.
Note that for an individual source, the inherit function can be inhibited. This must be performed within the factory
configuration. Please consult your console specification for details.
4. Turn on IMAGE to use images instead of text labels to help quickly identify channels and sources.


Ø CHANNEL NAME
This is the fixed system name for the DSP or control channel assigned to the fader strip. For example, INP 1 for
input channel 1, GRP 4 for group channel 4, VCA 7 for VCA master 7, etc. You cannot edit this name. Note that
for DSP channels (inputs, monitors, groups, sums and auxes), this is the same as what you see in the Name
field on the Signal List display.
Ø USER LABEL and SOURCE LABEL (input and monitor channels)
Either or both of these labels can be edited for input and monitor channels. The user label names the channel,
while the source label names the signal routed to the channel.
Use the Source Label field (in the Signal List display) to edit the source label, and the Destination Label field to
edit the channel user label:
Ø USER LABEL (other channel types)

For other channel types, the only relevant label is the USER LABEL as there is no inherited source.
For groups, sums and auxes, use the Source Label field (in the Signal List display) to edit the channel user
label. You will find all groups, sums and auxes in the "Bus Out" directory:
For a control channel (VCA, Surround VCA or GPC), click in the label field in the Central GUI Title Bar to edit the
channel user label. Note that the centre section LABEL buttons must be switched to USER LABEL to allow
access to this field:

9.3.2 Assigning Images to Sources & Channels

The Thumbnail Assignment display can be used to assign images to sources and/or DSP channels. Once the
assignments have been made, whenever the IMAGE button is selected on the centre section LABEL panel, the
fader strips will show the assigned images instead of the text labels.
Note that the IMAGE button interacts with the other LABEL buttons as follows:
· IMAGE + USER LABEL - shows the image assigned to the DSP channel.
· IMAGE + INHERIT SOURCE - shows the image assigned to the source routed to the channel.
In each case, the image can be either a still image stored locally on the control system, or a moving image from
a networked stream provider.
To check the current image assignments, open the Thumbnail Assignment display. The display can be found
under the SIGNAL page options.
Example of Thumbnail Assignments
The display shows assignments from the Stream Providers (on the left) to Signals (on the right). In our
example, two moving image streams (Stream #1 and Stream #2) have been assigned to two DSP channels
(INP 17 and INP 18). The Preview area can be used to scroll through the available images from the selected
provider, in our example from a V__Pro8.
The operation is very similar to the Signal List display. So, to edit or make a new assignment:
1. On the left, select a Stream Provider (e.g. V__Pro8) and then an image/stream Name (e.g. Stream #2).
2. On the right, select a Directory, Subdirectory and then a signal (e.g. INP 18).
3. Press the on-screen CONNECT button, or soft key, to make the assignment - a line appears showing
the "connection".
Note that making a new "connection" will overwrite an existing assignment.
4. To remove an assignment, select the signal or signals, and press the DISCONNECT button.

You can make multiple assignments in one operation by using the SHIFT or CTRL keys on the console keyboard.
For example:
1. Press and hold SHIFT to select a block of stream Names.
2. Press and hold SHIFT to select a block of Signals.
3. Press CONNECT to perform a "best fit" assignment - if there are say eight streams selected and only
four signals, the first four images will assigned consecutively to the first four signals.
The CTRL button can be used in a similar manner to select multiple non-consecutive streams and/or signals.
CTRL + A will select all stream Names or Signals in a list. For example, to remove image assignments from all
input channels:
1. Select an input channel in the Signals list on the right.
2. Press CTRL + A to select all signals in the list - they highlight in black.
3. Then press DISCONNECT.
Saving and Loading Thumbnail Assignments

The assignments of streams to signals are saved in both snapshots and productions.
The Signals List

The columns in the Signals list have the same meaning as in the Signal List display, see Signal List Columns.
So, if an image has already been assigned to a signal, you will see a red and white cross in the "connection"
column.
Note that all channel types, including VCAs can be accessed via the DSP Channels Directory. If two channels
are linked for stereo, then assign the image to the odd numbered channel. For surround channels, you will find the
surround VCA master in the VCAs Subdirectory.
The Preview Area

This area shows all of the images or streams coming from the selected Stream Provider. Use the left and right
arrow buttons to scroll through the available images or streams. If the provider is not yet connected, then the
Preview area will be blank.

The Stream Providers List

Every system is delivered with an Image Stills provider which contains 18 factory-defined images:
To this, you can add your own user-defined images and/or configure a networked V__line device as a moving
image provider.
Ø Adding User-defined Images
User-defined images can be added to the Image Stills provider by copying the image files to the
"User_thumbnails" folder on the mc²56 control system. You can do this on the console using a USB memory
stick and the File display. Or, from an mxGUI computer by connecting to the system and opening the File
Transfer display. In both cases, the image files must meet certain requirements. These are provided in the
"README.txt" file stored in the "User_thumbnails" folder:
Once you have transferred the files, refresh the Thumbnail Assignment display and select Image Stills - the
new images should appear after the factory-defined images in the Preview area. If you wish to remove files from
the Image Stills, then you will need to use an FTP tool such as Filezilla to access the "data -> user_thumbnails"
folder. You can find more details on FTP file transfers in your Technical Manual.

Ø Adding a Moving Image Stream Provider

In the current release, Lawo's V__pro8, V__link4 or V__remote4 can operate as moving image stream providers.
Note that each device is capable of delivering eight streams. The V__line devices must be connected to the mc 2
control system via the external network, and have an IP address that resides within the same IP range as that of
the mc 2 system. To configure a new provider:
1. Select Add New to open the "Add Stream Provider" window:
2. Complete the fields as follows:

· ID Number - enter a generic ID number. This must be higher than or equal to 16. (ID 0 is reserved for the
Image Stills. IDs 1 to 15 are reserved for future implementation.)
· Stream Provider Type - select the device type from the drop-down menu.
· Label - enter a generic user-label.
· IP Address - enter the IP address of the V__ device. The standard port number = 9010.
3. Select Add to confirm - the device is added to the list of Stream Providers:
In the current release, these settings are stored only in the system's warm start data (and not snapshots or
productions). This means that if you perform a cold start, you will lose the current Stream Provider
configurations. If you wish to add a V__line device as a permanent provider, the configuration must be edited
at a lower level. Please contact the Lawo support department for assistance.

Ø Checking the Status of Streams and Providers

Beside each entry in the Stream Providers list you will see either a green or red circle:
· The Stream Provider circle indicates the connection status: green = ok; red = connection error.
· The Name circle indicates the stream status: green = valid stream; red = stream is invalid.
If the Stream Provider is red, then you should check your network connections, the Stream Provider
configuration (via the Edit button) and the IP settings on the remote device.
If the Stream Provider is green but one or more stream Names are red, then check the number of streams
being output by the providing device.
Ø Managing the List of Stream Providers
The Edit and Remove buttons can be used to edit or remove an existing Stream Provider.
Note that you cannot edit or remove the Image Stills provider as this is required to access the still images
described earlier.

9.4 Banks and Layers

The console supports six control surface banks (1 to 6), each with two layers - Layer 1 and Layer 2.
Bank switching provides fast global access to different sets of channels, or channels in a different layout - for
example, to bring the music channels in a live entertainment up onto the surface when the band are playing.
Layers can be switched on individual fader strips, making them ideal for related signals - for example, to switch
quickly between a presenter's input channel and their mix minus (N-1) return.
If you wish, you can isolate individual fader strips so that they never switch bank or layer. Or, isolate fader bays
so they can be used by a second engineer.
9.4.1 Bank Switching

You can switch between the six fader banks either globally across the whole surface, or locally within each 16-
fader bay.
Ø To switch BANKs globally:

1. Locate the six BANK access buttons, numbered 1 to 6 in the centre section.
One button is always lit; this is the active bank.

2. With MAIN BAY turned off, press one of the BANK numbers 1 to 6 to switch all fader strips: channel
and main.
All fader labels, control positions and Channel displays update across the console to reflect the new settings. If
there are no channels assigned to the bank, then you will switch to a series of blank fader strips.
3. Turn on MAIN BAY and press BANK 1 to 6 to switch only the main fader strips.
The global BANK selections affect all fader strips across the console, except for those in an isolated bay or
with an individual ISO state active.
Ø To switch BANKs locally within a channel bay:

1. Locate the BANK 1 to 6 buttons on the ISO BAY panel (at the top of the Channel Display):
ADD SCREENSHOT
One button is always lit; this is the active bank.
2. Press one of the BANK numbers (1 to 6) to switch to a different bank.
This time only the 16 fader strips within the bay switch to the new bank.
If a fader strip is isolated, then the fader is not switched by the local banking buttons.
If you press a global BANK button, this will reset the bank on the local bay (providing the bay is not
isolated).

9.4.2 Layer Switching

Within each of the six banks, you can switch between layers 1 and 2 globally across the whole surface, locally
within each 16-fader bay, or individually on each fader strip.
Ø To switch LAYERs globally:

1. Locate the LAYER access buttons in the centre section:
2. With MAIN BAY turned off, press FLIP to invert the layer of all fader strips: channel and main.
This inverts the individual fader strip FLIP buttons, allowing you to view all 'hidden' channels with one button
push.
All fader labels, control positions and Channel displays update across the console to reflect the new settings. If
there are no channels assigned to the alternate layer, then you will switch to a series of blank fader strips.
3. Turn on MAIN BAY and press FLIP to invert only the main fader strips.
4. To temporarily switch all fader strips to either Layer 1 or Layer 2, press ALL 1ST or ALL 2ND.
This overrides the individual fader strip FLIP buttons. However, when you deselect ALL 1ST or ALL 2ND, the
fader strip FLIPs are reinstated so that you return to your previous layer status.
5. To permanently reset the layer of all fader strips, press and hold ALL 1ST or ALL 2ND for more than 3
seconds.
This resets the individual fader strip FLIP buttons to either all off or all on.
The global LAYER selections affect all fader strips across the console, except for those in an isolated bay.
Ø To switch LAYERs locally within a channel bay:

1. Press the LAYER FLIP button, on the ISO BAY panel (at the top of the Channel Display), to invert only
the fader strips within the 16-fader bay:
ADD SCREENSHOT
Ø To switch the LAYER on an individual fader strip:

1. Press the fader strip FLIP button.
The fader’s label, control positions and Channel display update to reflect the settings for the second layer. If
there is nothing assigned to this layer, then you will switch to a blank fader strip.

9.4.3 Isolating Fader Strips from Bank Switching

The following method can be used to isolate fader strips from bank switching (but not layer switching). For
example, to keep a presenter's input channel or sum master on the control surface at all times.
To isolate a fader strip from both bank and layer switching, then an alternative approach is to assign the
channel to the same position within every bank and layer using the ALL BANKS/BOTH LAYERS method.
Alternatively, if you are working with more than one engineer and wish to provide separate 16-fader bays for
the second engineer, you can turn on ISO bay.
1. Locate the STRIP ISOLATE buttons in the centre section of the console:
2. To isolate all 16 main fader strips from bank switching, press MAIN FADER.
If you switch banks and then deselect the MAIN FADER button, the fader strips update to reflect the
settings for the selected bank.
3. Alternatively, to isolate some individual fader strips:

· Press SEL FADER - the fader SEL buttons across the console flash, in green:
· Press the SEL button(s) on the fader(s) you wish to isolate. You can select channel or main fader strips
- the SEL buttons change color from green to red to indicate that they are now isolated from bank
switching operations.
· Deselect SEL FADER to cancel out of the selection mode - all selected isolations will remain active until
cleared.
4. To clear all bank switching isolations, press CLEAR.

9.5 Isolating Fader Bays (ISO BAY)

To isolate a fader bay:
1. Press the ON button located on the ISO BAY access panel:
ADD SCREENSHOT
You can isolate multiple bays at any physical position.
All isolated bays are unaffected by the centre section BANK and LAYER switching. This makes them ideal for
multi-operator mixing or for working locally within a channel bay.
9.5.1 Bank and Layer Switching

The BANK 1 to 6 and LAYER FLIP buttons provide local bank and layer switching for the 16 fader strips. Note
that they can be used with ISO BAY on or off (for convenience).
9.5.2 Independent AFL and PFL

AFL and PFL selections made within isolated bay(s) can be split away from the main console, and routed onto a
second AFL and PFL bus, by enabling the ISO AFL2/PFL2 option in the System Settings display.
You can use this to provide the second engineer with independent headphone monitoring.
9.5.3 Snapshot Isolate

To prevent snapshots recalled by the main engineer affecting the desk layout of isolated fader bays, use the BAY
Global Snapshot ISO option.
With Global Snapshot ISO BAY enabled, the fader strip assignments on isolated bays are protected from a
snapshot recall.
Note that only the fader strip assignments are isolated. Other settings such as DSP parameters and FC
assignments will still be loaded. To prevent a snapshot from resetting all settings on a specific channel, turn on
its SNAP ISO button.
9.5.4 Fader SEL Behaviour

If you are working with more than one engineer, then the Select Isolate option in the System Settings display
should be set to on - this will stop the fader SEL buttons in an isolated bay from changing the channel in access.
Therefore, allowing the second engineer to select channels without affecting the main operator.
· Select Isolate (on) – the SEL buttons within isolated bays do NOT update the channel in access. Use
this mode when you want isolated bays to work independently from the rest of the console. For example,
when one engineer is working on an isolated fader bay and another with the rest of the console.
· Select Isolate (off) – the SEL buttons within isolated fader bays do update the channel in access. This
mode is ideal for single operator use where you wish the channel in access to follow selections within
isolated fader bays.
When working with Select Isolate on, note that if you deselect and then reselect the bay’s ISO ON button, the
console will remember the selected channel within the isolated bay so that you can return to adjusting its
parameters easily.

9.5.5 Expanded Parameter Control

With ISO BAY ON, the EQ, DYN, AUX, MISC and BUS buttons can be used to temporarily assign the 32 Free
Controls to DSP and Bus assign parameters for the selected channel.
1. If you haven’t already done so, press ISO BAY ON to isolate the fader bay:
ADD SCREENSHOT OF CH DISPLAY
2. Next, select the parameters you wish to control – for example, press AUX to control aux sends.
All the Free Controls within the isolated bay update to show AUX parameters for the selected channel - reach
out to adjust a parameter:
3. If there are more parameters available (for example, more aux sends), then press the left or right arrow
button to scroll through the parameters.
4. At any time, you can press another fader SEL button to adjust settings for a different channel (within the
isolated bay).
5. Deselect the EQ, DYN, AUX, MISC or BUS button to return the Free Controls to their normal mode of
operation.
All channel DSP, AUX sends and BUS assign parameters can be accessed in a similar manner.
When used for BUS assign, the Free Control buttons will route the selected channel to each bus (on or off).
Note that the rotary controls have no function. Use the left and right arrow keys to page through all available
group and sum busses.
For details on how DSP and AUX parameters are controlled, please see Free Control Functions.

9.6 Assigning Default Parameters to Free Controls

The Free Controls on each channel fader strip can be assigned to any available parameter using the
COPY/RESET AUDIO assign panel in the centre section.
Free Controls can be assigned to any available channel parameter on an individual basis. The default
assignments are then stored in snapshots and productions.
Note that the Free Control assignments relate to the DSP channel (i.e. they move with the channel, if the channel
is assigned to a different fader strip).
At any time you can override the default assignments using an FC PRESET, selected from the Centre Section.
9.6.1 Assigning a Single Free Control

1. Press the ONE button (on the PARAMETER assign panel) to activate a one-shot assignment - the
button flashes to indicate that parameter assign is now active.
2. Select the parameter you wish to assign, by touching a rotary encoder on the Central Control Section -
for example, touch the EQ Band 3 GAIN control - the parameter is placed into the PARAMETER clipboard:
3. Now touch the Free Control on the destination channel strip - the assignment is made; the Free Control
display updates; and the ONE button cancels automatically.

9.6.2 Assigning Multiple Free Controls

To assign more than one Free Control at a time, use the MLT button to latch on the parameter assign mode.
This saves you having to reselect the ONE button before each assignment.
1. Press the MLT button (on the PARAMETER assign panel) - the button flashes to indicate that
parameter assign is now active.
the parameter is placed into the PARAMETER clipboard.
3. Now touch as many Free Controls across the surface as you wish - the clipboard parameter is assigned
to each Free Control you touch.
4. Remember to deselect MLT, or press ESC on the SCREEN CONTROL panel, to exit the parameter
assign mode. If you don’t, then the next time you touch a channel free control, you will re-assign it!
9.6.3 Assigning a Free Control on ALL Channels

Another shortcut is to assign a parameter to the same Free Control position across all fader strips for a certain
channel type. This is particularly useful when you are first building your layout.
1. Press the ALL button (on the PARAMETER assign panel).
This automatically selects the ONE button for a one-shot assignment. If you wish to make multiple ALL
assignments, then select MLT instead of ONE.
3. Now choose the channel type you wish to assign to, from the ACCESS CHANNEL/ASSIGN panel – for
example, select INPUT:
Note that you can select multiple channel types if you wish – e.g. select INP, GRP and SUM to make a Free
Control assignment across all input, group and sum channels.
4. Now touch a Free Control (e.g. FC 1) on any input channel fader strip (INP) - EQ 3 GAIN is assigned to
FC 1 across all input channels.
Note that the assignment is made to all input channels, even those not assigned to a fader strip.

9.6.4 Clearing a Free Control Assignment

To clear a Free Control assignment so that it becomes inactive:
1. Press the CLR button (on the PARAMETER assign panel).
This automatically selects the ONE button for a one-shot assignment. If you wish to clear multiple assignments,
then select MLT instead of ONE.
2. Select the Free Control you wish to clear by touching it on the fader strip.
The assignment is cleared and Free Control display becomes blank.
3. If you have selected MLT, remember to deselect MLT, or press ESC on the SCREEN CONTROL panel,
to exit the parameter assign mode. If you don’t, then the next time you touch a channel free control, you will
clear it!
9.6.5 Free Control Functionality

When parameters are assigned to Free Controls, the functionality is allocated as follows:
Ø EQ
EQ1, EQ2, EQ3, EQ4 = Gain, Frequency, Q and EQ Type for the 4-band parametric EQ.
FI1, FI2 = Gain, Frequency, Q and EQ Type for the 2-band Filter section (Recording channels only).
SC1, SC2 = Gain, Frequency, Q and EQ Type for the 2-band dynamics Sidechain Filters (Recording
channels only)
Press the button beside any of the EQ1 free controls to turn EQ band 1 on or off, and so on for the
remaining bands/filters.
Ø DYNAMICS
Threshold (THRS), ratio (RAT), attack time (ATT), release time (RLS), hold time (HOLD), floor level
(FLR), make-up gain (GAIN) or look ahead delay (LAHD) for each of the dynamics sections: Gate,
Expander, Compressor, Limiter.
Press the button beside any of the GATE free controls to turn the Gate on/off, and so on for the
remaining sections.
If you are running a Broadcast channel DSP Configuration, then you will see either the Combi-Dynamics (Gate,
Expander, Compressor) or Limiter parameters depending on the dynamics model of the selected channel.
Ø AUX
Aux send level and on/off for all available aux sends.
If an aux is stereo, then you can adjust the gain and pan, or gain and balance, for the stereo send.
Ø OTHER MODULES
· IN GAIN = channel input gain (INMIX gain).
· IN BAL = channel input balance (INMIX balance, if the input is stereo).
· DIGAMP = digital amplifier gain.
· DELAY = channel delay; press the button to switch in/out.
· INS SEND = insert send/return; press the button to switch in/out.
· DOUT LVL = direct output level; press the button to mute the direct output.
· PAN = panning parameters; press any of the PAN free control buttons to switch panning in/out of
circuit.
· ON LEVEL, OFF LEVEL, etc. = Audio Follow Video (AFV) parameters.

9.7 Fader User Buttons

The fader strip user buttons are switched through their pages of functions from the centre section:
Fader Strip Centre Section
Note that all fader strip user buttons are switched globally across the console. The functions are labeled by the
electronic displays. The labels are programmed along with the button functions from the Custom Functions
display.
As Custom Functions are stored as part of the system configuration (and not in productions), any changes
will affect all users.
Default Functions
The console ships with the following default functions unless specified otherwise.
Ø Mix Minus Control: CORD, CONF & TALK
1. Press CONF to activate the mix minus (N-1) output for that channel.
2. Press CORD to activate a conference-style auxiliary send.
3. Press TALK to talk to the channel's N-1 bus. The talkback source can be edited from the Custom
Functions display.
Ø Snapshot Isolate: SNAP ISO

1. Enable SNAP ISO to isolate the channel strip from a snapshot recall. See Snapshot Isolate for more
details.

9.8 Centre Section User Buttons

The centre section includes 8 CENTRAL USER BUTTONS. Plus in the TALKBACK area, you will find another
four user buttons.
CENTRAL USER BUTTONS TALKBACK panel
The labels are programmed along with the button functions from the Custom Functions display. Note that the
four TALKBACK buttons can be assigned to any user button function, not only talkback switching.
As Custom Functions are stored as part of the system configuration (and not in productions), any changes
will affect all users.
Default Functions
The console ships with the first TALKBACK panel user button programmed to switch your talkback source to
the N-1 bus of the channel in access. No other button functions are defined, unless specified otherwise.

10. Channel Operations

This chapter describes all channel operations.
Topics include:
· Source Routing (Input Patching)
· Bus Assign (Routing)
· Channel Processing Modules
· The Main Display
· INPUT Control
· Digital Amplifier (DIG AMP)
· Channel Delay (DELAY)
· Channel Insert (INSERT)
· Direct Output (DIROUT)
· IMAGE
· DYNAMICS
· EQUALIZER/FILTER/SCF
· CHANNEL
· PANNING
· AUX SENDS
· AUDIO FOLLOW VIDEO
· Automix Groups
· Mix Minus (N-1) Sends
· DSP Presets
· Copy & Reset

10.1 Source Routing (Input Patching)

Any source connected to the routing matrix can be routed to any input or monitor channel. In addition, you can
assign a backup source so that the channel can be switched quickly from A to B.
Source routing can be changed using one of the following methods: from the Signal List display (recommended);
from the Channel display touch-screen (if the channel is assigned to a fader strip); or from the mx Routing display
(to view routing as a crosspoint matrix).

10.2 Bus Assign (Routing)

There are several ways to assign channels onto mix busses:
· FADER FORWARD Assign (using the fader SEL buttons).
· FADER REVERSE Assign (using the fader SEL buttons).
· The Bus Assign display (on the Central GUI).
· The Busses Reverse display (on the Central GUI).
· The Channel display touch-screen.
· ISO BAY Bus Assign (available in isolated Channel bays).
· The ACCESS CHANNEL / ASSIGN panel.
The number and type of mix busses are defined by the DSP Configuration preset. Note that:
· Input channels (INP) can assign to any bus - Track bus, Aux, Group or Sum.
· Monitor channels (MON) can assign to any Track bus*, Aux, Group or Sum. (*A monitor channel cannot
be assigned to its associated track bus unless the Track Self Assign option is turned on).
· Group channels (GRP) can assign to any Aux, another Group or any Sum.
· Sum and Aux channels (SUM and AUX) are designed to be the final point in the signal chain, and
cannot be reassigned to another bus. (To do this, you would need to route the Sum or Aux output back
into an input channel).
Any bus can be configured as mono, stereo or surround, such that the corresponding pan law is applied.
You can use any of the bus assignment methods to adjust Aux on/off or to assign channels to a VCA
master.

10.2.1 FADER FORWARD Assign

This method uses the fader SEL buttons to make assignments from the channel in access. It is ideal for
assigning a single channel to multiple bus outputs (if the outputs are assigned to fader strips).
1. Select the source channel (e.g. INP 1) - either by pressing its fader SEL button or using the
2. Press FADER FORWARD on the BUS ASSIGNMENT panel:
this option.
· SEL not lit = channel cannot be assigned to destination (for example, you cannot assign INP 1 onto
another input channel!)
3. Press the fader SEL buttons to modify the current assignments - the fader SELs change state.
4. Deselect FADER FORWARD, or press ESC on the SCREEN CONTROL panel, to exit the bus assign
mode.

10.2.2 FADER REVERSE Assign

This method uses the fader SEL buttons to make assignments to the channel in access. It is ideal for assigning
channels onto a destination such as a group, aux or sum.
1. Select the destination channels (e.g. SUM 1) - either by pressing its fader SEL button or using the
2. Press FADER REVERSE on the BUS ASSIGNMENT panel:
this option.
· SEL not lit = channel cannot be assigned to destination (for example, you cannot assign another Sum
channel onto SUM 1!)
3. Press a fader SEL button to modify the current assignment - the fader SEL changes state.
4. Deselect FADER REVERSE, or press ESC on the SCREEN CONTROL panel, to exit the bus assign
mode.

10.2.3 The Bus Assign display

The Bus Assign display provides control of all assignments from the channel in access. This is a great way to
check all the bus assignments from an individual channel.
It can also be used to edit a stereo or surround bus assignment. For example, to remove a channel from the
Right side of a stereo SUM.
1. Open the Bus Assign display on the Central GUI.
The display shows all bus assignments from the channel in access (e.g. from INP 1).
If the channel is assigned to a bus, then the buttons are color-coded with groups shown in yellow; track sends in
blue; auxes in green; and sums in red.
The number and type of busses available is defined by the DSP configuration.
For convenience, VCA, surround VCA and link group assignments are also shown at the bottom of the
display. However, you cannot change VCA or link grouping from this display.
2. To change the assignments, select the on-screen buttons.

3. To change the aux send level, click on the up/down arrows or type in a value using the console
keyboard.
Once a bus is selected, you can also the SCREEN CONTROL panel as follows:
1. Press the ASSIGN soft key to make, or unmake, the assignment.
2. If the bus is an aux, then press the SET soft key and turn the rotary control to adjust the send level.
For stereo aux sends, you can use the same method to adjust aux pan/balance.

10.2.4 The Busses Reverse display

The Busses Reverse display provides control of all assignments to the channel in access. This is a great way
to reverse interrogate an output.
It can also be used to edit a stereo or surround bus assignment. For example, to remove a channel from the
LFE channel of a surround SUM.
1. Open the Busses Reverse display on the Central GUI.
2. Select a bus master either by pressing its fader SEL button or using the ACCESS/ASSIGN panel - for
example, select SUM 1/2 if working in stereo, or SUR S 1 (the surround VCA master of SUMs 1 to 6) if
working in surround.
The display now shows all assignments to the channel in access.
3. Select Show All to reveal all available source channels. In our example, INP channels 1 to 24 and
GRPs 1 to 4 are assigned to SUM 1:
The number and type of channels available is defined by the DSP configuration.
4. To change the assignments, select the on-screen buttons.
Changing the Channel in Access

You can also change the channel in access from the Busses Reverse display as follows:
1. Click on the left/right arrows beside Access Type to increment or decrement the channel in access.
2. Click on Access Type to cycle through the different DSP channel types: inputs, monitors (track
busses), groups, sums and auxes.
3. Right-click on one of the source channels (e.g INP 1) and select Access to change to Input 1:
You can also change the mono/stereo status of the channel in access, by selecting (or unselecting) the
green/red circle icon - in our example, SUM 1 is set to stereo.

Bus Assign Mute

The Busses Reverse display also allows you to mute individual channel feeds to the bus in access. This
provides an alternative to removing the bus assignment (useful for temporary overrides), or using the channel's
MUTE (which will mute all bus assignments from the channel).
1. Right-click on the channel you wish to mute:
2. And select the Mute option.

The display updates showing that the bus assignment from Input 1 is still made but is now in a muted state:
10.2.5 Bus Assign from the Channel display

1. Touch the screen within one of the bus areas to edit the assignments - an
2. Now touch the numbers to enable (or disable) an assignment.
Note that when you mak e an assignment onto a surround bus, the console assumes you
wish to route to all outputs (e.g. to all six Sums). If this is not the case, then you can
deselect an individual assignment - for example, touch Sum 4 to remove the channel
from the LFE Sum.
10.2.6 ISO BAY Bus Assign

ADD SCREENSHOT
The BUS and arrow keys on the ISO BAY panel can also be used to make bus assignments within an isolated
channel bay. See Expanded Parameter Control for more details.

10.2.7 Bus Assign from the ACCESS CHANNEL/ASSIGN panel

If the bus you wish to access is not assigned to the control surface, then you can use the BUS ASSIGN button
on the ACCESS CHANNEL/ASSIGN panel to route onto Track, Group, Sum or Aux busses (up to 30):
1. First select the channel you wish to assign (e.g. INP 1) - either by
pressing its fader SEL button or entering the channel type and number from the
ACCESS CHANNEL/ASSIGN panel.
2. Then press BUS ASSIGN on the ACCESS CHANNEL/ASSIGN panel - the
button lights in red.
3. Select the bus you want to assign to by choosing a channel type:
· MON – Track busses.
· GRP – Groups.
· SUM – Sum.
· AUX – Auxiliary sends.
4. And then a number - for example, 1 and 2.
· For busses 1 to 9, press 1 to 9. For bus 10, press 0.
· To access busses 11 to 20, press the left arrow (+10) button.
· To access busses 21 to 30, press the right arrow (+20) button.
As soon as you select a number, the channel in access is assigned onto the
selected bus/busses; the numeric keypad illuminates to show the assignment(s).
5. Exit the bus assign mode by deselecting the red BUS ASSIGN button.

10.3 Channel Processing Modules

The next series of topics cover the different modules available on a fully-featured DSP channel.
We will concentrate on operation from the Central Control Section as this offers maximum control. However,
remember that parameters can also be adjusted from the channel fader strip (using normal Free Control
operation or expanded parameter control).

10.4 The Main Display

The Main Display provides a useful visual accompaniment to the Central Control Section.
1. Press the CHAN/CONFIG button, located on the SCREEN CONTROL panel, to view this display - you
will see an overview of parameters for the channel in access (e.g. INP 1):
The Main Display is divided into the same sub sections as the Central Control Section front panel. And, as you
adjust controls, the display updates to reflect your settings. In addition, you can change parameters from any of
the screen buttons.
Green buttons indicate that a section or option is active (ON); on the right of the display, you can see the on/off
status for all MODULES on the channel.
Any modules not supported by the selected DSP channel are greyed out.
The Main Display always shows the following sections:

· SOURCE/INMIX – source and inmix parameters.
· FADER – main channel level.
· DIGAMP – digital amplifier.
· DELAY – channel delay.
· INSERT – insert return switching and send level.
· DIROUT – direct output.
· METERING – channel meter.
· MUTE – channel mute.
· DYNAMICS – gain reduction metering for the Gate, Expander, Compressor and Limiter sections. Note
that if the section is switched on, the G, E, C or L is green.
· MODULES – on/off status for all processing modules.
· PANNING – X/Y pan parameters.
Some sections include an on-screen SEL button. This mimics the operation of the Central Control Section SEL
button and can be used to select the module for copy, reset, and other operations.

10.4.1 Assignable Display Areas

The two central areas can be assigned to other processing sections:
1. Click on the drop-down menu, at the top of each area, to select an audio module:
If you select SENSE, then the area automatically follows the last control touched, so that you will see the
processing section that you are working on.

10.5 INPUT Control

The INPUT panel provides access to all available SOURCE and INMIX parameters:
· SOURCE = parameters applied to the source.
· INMIX = parameters applied to the INMIX channel DSP module.
Note that changes made to SOURCE parameters affect all destinations routed from the source, while changes
to INMIX parameters affect only the selected channel.
Parameters are displayed in the SOURCE/INMIX area of the Main Display.
Central Control Section Main Display
The available parameters depend on the type of source routed to the channel (mic/line or digital) and the channel
format (mono or stereo). Any parameters which are not available for your input are greyed out on the Main
Display and cannot be selected from the front panel.
The INPUT panel also provides access to TONE switching. When TONE is enabled, all other INPUT controls are
temporarily disabled.
Note that the IN button is reserved for future implementation.
10.5.1 SOURCE & INMIX Modes

The default mode for the INPUT panel is to control SOURCE parameters. However, it
can be switched to INMIX mode as follows.
1. Using the trackball select either INMIX or SOURCE from the drop-down menu
in the Main Display.
Alternatively, program a user button to switch the mode from the Custom Functions
display.
The mode affects GAIN, BALANCE and sometimes phase depending on the type of source. It also affects the
on-screen SEL button; select SOURCE + SEL to select source gain, or INMIX + SEL to select channel input
gain.

10.5.2 Mic/Line Inputs

Channels routed from a mic/line input card (with variable analog gain) have access to three sets of parameters:
on the IO Card, IO DSP and Channel DSP. The front panel provides control of the IO Card and Channel DSP
parameters as shown below. Note that the function of the GAIN and BALANCE controls is determined by the
SOURCE / INMIX mode. If required, you can use the Signal Settings display to adjust the IO DSP volume and
phase.
Ø SOURCE Parameters
1. Make sure that the INPUT panel is switched to SOURCE mode (the default) as
shown on the Main Display.
For a mic level signal:
1. Deselect the LINE/ON button.
2. Use the GAIN control to remotely set the mic preamp gain within the analog
domain prior to A-D conversion.
Mic gain can be adjusted from -20dB to +70dB, although this can vary depending on your
hardware configuration. Please refer to the IO card's data sheet for details.
3. Press the 48V button to select 48V phantom power.
4. Press PAD to insert the PAD.
5. Press the high pass filter button to insert an analog subsonic filter prior to the A-D conversion.
6. Toggle the high pass filter button to cycle through the roll-off frequency options: Off, 40Hz, 80Hz and
140Hz.
For a line level signal:
1. Select the LINE/ON button.
The LINE/ON indicator lights, and 48V and PAD are cancelled; they cannot be selected for a line input.
2. Use the GAIN control to remotely set the input gain within the analog domain prior to the A-D
conversion.
3. Set the high pass filter as described above.
If gain compensation is enabled for an input, then it cannot be switched from mic to line, and will operate
permanently in mic mode.
Gain compensation (IP-Share) can be configured within a RAVENNA network and allows up to eight
consoles to set an independent gain value for the same DALLIS mic/line input.

Ø INMIX Parameters
1. To adjust the channel input gain, switch to INMIX on the Main Display.
2. Use the GAIN control to adjust the INMIX gain within the digital domain.
Gain can be adjusted from -128dB to +70dB.
3. On a mono channel, press the Ø L button to reverse the phase.
For a mic/line input, the Ø buttons adjust the phase within the INMIX DSP module.
Therefore, this reverses the phase of the channel and not the source.
To reverse the phase of the source, use the IO DSP Ø in the Signal Settings display.

10.5.3 Analog Inputs

Channels routed from a line level input card (with fixed analog gain) have no variable IO card parameters, and so
the IO DSP is used to offer source gain, balance and phase. Therefore, the front panel provides control of the IO
DSP and Channel DSP parameters as shown below. Note that the function of the GAIN, BALANCE and Ø
controls is determined by the SOURCE / INMIX mode.
Ø SOURCE Parameters
1. Make sure that the INPUT panel is switched to SOURCE mode (the default) as
shown on the Main Display.
2. Select the LINE/ON button - this button turns the IO DSP on or off:
· LINE/ON lit = IO DSP On
· LINE/ON unlit = IO DSP Off
3. Use the GAIN control to adjust the IO DSP gain (volume).
4. Press the Ø L button to reverse the phase of the mono source.
Note that any changes you make to the IO DSP will also appear on the Signal Settings display.
Ø INMIX Parameters
3. Press the Ø L button to reverse the phase of the channel (INMIX phase).
Note that the 48V, PAD and analog filter buttons are inactive.
10.5.4 Digital Inputs

Channels routed from a digital input are treated in the same way as a fixed level analog input, and so you should
refer to the previous section. See Analog Inputs.
Other variable IO card parameters such as SRC on/off, etc. must be adjusted from the Signal Settings display.
See AES/EBU Input Parameters and SDI Parameters.

10.5.5 Internal Signals

Input channels routed from an internal signal such as a summing bus have no IO card or IO DSP parameters.
This leaves the INMIX parameters:
Ø INMIX Parameters
3. Press the Ø L button to reverse the phase of the channel (INMIX phase).
Note that the 48V, PAD and analog filter buttons are inactive.

10.5.6 A/B Input Switching

For any input channel, you can assign two sources (A and B) to provide a main
and backup source for the channel.
The sources are assigned from the Signal List display, see A/B Input Sources.
The Channel A/B Input Switch Enable option in the System Settings globally
enables (or disables) the A/B input switching; the option defaults to off.
Once global switching is enabled:
1. Use the A and B buttons to switch the input.
If there is no source assigned to the B input, then the B button cannot be
selected.
2. Use the GAIN control (in SOURCE mode) to set an independent gain
value for source A and source B. Depending on the type of input, you can
adjust the mic/line gain before A-D conversion, or digital IO DSP gain.
3. Use the GAIN control (in INMIX mode) to adjust the channel input gain
after the A/B input switch.
10.5.7 Stereo Input Control

When an input channel is stereo, a number of additional controls become available: BALANCE, Ø R plus Left to
Both, Right to Both, etc. See Stereo Balance & Input Control for details.
10.5.8 TONE to Channel

The TONE button switches test tone to the channel.
Note that this function can only be selected on Input, Monitor or Surround VCA channels, and temporarily
replaces the channel's source.
By default, the first internal tone generator signal (sine 1) is used as the test tone source. However, you can use
the Test Tone Button, programmed from the Custom Functions display, to specify a different tone source - for
example, to use one of other internal generator signals (sine 2, white noise, pink noise) or an external source.
When using the internal tone generator, select the signal (e.g. sine 1), in the Signal Settings display, to adjust
the level and frequency of the tone.
When TONE is enabled, all other INPUT controls are temporarily disabled.
Switch TONE off to return the channel to its assigned source (displayed in the Signal List / mx Routing
displays).
On systems upgraded to V4.24, you must use the Test Tone Button, programmed from the Custom
Functions display, to activate the test tone source. On all new systems (>V4.24) or those updated by
creating new CF cards, tone is automatically activated.
You can program a fader strip user button to emulate the TONE button. This can be used to provide fast,
direct access to tone switching across the console.
You can program a central user button to globally turn off all TONE to channel selections. This allows you to
switch off tone to all channels, globally, from a single button push.
Both functions are programmed using the Test Tone Button in the Custom Functions display.

10.6 Digital Amplifier (DIG AMP)

The DIG AMP provides an additional gain value which can be moved within the channel signal flow. See
Changing the Signal Processing Order.
1. Press the DIG AMP button to switch the DIG AMP/DELAY/INSERT controls to the digital amplifier.
2. Press ON to switch the gain element in and out of circuit.

3. Move the rotary control to adjust the digital gain - gain can be adjusted from -128dB to +15dB.
The gain value is displayed in the DIGAMP GAIN box on the Main Display.

10.7 Channel Delay (DELAY)

The channel delay can be positioned at any point in the channel signal flow. See Changing the Signal
Processing Order.
1. Press the DELAY button to switch the DIG AMP/DELAY/INSERT controls to the digital amplifier.
2. Press ON to switch the delay in and out of circuit

3. Move the rotary control to adjust the delay time.
The amount of delay is displayed in the TIME box on the Main Display.
To enter a specific delay time, click on the TIME box on the Main Display and type in a value from the
console keyboard.
4. You can change the delay mode from the Extra Buttons display. Touch the on-screen MODE button to
cycle around the options – milliseconds (ms), frames (frms) or meters (m).
Set Delay in ms or frames when you are dealing with a specific time delay, for example, to delay the channel’s
audio relative to an incoming video feed.
Set Delay in meters when you are time aligning microphones positioned on the studio floor and know the
distance between the microphones.
The available channel delay varies slightly between Recording and Broadcast channels:
Recording channels Broadcast channels

Min. = 1 samples (0.02 ms) Min. = 18 samples (0.38 ms)
Max. = 1.8 seconds Max. = 1.3 seconds
Note that if you load a Recording channel delay to a Broadcast channel (e.g. using a Preset), and the stored
parameter lies outside the range supported by Broadcast channels, then the closest available value is applied.
For example, if the preset is attempting to load a delay of 5 samples, then 18 samples (the minimum) is applied.
If you require more delay processing, then 48 additional delays can be made available by configuring a 983-04
mxDSP module. These will operate as fixed time delays which can be inserted into any routing crosspoint via the
mxDSP Settings display. See the mxDSP chapter for more details on this option.

10.8 Channel Insert (INSERT)

The insert can be positioned at any point in the channel signal flow. See Changing the Signal Processing Order.
Routes to and from the channel insert send and return are made from the Signal List display. You should route
the channel’s insert send to the output feeding the insert device, and then route the output from the external
device to the corresponding insert return.
The Central Control Section can then be used to control the insert on/off switching and send level:
1. Press the INSERT button to switch the DIG AMP/DELAY/INSERT controls to the channel insert.
2. Press ON to switch the insert return in and out of circuit.
If an insert return is not assigned, you will get silence when you switch the insert into circuit.
3. Adjust the rotary control to set the level of the insert send.
The SEND level is shown on the Main Display. It can be adjusted from -128dB to +15dB.
The channel insert send is always active even when the return is not inserted. This allows the insert send to
be used to generate an extra clean feed from the channel, with level control, which can be taken from any
point in the channel signal flow, see Changing the Signal Processing Order.

10.9 Direct Output (DIROUT)

Every channel has a direct output, with its own independent send level. The pickup point can be moved within
the channel signal flow. See Changing the Signal Processing.
Routing from the channel direct output is made from the Signal List display. The Central Control Section can
then be used to control the direct output level:
1. Locate the DIR OUT controls in the Central Control Section.

2. Move the rotary control to adjust the direct output send level.
The SEND level is displayed on the Main Display. It can be adjusted from -128dB to +15dB.
3. Press MUTE to disable the direct output.
Direct Out Options

The following options can be configured in the Channel Config display:
Ø Dir-Out Pickup Point
The direct output can be fed from any position in the channel signal flow. For example, you could use the direct
output to create a pre fader send to feed a multitrack recorder, while using the post fader output for the live
production mix. See Changing the Signal Processing Order.

Ø Dir-Out Mute by Fader

This option sets the direct output to mute automatically when the channel fader opens.
It is designed for live broadcast applications where the direct out is positioned pre-fader to feed an intercom
system, and the main programme feed is delayed (for example, when working with HD Cameras). By muting the
intercom feed (direct out) when the channel sends to programme (fader open), echoes between the direct out
and programme can be avoided.
Note that when the fader opens on the selected channel, the DIR-OUT module on the Channel Config display
turns red to indicate the status of this option:
Ø Dir-Out Balance
This option determines whether the channel pan position affects the direct output on a stereo channel:
· Dir-Out Balance disabled (default) – the direct output does NOT follow the channel pan.
· Dir-Out Balance enabled – the direct output follows the channel pan position.
This is particularly useful for sum or aux masters as the left/right balance of the stereo master output can be
readjusted using the channel pan control rather than having to use two mono faders.
Dir-Out Balance can only be enabled if the channel in access is stereo.

10.10 IMAGE
The IMAGE controls deal with image positioning and width on stereo channels. The controls are blank (unlit) if
the Central Control Section is assigned to a mono channel.
1. Press the STEREO button to make (or unmake) a stereo channel from two adjacent mono DSP channel
paths.
Once STEREO is enabled, you can adjust the image using the two rotary controls, see Stereo Channels: Image
Width & Positioning for details.

10.11 DYNAMICS
The operation of the DYNAMICS section varies depending on whether you are using Recording or Broadcast
channels:
10.11.1 Recording Channels

On Recording channels, each full processing channel contains four independent blocks of dynamics processing
(Gate, Expander, Compressor and Limiter).
Any of the four modules can be placed anywhere within the channel signal flow. For example, to gate pre EQ and
compress post EQ, or to limit the channel signal post fader while compressing the feed to the direct output. See
Changing the Signal Processing Order.
The SCF (Sidechain Filter) button can be used to insert the 2-band SCF filter section into the sidechain of either
the compressor or gate, see Filtering the Dynamics Sidechain.
The KEY (External Key) button can be used to trigger the gate and compressor from an external dynamics key.
10.11.2 Broadcast Channels

On Broadcast channels, the each full processing channel can operate using one of two "Channel Models":
· Combi-Dynamics – three modules: Gate, Expander and Compressor, which move together as one block
of processing within the channel signal flow. Each module can be turned on and off separately, but the
thresholds cannot overlap and the order is always Gate, Expander and then Compressor. The three
modules also share one Look Ahead Delay value.
· Limiter – a single Limiter module which operates in the usual manner.
The channel model is selected from the Channel Config display, see Changing the Dynamics Model, and can be
selected on a channel-by-channel basis. This allows you to apply say gating, expansion and compression to all
input channels, and then have limiting on all sums. If you try to access an unavailable module from the
DYNAMICS front panel, then the controls will have no function and their displays will be unlit.
Note that Broadcast channels do not support sidechain filtering or external key inputs, and so the SCF and KEY
buttons perform no function.

Combi-Dynamics Conditions
When using the Combi-Dynamics model, each module can be turned on or off independently, and has separate
threshold, ratio and other parameter values. However, because the Combi-Dynamics works as a single block of
processing, the following restrictions apply:
· The thresholds of the Gate, Expander and Compressor cannot overlap:
o The Gate Threshold must be equal to or lower than the Expander Threshold.
o The Expander Threshold must be at least 10dB lower than the Compressor Threshold (due to the soft
knee operation of the compressor).
If you move a threshold outside of these limits, then the corresponding thresholds move up or down accordingly.
For example, with the Compressor Threshold set to -20dB, and the Gate Threshold to -40dB, if you move the
Gate Threshold above -30dB, the Compressor Threshold is also raised, to maintain the 10dB gap:
· There is one look ahead delay (LAHD) for the Combi-Dynamics sidechain. In otherwords, you cannot
delay the Gate independently from the Compressor.
If you adjust the LAHD control on the Gate, then you will see the LAHD value on the Compressor and Expander
follow, and vice versa:
· The IN and OUT meters on the Main Display represent the levels to and from the complete Combi-
Dynamics. In other words, the IN meter shows the level at the input to the Gate, and the OUT meter
shows the level at the output from the Compressor.
· Each of the Main Display graphs reflects the combined result of the Combi-Dynamics: the green line
shows the parameter curve for the sensed or selected section; the blue line shows the resultant curve of
the active dynamics.

· When you pre-listen any of the Combi-Dynamics modules, you are switching the output of the Combi-
Dynamics to the AFL bus. In other words you are listening to the combined result of the Gate, Expander
and Compressor. See CHANNEL: LISTEN.
10.11.3 DYNAMICS Control

Parameters are adjusted from the Central Control Section as follows:
1. Press GATE, EXP, COMP or LIM to page the controls between the four DYNAMICS modules.
Note that for Broadcast channels, not all modules are supported (depending on the channel model).
2. Press ON to switch on the module.
3. Use the seven rotary controls to set the parameters.
The action of each module is best described by looking at the graphical representations on the Main Display.

Main Display
The Main Display includes gain reduction metering (DYNAMICS); the G, E, C and L light in green if the module
is turned on.
The graphical area shows the action of the processing and all parameter values. The IN and OUT meters below
each graph show the levels to and from the module.
The MODULE buttons on the right of the display can also be used to turn a module on (green) or off (grey).

10.11.4 Setting a Gate
Recording Channels Broadcast Channels
The gate parameters can be set as follows:

· Threshold Level – from -80dB to 0dB1.
· Floor Level – from 0dB to -128dB.
· Attack Time – from 0.10ms to 250ms.
· Release Time – from 40ms to 10s.
· Hold Time – from 0ms to 500ms.
· Look Ahead Delay – from 0ms to 10ms 2.
· Hysteresis – from 0dB to 6dB.
1
On Broadcast channels, the Gate Threshold must be equal to or lower than the Expander Threshold, see
Combi-Dynamics Conditions.
2
On Broadcast channels, the Look Ahead Delay affects all three Combi-Dynamics modules.
Note that the DYNAMICS gain reduction metering follows the attack and release settings for each dynamics
section. So, if you have a very fast gate attack, the metering will reflect this.
Hysteresis adjusts the level range between Gate open and closed, and can be used to delay the reaction of
the gate. The default value is 3dB. Set the value to 0dB for an immediate reaction, or increase the value
(e.g. to 6dB) to delay the opening and closing of the gate.

10.11.5 Using the Expander
The expander parameters can be set as follows:

· Threshold Level – from -80dB to 0dB1.
· Ratio – from 0.1:1 to 1:1.
· Floor Level – from 0dB to -40dB.
1
On Broadcast channels, the Expander Threshold must be equal to or higher than the Gate Threshold, and at
least 10dB lower than the Compressor Threshold, see Combi-Dynamics Conditions.
2

10.11.6 Setting a Compressor
The compressor parameters can be set as follows:

· Threshold Level – from -70dB to +20dB1.
· Ratio – from 1:1 to 10:1.
· Gain – from -20dB to +20dB.
· Mix Level – from 0% to 100%. Use this parameter to achieve parallel compression (described below).
· Knee – hard or soft. This parameter can only be set from the GUI. Use the trackball to set the KNEE
option to either hard or soft.
1
On Broadcast channels, the Compressor Threshold must be at least 10dB higher than the Expander
Threshold, see Combi-Dynamics Conditions.
2
When using Recording channels, you can achieve smoother compression by assigning the sidechain filters
to the compressor and setting -10dB gain for an 18dB/octave low shelf at around 125Hz to remove unwanted
low frequencies.
Using Parallel Compression

Parallel compression, also known as New York compression, is a dynamic range compression technique
achieved by blending a dry signal with a compressed version of the same signal. Rather than lowering the level
of the highest peaks to reduce the dynamic range, it raises the level of the softest sounds. Thus, the result is to
add audible detail.
Parallel compression can be applied to any DSP channel type - input, monitor, group, aux or sum - for either
Recording or Broadcast channels.
Use the MIX level to adjust the balance between compressed and uncompressed signal. To hear only
compressed signal, set the value to 100%. Reduce the value to achieve parallel compression. If you reduce the
value to 0%, then the module outputs uncompressed signal only.

10.11.7 Setting a Limiter
The limiter parameters (for both Recording and Broadcast channels) can be set as follows:
· Threshold Level – from -40dB to +20dB.
· Hold Time – from 0ms to 500ms.
· Look Ahead Delay – from 0ms to 10ms.
· Knee – hard or soft. This parameter is set from the Main Display. Use the trackball to set the KNEE
option to either hard or soft.
For best results you should give the limiter the chance to ‘see’ signal peaks in advance by setting a look
ahead delay of 5ms.
10.11.8 Filtering the Dynamics Sidechain

On Recording channels, the 2-band SCF section can be used to filter the sidechain of either the compressor or
gate section. Note that:
· The 2-band SCF section is not available on Broadcast channels.
· Sidechain filters can only be applied to either the compressor OR gate (and not both), and cannot be
applied to the expander or limiter.
· Although the section is called SCF - sidechain filtering - the 2-bands can be assigned to any EQ type:
high/low pass filter, shelf or parametric EQ.
Ø To apply sidechain filtering:

1. On the DYNAMICS panel press either GATE or COMP to access the correct dynamics section.
2. Turn on the SCF button to insert the 2-band filter/EQ section.
3. Now move across to the EQUALIZER/FILTER/SCF panel and use the SCF (Sidechain Filter) controls to
process the sidechain signal.
As soon as you touch a sidechain filter control, you will see the SCF parameters and graphical overview in the
SENSE area of the Main Display:
You can audition the sidechain signal by using the CHANNEL: LISTEN function.

10.11.9 Dynamics External Key Inputs

The system supports eight external dynamics key inputs which can be assigned to a Gate or Compressor on any
full processing channel. Note that:
· The external key inputs cannot be used on Broadcast channels.
· Each key can be routed from any source, and be assigned to one or more Gate or Compressor sections.
· Dynamics keys can cannot be assigned to an Expander or Limiter.
Assigning the External Key Signals

Any source can be routed to a dynamics key signal from the Signal List display:
1. Select the Input/Mon A+B directory as your destination to reveal the DynKeys 1-8 subdirectory:
2. Select the subdirectory and connect sources to each dynamics key in the usual manner.
You can assign a physical input or internal signals such as a mix bus, insert send or direct out. For example, if
you wish to trigger a gate from another channel, choose the channel insert send as the source for the key signal.
Activating the Key Input

1. Select the channel you wish to key - either by pressing its fader SEL button or using the
2. On the DYNAMICS panel press either GATE or COMP to access the correct dynamics section.
3. Touch a control to view the GATE or COMPRESSOR parameters in the SENSE area of the Main Display:
4. Using the trackball, select the EXTKEY field and enter the external key number (1 to 8).
Note that you can use the same key signal more than once if you wish. For example, to trigger the gates on
multiple channels from the Kick drum mic.
5. Activate the key signal by enabling EXTKEY ON or pressing the KEY button on the DYNAMICS front
panel.

10.12 EQUALIZER/FILTER/SCF
Recording channels provide a 4-band equaliser (EQ) plus two 2-band high and low pass filter modules; one
dedicated to the main channel (FILTER) and one dedicated to the dynamics sidechain (SCF).
Broadcast channels provide a single 4-band equaliser (EQ), and do not support separate filter or sidechain filter
modules. However, the upper and lower bands of the equaliser can operate as a filter, shelf or parametric EQ.
The modules can be arranged in any order within the channel signal flow and are controlled from the
EQUALIZER/FILTER/SCF control area.
Four sets of dedicated GAIN, FREQ and Q controls are provided:

1. Switch the four sets of controls between sidechain filters, main channel filters and the 4-band equaliser
using the SCF, FILTER and EQ buttons at the bottom of the panel.
Note that for Broadcast channels, you cannot select SCF or FILTER, as these modules are not supported.
2. Press the ON buttons to turn each section on or off.
3. Now adjust the GAIN, FREQ and Q settings.
The Main Display provides feedback on your parameter values; you will see the EQ, (and FILTER or SCF
processing on Recording channels):
All 4-bands of EQ (and 2-bands of filters on Recording channels) operate across the full frequency range (20Hz
to 20kHz), and offer a variety of different EQ types. The frequency for each band is marked by a vertical line
labeled 1, 2, 3 and 4 to show which band is acting at a particular frequency.
4. Press OFF to switch any individual band out of circuit.
5. Use the EQ type (Q) button to switch between bell, shelf and pass band filters for the high and low
bands, and bell, constant Q and notch for the middle bands.

The filter and shelf parameters vary slightly between Recording and Broadcast channels:
Recording channels Broadcast channels

Max. 3rd order filter Max. 2nd order filter
Max. 18dB/octave shelf Max. 12dB/octave shelf
Note that if you load a Recording channel EQ setting to a Broadcast channel (e.g. using a Preset), and the
stored parameter lies outside the range supported by Broadcast channels, then the closest available value is
applied. For example, if the preset is attempting to load a 3rd order filter, then a 2nd order filter (the maximum) is
applied.

10.13 CHANNEL
The CHANNEL section includes the following controls:
LISTEN
These buttons can be used to AFL an individual audio module within the Central Control Section.
Note that the Key mode in the System Settings display sets latching or momentary operation.
Ø TOUCH SENSE
This function turns each module’s SEL button into its own AFL enable. For example, to AFL the
channel post EQ:
1. Press TOUCH SNS - the button flashes.
2. Now touch an EQ control - the output of the EQ section feeds the AFL bus.
The EQUALISER SEL button illuminates to indicate this.
If the Key mode is sensing, the AFL automatically cancels when you stop touching the control.
Alternatively, if the Key mode is latching, deselect TOUCH SNS, press ESC or press CLEAR
AFL/PFL to cancel the AFL monitoring.
Note that you can listen to any audio module within the Central Control Section except DIG AMP
and DELAY. You cannot listen to a module, if AFL on a fader is already selected!
Ø KEY (Recording Channels only)
This function will AFL the dynamics sidechain on a Recording channel. For example, to AFL the
compressor sidechain signal:
1. Press KEY - the button flashes.
2. Touch any of the compressor controls - the output of the compressor sidechain feeds the AFL bus.
The Sidechain Filter SEL button illuminates to indicate this.
If the Key mode is sensing, the AFL automatically cancels when you stop touching the control.
Alternatively, if the Key mode is latching, deselect TOUCH SNS, press ESC or press CLEAR AFL/PFL to
cancel the AFL monitoring.
SNAPSHOT OFFSET
The TRIM and ABS buttons can be used used to select parameters for snapshot offsets.
SNAP ISO
Turn on this button to isolate the complete channel from a snapshot load, see Snapshot Isolate.
MODULE ISO
Use these buttons to isolate individual channel DSP modules from a snapshot load, see Module ISO.
FADER, MUTE, AFL & PFL

These controls duplicate the fader level, MUTE, AFL and PFL on the fader strip, and are provided for
convenience.
Note that independent SEL buttons are provided for the MUTE and FADER level, so that they can be selected
independently (for copy/reset, link groups, etc.) You will also see the FADER level and MUTE status on the
Main Display.

10.14 PANNING
The PANNING controls provide stereo or surround panning onto Group, Sum, Aux and Track busses assigned
from the channel. Whether stereo or surround panning is applied depends on the format of the bus masters.
The controls operate in one of two modes:
· PANNING – conventional X/Y pan positioning.
· HYPER PAN – a new mode, ideal for adjusting the position of a surround source within a surround field.

10.14.1 X/Y Panning

1. Switch the panning section into circuit by pressing ON.
The channel must be assigned to either a stereo or surround bus for panning to be active. If your channel is
only assigned to a mono bus, then panning cannot be turned on.
The status of the PANNING module is always shown on the Main Display. You can also view a graphical
representation of the pan position by assigning PANNING to one of the central display areas:
Main Display
Note that if you are using the FREEZE function to lock the joystick to a particular channel, then the Central
Control channel and the panning channel can be different. Therefore, the PANNING CHANNEL name is always
shown on the Main Display – in our example, INP 7.
2. To pan in conventional X/Y mode, panning must be enabled with Hyper Pan off.
Either press the HYPER PAN button and check that the ON button is off. Then return to X/Y pan mode by
deselecting HYPER PAN. Or, on the Main Display, check that PANNING is on (green) and HYP is off (grey).
Ø Panning onto a stereo bus:
Use the L-R rotary control to adjust the left/right pan position. (Or left/right balance if panning from a stereo
channel).
Ø Panning onto a surround bus:
1. Use the L-R control to adjust the left/centre/right pan position.
2. Use the B-F control to adjust the Back to Front pan position.
3. Use the LFE control to adjust the level to the Low Frequency Effect channel - the LFE level can be set
from -128dB to +15dB.
4. Use the SLOPE control to adjust the slope.

Slope
The SLOPE adjusts signals feeding to the discrete centre channel within the surround field, and can be used to
adjust the balance between discrete and phantom centre signals.
To see the effect, position your channel to front centre, and adjust the SLOPE control to a setting of +20; the
signal feeds only the discrete centre channel. Move the SLOPE control anticlockwise to a setting of -20; the
signal now feeds only the left and right channels (phantom centre). Please refer to the Appendix: Pan Slope for
more details on the effect of the SLOPE control.
Flat
The level of signal feeding the centre channel is also affected by the selection of the FLAT button. You can
change this from the Main Display.
The default (FLAT off) is to apply level compensation as you pan across left, centre, right channels. Select
FLAT on if you wish the level feeding the centre channel to remain constant as you pan across LCR.
10.14.2 The Joystick

In X/Y PANNING mode, the joystick provides another method of controlling the channel's XY pan position. The
joystick follows the channel in access unless you use the FREEZE function.
The joystick motors are enabled or disabled from the Joystick Motor option in the System Settings display
and saved within the production.
You can customise the feel of the joystick or add a notch at a particular position (e.g. Front Center) using
the Fader/Joystick options in the System Settings display.
Ø Freezing the Joystick

1. First make sure that the FREEZE button is deselected.
2. Update the channel in access, either by pressing its fader SEL button or using the ACCESS/ASSIGN
panel.
The channel is assigned to the Central Control Section (and the joystick).
3. Select FREEZE to lock the assignment.
The joystick now remains ‘locked’ to the assigned channel until you deselect FREEZE.
Note that when FREEZE is active, the channel in access can be different to that assigned to the joystick.
Therefore, the channel name is always shown in the PANNING module on the Main Display – in our example,
INP 7.

Ø Using the Joystick

Once assigned, you can use the joystick to control the channel’s X/Y pan position:
1. Make sure that the panning section is switched into circuit by pressing ON.
· If the joystick is motorised, it will automatically move to the current pan position of the channel. Move
the joystick to change the pan position.
· If the joystick is not motorised, then it may be in a different position to the current pan position.
o Move the joystick to ‘catch’ the channel; nothing happens until you move the joystick through the
current pan position.
If the joystick position is different from the current pan position, then this is indicated within the Main Display. A
yellow cross indicates the joystick position. Once you move the joystick through the current pan position and
‘catch’ the channel, the yellow cross disappears:
2. Move the joystick left or right to control the Left-Right pan position, or left/right balance if panning from a
stereo channel.
3. Move the joystick up or down to control Front-Back (Y-axis).
In either of these two modes, you can restrict the joystick to provide more control for a particular axis by
selecting:
· ISO PAN X - this isolates the X-axis so that any left-centre-right movements are ignored.
· ISO PAN Y - this isolates the Y-axis so that any up/down (Front-Back) movements are ignored.
10.14.3 X/Z Panning

The UP/DOWN PAN Z rotary control and Y-Z SWAP button become operational when working with external 3-D
panning tools.
When the Y-Z SWAP button is active, the joystick can be used to change the X/Z pan position.
10.14.4 Hyper Pan

HYPER PAN is an alternate mode of panning ideal for positioning a surround source within a surround field. It can
be used on mono, stereo or surround channels but is designed with surround sources in mind. Therefore, this
topic is covered later, see Surround Channels: Hyper Pan.

10.15 AUX SENDS
Each input, monitor or group channel can access up to 32* auxiliary sends. (* From Version 5.10.0, up to 128
auxiliary sends are supported by some Recording channel DSP configurations.)
From Version 5.4 onwards, you can define two central user buttons to COPY and PASTE fader levels to an
aux. See Central User Button, Copy channel levels to Aux.
1. Turn the AUX rotary control to page eight auxiliary sends onto the rotary controls - the names (e.g. AUX
1 to AUX 8) appear in the displays.
2. Press the ON button to activate the send - the AUX bus assign boxes on the Channel display update to
reflect your assignments:
3. Use the rotary control to adjust the send level. The send level can be adjusted from -128dB to +15dB.
4. The send level defaults to be post fader. Press PF to switch the send pre fader or PEQ (Recording
channels, Auxes 1-32 only) to switch to pre EQ.
Note that the bus assign boxes are color coded to reflect the different assignments:
· Post-fader – white writing on green (e.g. Aux 3).
· Pre-fader – black writing on white/green (e.g. Aux 5).
· Pre-EQ (recording channels only) – white writing on green/white (e.g. Aux 8).
5. The SEL button can be used to select the aux sends, in groups of 8, for operations
such as copy or reset, link groups, etc.
Note that the aux send options vary slightly between Recording and Broadcast channels:
Aux Send Recording channels Broadcast channels

Pre EQ ü (sends 1 to 32 only) û
Pre Fader ü ü
Post Fader ü (pre-bus) ü (after fader)
On Recording channels the pre EQ option follows any changes made to the position of EQ in the channel signal
flow. This allows you to move the aux send to virtually any channel pickup position.
On Broadcast channels, the aux post fader send is a real post fader send, and not pre-bus as in a Recording
channel. This means that you can position another module, for example delay, after the fader, and the delay will
affect the main busses, but not the post fade aux send. See Changing the Signal Processing Order.

10.15.1 Stereo & Surround Auxiliary Sends

Any odd/even pair of mono sends can be linked for stereo operation. Or, you can create surround sends (up to 8-
channel) from Auxes 1-8, 9-16, etc. This is handled in the same way as creating any other stereo or surround
channel, see Stereo Channels and Surround Channels.
Ø When an Aux is Stereo:
1. Press either of the linked Aux ON buttons (e.g. on Aux 1 or Aux 2) to activate the send.
2. Use the upper rotary control to set the level (Gain) of the aux send.
3. Use the lower rotary control to adjust the pan position, or stereo balance if routed from a stereo input
channel.
By default, the pan (balance) onto a stereo aux send is linked to the channel XY pan position. You can disable
this using the Delta Panpot to Aux Sends option in the System Settings display.
Ø When an Aux is Surround:
1. Press any of the linked Aux ON buttons (e.g. on Aux 1 to 6) to activate the send.
All Aux send channels are enabled.
Note that you can deselect individual ON buttons to switch off particular elements of the surround send – for
example, to turn off the send to the LFE channel.
2. Use the first Aux (e.g. Aux 1) to adjust the level of all surround Aux sends.
Note that the panning onto a surround aux send is always linked to the channel pan position.
10.15.2 Aux Masters

Each Aux channel can be assigned onto any fader strip, in the same way as you would assign an input channel
to a fader, and provide full or tiny signal processing depending on your DSP configuration.
To control your Aux masters:
1. Assign AUX channels to fader strips in the usual manner, see Fader Strip Assignment.
To get instant access to your Aux masters, assign them to a lower fader bank (e.g. Bank 5).
2. Control the level, mute, AFL and PFL and assign free controls as you would for an input channel.
3. If the AUX is a full processing channel, then can apply signal processing from the Central Control
Section.

10.16 AUDIO FOLLOW VIDEO

The Audio Follow Video (AFV) feature provides the ability to open and close a channel or main fader from an
external event. For example, during coverage of a live motor racing event, you can program the audio channels
associated with each camera to automatically open and close as the picture cuts between different shots.
Events can be received via TCP/IP Ethernet (using Lawo’s Remote MNOPL protocol) or GPIO.
Up to 128 events can be programmed, with each event corresponding to a different camera tally. An event can
control an individual channel or a group of channels. Parameters for the Hold Time, Rise Time, Max Event Time,
On Time and Fall Time control the envelope of the fade allowing smooth fades from one camera to another.
To configure the AFV parameters:

1. Press AFV on the AUX SENDS/AUDIO FOLLOW VIDEO panel.
The rotary controls switch to the eight AFV functions as indicated on the alphanumeric displays.
2. Turn the EVENTNUM control to assign the external event.
Active events are numbered from 1 to 128. Select 0 for no event. The event number appears beside the control
and on the Main and Channel displays:
3. Enable AFV by selecting the ON button beside the ON LEVEL control.

4. To action the event locally from the console, press the ON button beside the EVENTNUM control.
The fader opens (and closes) according to the AFV parameters.

5. Use the remaining rotary controls to adjust the AFV behaviour:
· ON LEVEL – the level which the fader opens to when the event if switched on.
· OFF LEVEL - the level which the fader closes to when the event is switched off.
· HOLD TIME – use this control to delay the opening of the fader after the event on trigger.
· RISE TIME – the time taken for the fader to move from off to on level after the hold time has expired.
· MAX TIME – the maximum amount of time the fader stays open (if no event off).
· ON TIME – the amount of time the fader stays at the on level, after the event is switched off.
· FALL TIME - the time taken for the fader to move from on to off level.
6. Once you have connected and configured the external controller, sit back and watch your fader(s) open
and close from the AFV event controller.
The Main Display shows the progress of the AFV event: the line for rise time is red as the fader rises; the line
for on time is red while the event is on; the line for fall time is red as the fader falls.
You can override a fader at any time, for example, to adjust the level of an open camera mic.
In addition, if you touch the fader while the camera is cut (AFV switched off), the fader remains open. This
allows you to perform a manual fade out.
You can link as many channel or main faders to external events as you wish, providing flexible AFV control
for individual and groups of faders.
If channels are grouped to a VCA master which is controlled by Audio Follow Video, then the slave faders will
be automated by the AFV master event. If you do not wish this to occur, deselect the AFV enable (ON button
beside the On Level control) on the slave channels.
7. To set Audio Follow Video either on or off for all channels, use the All AFV on/off option in the System
Settings display.

10.17 Automix Groups

Automix groups provide automatic level adjustment for any collection of mono, stereo and surround channels. The
feature is ideal for balancing active and inactive microphones such as in a panel discussion, or balancing
commentators against international sound.
Up to 8 independent Automix groups can be created. Any number of input, monitor or group channels can be
added to each group, and channels can be of any format - mono, stereo or surround.
Within each group, the Lawo Automix algorithm monitors the signal power of each channel, and then
automatically adjusts the mix levels accordingly. For example, if there are four guests plus a presenter, then the
algorithm automatically mutes the guest channels while the presenter is speaking. This frees the operator to
concentrate on other aspects of the audio production.
The name of each Automix group and gain reduction metering are shown on the Channel display. This allows you
to instantly see which channels are assigned to an Automix group, and the resulting level balance:
Automix Conditions
· You cannot add Auxes, Sums or VCAs to an Automix group.
· A channel can only be assigned to a single Automix group.
· When stereo or surround channels are added to an Automix group, the algorithm calculates the average
power of the summed component channels.
· The Automix level adjustment affects the main channel level - i.e. the level to the mix busses (Groups
and/or Sums). Therefore, it has no affect on Aux send level.
· Automix parameters are stored in snapshots and productions (as part of the channel DSP).
· Automix parameters are not stored by the timecode automation system.

10.17.1 Creating an Automix Group

On the mc²56, the quickest way to create an Automix group is:
1. Touch the Automix text (or Automix group name) on the fader strip's
Channel display - an expanded pop-up window appears.
2. Select a group number from 1 to 8 (green = enabled).
3. Repeat for each channel you wish to add to the group.
To add a range of channels, create a couple and then select the Automix group.
To add a surround channel, you must select the Surround VCA master.
4. To close the pop-up, either touch the X in the top right corner, or touch twice in quick succession
anywhere else on the display.
Alternatively, you can use the Automix display:
1. Open the Automix display on the Central GUI.
2. Select an Automix group - AMX 1 to AMX 8 - from the drop-down menu (top left).
3. Choose the channel you wish to add by placing it in access - e.g. press its fader SEL button. For
surround channels, you must select the Surround VCA master.
4. Then select the on-screen Add Access button (top right) - the channel is added to the Automix group:
The Add Access button is only available if a valid channel is in access. This can be any mono or stereo
input, monitor or group channel, or a Surround VCA master.
You cannot add surround component channels, Auxes, Sums or VCA masters to an Automix group. If an
invalid channel is in access, then the Add Access button is greyed out.
If you add a channel which is assigned to another Automix group, then the existing assignment is removed.

5. Repeat steps 3 and 4 to add more channels to the group.
To add a range of channels, create a couple and then select Add Access.
In our example, we have added three channels: stereo International Sound (IS) plus two commentators (COM 1
and COM 2):
When channels are added to an Automix group, they are enabled (On) and the weighting factor is set to 0dB.

10.17.2 Removing Channels from an Automix Group

1. Click on the channel's outline - it highlights in blue:
You can select multiple channels if you wish.
2. Then select the on-screen Remove Sel. button (top right) - the selected channels are removed from the
Automix group.

10.17.3 Labelling & Colour Coding an Automix Group

By default, the Automix groups are named AMX 1 to AMX 8. Each one can be given a user label and color code
as follows:
1. Select the Automix group - AMX 1 to AMX 8 - from the drop-down menu (top left).
2. Select the group label field and enter a new name - e.g. FOOTBALL.
3. Then assign a color from the drop-down menu - e.g. yellow:
The user labels and color coding appear on the Channel display:

10.17.4 Automix Metering

Once more than one channel is added to an Automix group, gain reduction becomes active. The Automix
algorithm monitors the signal power of each channel within the group, and then automatically adjusts the mix
levels accordingly.
Each channel's gain reduction is shown using the A meter (which can be seen on both the Automix and
Channel displays). The meter uses a negative scale ranging from 0dB (green, fully lit) to -20dB. This allows you
to quickly view the Automix balance.
In our example, the International Sound (IS) has been reduced by around 12dB while the first commentator
(COM 1) speaks. The second commentator (COM 2) is currently silent and is muted:

10.17.5 Automix Channel Parameters

For each channel within an Automix group, you can adjust its weighting factor and On button:
1. Select the Automix group - AMX 1 to AMX 8 - from the drop-down menu (top left).
2. Click and drag the on-screen faders to adjust the weighting factor of each channel - the weighting factor
scales from +20 to -20 dB, with the default mid point = 0dB.
In our example, we have chosen to add more weight to the first commentator (COM 1) so that the International
Sound (IS) is quieter when the commentator speaks:
The weighting factor can be assigned to a channel Free Control so that it can be adjusted on-the-fly. Right-
click on the on-screen fader to copy the weighting factor to the PARAMETER clipboard. It can then be
assigned to any Free Control in the usual manner, see FC Parameter Assign. And stored and recalled
globally across the console by a user-defined FC PRESET.
Free Controls assigned to the Automix weighting factor are labelled as AMX WT in the OLED display.
3. The On button can be used to temporarily remove a channel from the Automix group. On = green when
enabled.

10.17.6 Automix Group Parameters

For each of the 8 Automix groups, you can use the Attack, Release and Floor parameters to control how the
Automixer behaves:
1. Select the Automix group you wish to adjust - AMX 1 to AMX 8 - from the drop-down menu (top left):
2. Use the Attack and Release times to change how quickly the Automixer responds to changes in signal
level.
3. Use the Floor level to set the maximum amount of gain reduction.
For example, if the Floor level is set to -128dB, then channels will mute when no signal is present. To add a
little ambient sound from inactive microphone channels, increase the Floor level accordingly.
4. The Reset button can be used to reset the Attack, Release and Floor parameters to their default
values.

10.18 Mix Minus (N-1) Sends

The mc²56 can use any of its auxiliary sends (or track busses in Recording Channels mode) to create mix minus
feeds. There are several applications including an N-1 send back to a commentator; an N-many send to multiple
guests in a studio; or a pre-talk conference send where participants can chat off-air prior to their on-air
contribution.
The only difference between using an aux and a track bus is that track busses do not offer a send control. If you
need to adjust the mix minus send level from a channel, then you can create a track bus send level by moving the
DIGAMP module into the track bus path (from the Channel Config display).
Any number of aux sends and/or track busses can be configured for mix minus operation, and controlled directly
from the fader strip by programming the CORD and CONF functions onto the fader strip user buttons.
Broadcast Channel DSP configurations do not support track busses. Therefore, you MUST use auxiliary
busses for mix minus sends when running in this mode.
To create a mix minus from tiny channels, you must enable the Tiny Channels for Conference option in the
When using a Recording Channel DSP configuration, and creating a mix minus from tiny channels, you
MUST use auxiliary busses for mix minus sends (as track bus conference facilities are not supported from
tiny DSP channels).
10.18.1 Assigning the Mix Minus Busses

The first step is to assign a mix minus bus to each source requiring a mix minus send.
To generate N-1 sends, you should assign a different bus to each source. To generate an N-many send, assign
the same bus to multiple sources.
The mix minus bus assignment is linked to the source routed to a channel (and not the DSP channel itself).
This means that if you route the source to a different channel, the mix minus bus and its controls follow.
There are two ways to assign a mix minus bus to a source: from the Channel display or Signal Settings display
on the Central GUI. Here we will use the Channel display, as this is the quickest method to assign an aux from 1
to 16. To assign other auxes or track busses you must use the Signal Settings display.
Let's assume you have three microphone sources, each requiring an N-1 feed. The mic sources should be
routed to three input channels and the input channels assigned to some fader strips.
To assign a mix minus bus to each source:
1. Touch the N-1 text at the top of the fader strip's Channel display - an
2. Touch a number to assign an aux as the N-1 bus for the source (the
selection turns green).
3. Repeat for each source.
4. To close the pop-up, either touch the X in the top right corner, or touch
twice in quick succession anywhere else on the display.

The mix minus bus names (e.g. AUX 1, AUX 2, AUX 3) are shown in the N-1 field at the top of the Channel
display. This provides feedback on which aux (or track bus) is assigned as the N-1 bus for each source/fader
strip:
10.18.2 Routing the Mix Minus to its Destination

Next, route each mix minus bus back to its destination - for example, route Aux 1 to the earpiece for Mic 1, etc.
You can make these routes either from the Signal List or mx Routing displays. When using the Signal List
display, you will find the Aux outputs under the Bus Out Source Directory:

10.18.3 Controlling the Mix Minus Sends

Having assigned a mix minus bus to each source, you can now activate and control the sends from the fader
strip using the CONF buttons.
To activate a mix minus, the CONF function MUST be programmed onto a fader strip user button from the
Custom Functions display.
1. Go to the fader strips controlling each source and press the CONF buttons on all three channels:
The mix minus is automatically activated for each of the three channels; you can see this reflected in the bus
routing on the Channel display. For example, fader strip 1 (mic 1) is assigned to all mix minus busses except
its own (Aux 2 & 3); fader strip 2 (mic 2) is assigned all all mix minus busses except its own (Aux 1 & 3); fader
strip 3 (mic 3) is assigned all all mix minus busses except its own (Aux 1 & 2):
The automatic assignments are made with a send level of 0dB. You can adjust the individual channel send
levels by assigning channels to the Central Control Section and using the Aux send level controls.
2. To add channels not within the conference group to the mix minus, press their CONF buttons - the
channels are routed onto all mix minus sends (e.g. Aux 1, 2 & 3).
3. To control the output level or AFL/PFL a mix minus send, assign the AUX master channels onto fader
strips and use the fader, AFL and PFL.
4. To meter the mix minus sends, look at the Channel display metering on the AUX master channels. Or,
assign the AUX masters to the Metering display.
5. To talk to the mix minus send, press the TALK user button. (Note that this function must be
programmed from the Custom Functions display.)
If you activate CONF or CORD on a stereo channel, then Left+Right feeds the mix minus bus.
If you activate CONF or CORD on a surround VCA channel then you can choose which of the surround
slaves feeds the mix minus bus from the System Settings display (see Surround Mix Minus options).

10.18.4 Conference (Pre-Talk) Mix Minus Sends

The CORD button changes the mix minus from an N-1 into a pre-talk conference send.
This is a great facility for enabling guests and presenters to talk to each other while off-air. As long as their
channel fader is closed, each conference bus receives a pre-fader mix of all CORD contributors minus
themselves. As soon as the channel fader is opened, and they are on-air, the pre-fader bus reverts to a post fader
mix minus.
To use this function, both CONF and CORD functions MUST be programmed onto the fader strip user buttons
either from the Custom Functions display or the factory configuration. Please refer to your system
specification for details.
1. Go to the fader strips controlling each source and press the CONF and CORD buttons on the channels
you wish to act a pre-talk sends.
Note you will only be able to active CORD if the channel fader is closed.
You can select a mixture of buttons across channels to configure pre-talk sends (CONF plus CORD) for some
presenters and post-fader mix minus sends (CONF only) for others. For example, your guest in New York may
wish to talk to the studio presenters, but not to the guest in Australia!

10.19 DSP Presets

DSP presets provide a way of saving and loading settings for individual modules – EQ, Gate, Compressor,
Panning, etc. – or for a complete channel. For example, to save your favourite Kick Drum EQ, or the complete
settings for an announcer channel.
Presets are stored independently of the production, and therefore, you can load back a preset to any channel
within any production. They can also be transferred to any other mc 2 system.
Note that it is possible to load a preset saved on a Broadcast channel to a Recording channel, or vice versa. If
you do so, all matching parameter values are recalled. However, as not all parameters are included, the result
may not sound the same. For example, if you attempt to load a 3rd order filter setting from a Recording channel
preset to a Broadcast channel, then a 2nd order filter (the maximum) is applied.
Two different types of preset can be stored:
· Module presets – these store settings for individual processing modules: Image, EQ, Filters, Sidechain
Filters, Gate, Expander, Compressor, Limiter, AFV settings, Panning and AMBIT. (Note that module
presets cannot be stored for the input mixer, digamp, delay, insert, direct out or fader level. AMBIT
module presets can only be saved and loaded to/from surround VCAs.)
· Channel presets – store settings for the complete channel. This includes all the processing modules
listed above plus the input mixer, digamp, delay, insert, direct out and fader level. The only settings NOT
stored by a channel preset are bus routing assignments.
Both types of preset are saved and loaded from the Main Display:
1. Open the Main Display on the Central GUI.
Presets are saved and loaded from the module on/off buttons on the right of the display. You are always saving
from and loading to the channel in access – in our example, INP 1:

10.19.1 Saving a Module Preset

1. Select the channel you wish to save from - either by pressing its fader SEL button or using the
2. Using the trackball, right-click on the module you wish to save (e.g. EQ) and select Save Preset - the
'Save Preset' window appears:
3. Create or select a folder (recommended).

4. Type in a filename (e.g. Kick Drum EQ) and select OK - the EQ module settings are saved as a preset
into the selected folder, and the 'Save Preset' window closes.
Preset names within each folder must be unique. If you enter an identical name to an existing preset, then
the existing preset will be overwritten.
5. Repeat these steps to save settings for other modules by right-clicking on the appropriate module on/off
button.
You can save presets for Image, EQ, Filters, Sidechain Filters, Gate, Expander, Compressor, Limiter, AFV
settings and Panning modules, but NOT for the input mixer, digamp, delay, insert, direct out or fader level.
To save an AMBIT module preset, you must have the surround VCA channel in access.
Presets are stored as different file types to help distinguish EQ presets (.peq) from Compressor presets
(.pco) and so on.

10.19.2 Saving a Channel Preset

1. To save a preset for the complete channel, right-click on the word MODULES and select Save Preset:
2. Create or select a folder (recommended).

3. Type in a filename (e.g. Female Presenter Complete Channel) and select OK - the complete
channel settings are saved as a channel preset into the selected folder, and the 'Save Preset' window closes.
Preset names within each folder must be unique. If you enter an identical name to an existing channel
preset, then the existing preset is overwritten.
A channel preset stores all processing modules including the input mixer, digamp, delay, insert, direct out or
fader level. The only channel settings not stored by a channel preset are bus assignments.
Channel presets have a .pch suffix to identify their file type.

10.19.3 Loading a Preset

Presets are stored independently of the production, and can be loaded to any channel within any production.
1. Select the channel you wish to load to - either by pressing its fader SEL button or using the
2. Using the trackball, right-click on the module you wish to load (e.g. EQ), or right-click on the word
MODULES to load a channel preset, and select Load Preset - the 'Load Preset' window opens:
3. Click on the arrows to open up a folder (if you using folders). Note that you will only see presets
applicable to the selected module - in our example, EQ presets. This avoids you accidentally loading say a
compressor preset to an EQ module!
4. Select a preset and OK - the preset is loaded to the EQ module, resetting all parameters including the
status of the module on/off button, and the 'Load Preset' window closes.
10.19.4 Organising Presets in Folders

Folders can be created to help organise presets on the system. For example, to create a separate folder for each
user. It is recommended that you use folders to stop the list of presets growing too quickly!
From Version 5.10.2, you cannot create sub folders. Therefore, if you have presets stored in a sub folder from
an earlier version, you will need to export them to USB and import them back into a single level folder
structure in the new release. This can be handled from the File display (on the console) or File Transfer
display (on mxGUI).
You can also use the File displays to move presets between folders.

Ø To create a new folder:

1. Open the 'Load Preset' window by right-clicking on any audio module and selecting Load Preset.
2. Right-click anywhere inside the window and select Create folder:
A folder is created with a default name (e.g. folder0000).

3. To rename the folder, click on its name field - click once to select all text or double-click to insert a
cursor:
4. Type in the new name and press ENTER to confirm. Or, to exit without making a change, press
ESCAPE.
5. Select Cancel to exit the 'Load Preset' window.
When you next save or load a preset, you will see the new folder name.
Note that while you can protect individual presets, you cannot protect folders - the right-click Protect option is
"greyed out".

10.19.5 Renaming, Protecting & Deleting Presets

An individual preset can be renamed, protected or deleted from the 'Load Preset' window.
1. Open the correct window by right-clicking on the audio module and selecting Load Preset.
Note that you will only see presets applicable to your selection. So, for example, to rename an EQ preset, right-
click on the EQ module; to delete a channel preset, right-click on the word MODULES ; and so on.
2. To rename a preset, click on the name field - click once to select all text or double-click to insert a
cursor:
3. Type in the new name and press ENTER to confirm. Or, to exit without making a change, press
ESCAPE.
4. To protect a preset, right-click and select Protect - when a preset is protected, a padlock icon appears
beside its name.
5. To delete a preset, right-click and select Delete - note that there is no level of confirmation, so please
take care when using Delete.
6. When you have completed all operations, select Cancel to exit the 'Load Preset' window.
10.19.6 Importing and Exporting Presets

Individual presets and folders can be imported and exported to a USB interface, mxGUI computer or network drive.
This allows you to archive or transfer presets between systems. See File Import/Export for details.

10.20 Copy & Reset

The COPY/RESET AUDIO panel, located within the Central Control Section, can be used to copy and reset DSP
parameters, bus assignments, channel signal flow, channel color coding and fader strip free control assignments.
Individual or groups of settings can be copied or reset. When performing a copy, you can copy to single or
multiple destinations.
Note that this panel is also used to make Free Control assignments The CLR button is used to clear a Free
Control, and has no function (when working with COPY or RESET).
10.20.1 Copying to a Single Channel

To copy parameters from one channel to another:
1. Select the source channel - either by pressing its fader SEL button or using the ACCESS/ASSIGN
panel.
2. Press the COPY and ONE buttons, located on the COPY/RESET AUDIO panel, to activate a one-shot
assignment:
The fader SEL buttons across the console flash, in green:

3. Select the audio module(s) you wish to copy using the SEL buttons on the Central Control Section, see
Selecting Channel Parameters.
You can choose multiple modules and other channel parameters if you wish. In our example, the EQ SEL button
has been used to select all parameters from the 4-band EQ module:
4. Choose the destination channel by pressing its fader SEL button.

The selected parameters are copied, and the COPY and ONE buttons cancel.
If you wish to exit without copying any settings, just deselect the COPY button or press ESC, on the SCREEN
CONTROL panel, at any point during the operation.
10.20.2 Copying to Multiple Channels

You can copy the selected parameters to multiple channels by selecting COPY and MLT (rather than COPY
and ONE):
panel.
2. Press the COPY and MLT buttons (on the COPY/RESET AUDIO panel) - the fader SEL buttons across
3. Select the audio module(s) you wish to copy, by enabling the SEL buttons on the Central Control
Section, see Selecting Channel Parameters.
4. Choose the destination channels by pressing their fader SEL buttons - you can copy to as many
channels as you wish by pressing multiple fader SELs.
5. Remember to deselect MLT, or press ESC on the SCREEN CONTROL panel, to exit the copy and
paste mode.

10.20.3 Copying to ALL Channels

You can also copy parameters to all channels of a particular type. This is particularly useful when you are first
building your layout. For example, to copy your favourite EQ Band types, frequencies and Q values to all input
channels.
panel.
2. Press the COPY and ALL buttons (on the COPY/RESET AUDIO panel) - the fader SEL buttons across
3. Select the audio module(s) you wish to copy, by enabling the SEL buttons on the Central Control
4. Now choose the channel type(s) you wish to copy to, using the ACCESS CHANNEL/ASSIGN panel –
for example, select INPUT:
Note that you can select multiple channel types if you wish – e.g. select INP, GRP and SUM to copy the
selected parameter(s) across all input, group and sum channels.
5. Press ENTER on the ACCESS CHANNEL/ASSIGN panel to complete the copy operation.

10.20.4 Selecting Channel Parameters
Audio Modules
To select a complete audio module, use the SEL buttons in the Central Control Section:
To clear down any existing selections, toggle the SEL ALL button (this selects and then deselects all
modules). This ensures that there no "hidden" selections.
· INPUT – the SEL button selects either the source or channel input parameters, depending on the
current SOURCE/INMIX mode.
· DIG AMP, DELAY, INSERT, DIROUT – you can enable the SEL button for each section independently,
to select the digital amplifier gain, channel delay, insert send or direct output parameters.
· IMAGE – selects the stereo image and position.
· DYNAMICS – you can enable the SEL button for each section independently, to select the gate,
expander, compressor or limiter parameters.
· SCF – selects the sidechain filter parameters (Recording channels only).
· FILTER – selects the 2-band filter parameters (Recording channels only).
· EQ – selects the 4-band EQ parameters.
· MUTE SEL – selects the status of the mute button.
· Fader SEL – selects the main channel level.
· AUX SENDS/ AUDIO FOLLOW VIDEO – you can enable the SEL button for each page of aux sends
and AFV independently. This allows you to select eight aux sends at a time (Aux 1-8, Aux 9-16, Aux
17-24 or Aux 25-32).
· PANNING – selects the stereo/surround pan parameters.

Bus Assignments, Channel Signal Flow and Free Controls

You can select other channel parameters using the buttons on the COPY/RESET AUDIO panel:
· CH - selects the channel signal processing order as defined from the Channel Config display. (On
Broadcast channels, this includes the dynamics model).
· BUS - selects the channel’s bus assignments to groups, track busses and sums. (Note that aux
assignments are not included; you should use the AUX SENDS panel).
· STRIP - selects the fader strip’s Free Control assignments.
Channel Color Coding

In addition, you can select the channel's color code using the on-screen SEL button on the Channel Config
display:
Select All & Clearing Selections

Every time you re-enter the copy or reset mode, any previous selections are retained.
SEL ALL, below the CHANNEL buttons, will select, or deselect, all available channel
parameters (including CH, BUS and STRIP).
10.20.5 Copying an Individual Parameter

To copy just one parameter from an audio module – for example EQ 3 Gain – use COPY and CLIP as follows:
panel.
2. Select the parameter you wish to copy, by touching a rotary encoder on the Central Control Section -
3. Press the COPY and CLIP buttons on the COPY/RESET AUDIO panel.
This automatically selects the ONE button for a one-shot copy. (To copy to multiple channels, press MLT
instead of ONE.)
4. Choose the destination channel(s) by pressing the fader SEL button(s).
The EQ 3 Gain parameter is copied to the destination channel(s); all other EQ parameters are unchanged.

10.20.6 Resetting Channel Parameters
The RESET button, located on the COPY/RESET AUDIO panel, can be used to reset channel parameters to
their default values.
This works in a similar manner to copying parameters. However, as you are not copying from a source to a
destination channel, any channel can be assigned to the Central Control Section.
1. Press RESET and then ONE, MLT or ALL depending on whether you wish to reset parameters on a
single, multiple or all channels.
2. Select the audio module(s) you wish to reset from the Central Control Section, see Selecting Channel
Parameters.
3. Choose the channels to reset by pressing the fader strip SEL button(s), or entering the channel type (if
using ALL).
In each case, parameters are reset to their factory default values.

11. Stereo Channels
11. Stereo Channels

This chapter includes additional information for stereo channels.
Topics include:
· Creating a Stereo Channel
· Stereo Channel Operation
· Stereo Balance & Input Control
· Image Width & Positioning
· Panning from a Stereo Channel
· 2-Channel Mode

11. Stereo Channels
11.1 Creating a Stereo Channel

Any odd/even pair of input or output channels can be configured for stereo and controlled from a single
fader strip.
The easiest way to see which channels are stereo is to look at the metering on the Channel display -
here you will see stereo bargraphs (where applicable), and green/red circles below the stereo peak
meter.
There are three ways to create a stereo channel.
Note that when a stereo channel is created, settings from the left channel are copied to the right and
the two sides are automatically panned left and right for stereo operation. This means that if the stereo
link is removed, the resulting left and right mono channels have identical settings and are panned
centre.
Using the Signal List

If you have yet to assign your channels to the surface, then it is best to define the channel formats
from the Signal List display before assigning your fader strips.
3. Press the STEREO soft key, or right-click and select the Stereo option - this links the
selected channel to its adjacent DSP path. For example, INP 7 and INP 8.
You can link any odd/even pair of input or monitor channels using this method. Alternatively, select a
Bus Out from the Sources list to create a stereo bus master.

11. Stereo Channels
Using the IMAGE Panel

If the channels you wish to link are already assigned to a fader strip, then it may be simpler to use the STEREO
button on IMAGE panel in the Central Control Section.
1. Assign the odd channel, of the odd/even pair, to the Central Control Section by pressing its fader strip
SEL button.
2. Locate the IMAGE controls on the Central Control Section:
3. Press STEREO.
This links the selected channel to its adjacent DSP path. For example, pressing STEREO on INP 7 creates a
stereo channel from INP 7 and INP 8.
If the two mono channels used to create a stereo channel are present on the control surface, then the right hand
channel (e.g. input 8) will disappear from the surface leaving a blank fader strip. If you unmake the stereo
channel, and the blank fader strip is still available, then input 8 will return to the active surface. However, if you
have assigned another channel to its old position, you will need to reassign input 8 to a different fader strip
location.
Using the Channel Config display

The third method is to use the Stereo configuration option in the Channel Config display.

11. Stereo Channels
11.2 Stereo Channel Operation

The operation of a stereo channel is identical to that of a mono channel, with the following additional features:
· Stereo Balance and Input Control
· Image Width and Positioning
· Panning from a Stereo Channel
All other processing (EQ, Dynamics, Delay, etc.) is applied equally to both left and right sides.
Note that for groups or sums, any odd/even pair of channels can use 2-Channel mode, as an alternative to stereo.
This provides independent fader strip control for the left and right sides of the output master.

11. Stereo Channels
11.3 Stereo Balance & Input Control

When an input channel is stereo, a number of additional controls become
available: BALANCE, Ø R and stereo input management.
Note that GAIN, BALANCE and Ø can be applied to the source or channel
depending on the SOURCE/INMIX mode.
1. With the INPUT panel switched to SOURCE mode (the default), use the
GAIN control to adjust source gain - the gain range depends on the type of
input (mic/line or analog fixed gain/digital).
The gain for left and right inputs is adjusted in parallel; any offsets are retained
and represented by a positive or negative BALANCE value.
To adjust source gain independently for the left and right inputs, you can use the
Mic/Line Gain or IO DSP Volume parameters from the Signal Settings display.
2. Use the BALANCE control to set the Left/Right input balance for the
stereo input.
3. Press the MONO button to sum the Left and Right inputs.
4. Press the button to reverse the Left and Right inputs.

5. Press the Ø L or Ø R buttons to reverse the phase.
6. Press either L>B (Left to Both) or R>B (Right to Both) to route either the
left or right source to both sides of the stereo channel.
7. Select M/S for sources recorded using sum and difference coding (see
below).
8. Switch the INPUT panel to INMIX mode if you wish to adjust the GAIN
and BALANCE for the channel.
The status of all settings is indicated on the Main Display.
M/S (Middle & Side)
M/S is a stereo recording technique which uses two coincident

microphones, one pointing to the front (Middle) and the other (bi-
directional) at right angles to provide the stereo ambience (Side).
The mc 2 consoles provide M-S to X-Y decoding to turn the Middle
and Side signal into normal Left and Right stereo.
First create a stereo channel and assign its inputs as follows:
· Left Input - from the Middle (M) signal, usually a cardioid or
omni-directional mic.
· Right Input - from the Side (S) signal, always a figure-of-
eight.
When the M/S button is active, the following matrix calculations are
applied:
· Left channel = L+R (M+S)
· Right channel = L-R (M-S)
By adjusting the BALANCE control, you can vary the ratio of Middle to Side, and thereby adjust the width of the
stereo field.

11. Stereo Channels
11.4 Image Width & Positioning

The IMAGE controls can be used to adjust the width and positioning of a stereo channel:
1. Select ON to switch the Image section into circuit.

2. Choose the style, using the on-screen STYLE button, on the Main Display:
· STYLE off (default) - retains the width of the stereo image and offsets its position within the stereo field.
· STYLE on - collapses the width of the stereo image as you adjust the left/right position.
3. Use the WIDTH control to widen or narrow the stereo image.
4. Adjust the POS control to move the narrowed or widened image within the stereo field.
In our example, the image width is retained, and the red line on the Image graph moves as you adjust this control
to represent the direction of the image control:
Be careful not to widen the stereo image too far. If you do so, you may create phasing problems.

11. Stereo Channels
11.5 Panning from a Stereo Channel

The channel panning controls on a stereo channel behave in a very similar fashion to a mono channel, allowing
you to pan a stereo channel in surround when routed to a surround bus destination. The only difference in control
is that the L/R pan control now adjusts the left/right balance of the stereo channel.
Similarly, the X-axis movement of the joystick adjusts the left/right balance when panning a stereo channel.
See X/Y PANNING for details.

11. Stereo Channels
11.6 2-Channel Mode

Any odd/even pair of sum or group channels can be configured as 2-channel as an alternative to stereo. This
provides independent fader strip control for the left and right sides of the output channel.
Note that 2-channel mode cannot be selected for aux channels.
1. Assign the odd sum or group channel, of the odd/even pair, to the Central Control Section by pressing its
fader strip SEL button or using the ACCESS CHANNEL/ASSIGN panel.
2. Open the Channel Config display on the Central GUI.
3. Press the 2-CHANNEL soft key, or select the 2-Channel screen option.
This configures the selected channel and its adjacent DSP path for 2-Channel operation. In our example, GRP 1
and GRP 2:
If you now bus assign an input channel onto GRP 1, then the input will be assigned to GRP 1 and 2, and panned
with a left/right pan law, just as for a stereo group.
The difference from stereo operation is that you can assign GRP 1 and GRP 2 independently to the console
surface. This allows you to adjust the left and right sides of the 2-channel output independently.
4. To undo the 2-channel configuration, put GRP 1 back into access and deselect the 2-CHANNEL option.

12. Surround Channels

This chapter includes additional information for surround channels.
Topics include:
· Defining the Global Surround Format
· Creating a Surround Channel
· Bus Assign to a Surround Output
· Monitoring in Surround
· Surround VCAs
· Revealing the VCA Slaves
· Hyper Pan
· AMBIT
· The Downmix Display

12.1 Defining the Global Surround Format

The Surround Format option defines the format used for all surround channels, pan laws and monitoring. For
example, if you select Dolby Digital 5.1, then component channels 1 to 6 are configured as L, R, C, LFE, Ls and
Rs.
To change this option:
1. Open the System Settings display on the Central GUI.
2. And navigate to the Global topic.
3. Select the Surround Format option, and use the drop-down menu to make your selection:
· 4.0 – L, R, C, S for Dolby ProLogic.

· 5.1 – L, R, C, LFE, Ls, Rs for Dolby Digital and DTS.
· 6.1 – L, R, C, LFE, Ls, Rs, Cs for Dolby Digital EX and DTS ES.
· SDDS 7.1 – L, R, Lc, Rc, C, LFE, Ls, Rs for SDDS 7.1.
· DTS-HD – L, R, C, LFE, Lm, Rm, Ls, Rs for DTS-HD 7.1.

12.2 Creating a Surround Channel

Surround channels are always created in 8-channel blocks, even if the surround format uses less channels. For
example, to create a surround sum, the first component MUST be SUM 1, 9, 17, etc. If the format is Dolby Digital
5.1, then this creates a 6-channel surround channel as follows:
· Sum 1, 9, 17 = Front Left
· Sum 2, 10, 18 = Front Right
· Sum 3, 11, 19 = Front Centre
· Sum 4, 12, 20 = LFE
· Sum 5, 13, 21 = Surround Left
· Sum 6, 14, 22 = Surround Right
· Sums 7 & 8, 15 & 16, 23 & 24 – are free to be configured as mono or stereo.
It is a good idea to bear this in mind while choosing a DSP Configuration.

Note that you can configure channels as surround, even if they use tiny processing.
There are two ways to create a surround channel.
Using the Signal List

3. Press the SURROUND soft key, or right-click and select the Surround option:
Using the Channel Config display

The second method is to use the Surround configuration option in the Channel Config display.

12.3 Bus Assign to a Surround Output

Having configured a surround output, bus assignments from your source channels can be made using any of the
usual bus assign methods.
Note that when you mak e an assignment onto a surround bus, the console assumes you wish to route to all
outputs (e.g. to all six Sums of a 5.1 output). If this is not the case, then you can deselect an individual
assignment - for example, remove the channel from Sum 4 to remove the assignment onto the LFE output.
Note that if you use the Bus Assign display, then assignments are always made to surround component
channels individually.

12.4 Monitoring in Surround

The main control room monitor output (CRM 1) usually provides monitor source selection and level control in
surround. Therefore, if you are working in 5.1 surround, select SUM 1-6 as your monitor source. Then use the
CRM 1 level control to adjust the monitor level. See Control Room Monitoring for details.

12.5 Surround VCAs

Surround VCAs provide master control of a surround channel from a single fader strip.
A surround VCA is automatically designated each time you create a surround channel.
By assigning the surround VCA to a fader strip, you can control the overall level of the surround
channel and adjust master parameters. You will also be able to meter all the surround component
channels on the Channel display.
Interrogating the Surround VCA Number

To assign a surround VCA to a fader strip, you will need to know its system name. This is shown on
the Signal List and Channel Config displays.
From the Signal List display, right-click on any surround component channel - for example, on INP
9. The surround VCA name is indicated at the bottom of the drop-down list - e.g. SUR I 2:
From the Channel Config display, select any surround component channel - for example, SUM 1. The surround
VCA name is indicated in the Master field - e.g. SUR S 1:
Note that the naming convention is always the same on every mc 2 system. So:
· SUR I 1, SUR I 2, SUR I 3, etc. = the surround VCA for input channels 1-8, 9-16, 17-24...
· SUR S 1, SUR S 2, SUR S 3, etc. = the surround VCA for sum channels 1-8, 9-16, 17-24...
· SUR G 1, SUR G 2, SUR G 3, etc. = the surround VCA for group channels 1-8, 9-16, 17-24...
· SUR A 1, SUR A 2, SUR A 3, etc. = the surround VCA for aux master channels 1-8, 9-16, 17-24...

Assigning a Surround VCA to a Fader Strip

Once you know the Surround VCA name (e.g. SUR S 1), it can be assigned to any fader strip - channel or main.
1. First, select the Surround VCA:
Either, select a component channel in the Signal List and right-click to select Access Surround / VCA Master:
Or, use the ACCESS/ASSIGN panel to type in the Surround VCA name - press SUR, then the channel type
(e.g. SUM) and then the number (e.g. 1).
2. Then, use any of the usual methods to make the fader strip assignment - for example, press ASSIGN
(under STRIP ASSIGNMENT) and then a fader SEL.
The fader strip label updates and you will see metering for the surround component channels on the Channel
display.
Using the Surround VCA

You can now control the overall level of the surround channel from the Surround VCA fader, and adjust other
master parameters such as EQ, Compression, AMBIT Upmix & Spatialise, etc.
The master/slave behaviour varies depending on the parameter. For example, main level and input gain are
controlled relatively so that you can offset the slave positions; EQ frequency and Q are always set by the master
(absolute), so that any change is inherited by all slaves; the MUTE is switched ON from a Surround VCA master
but not OFF. For full details, see the Master/Slave Behaviour Appendices.
Renaming a Surround VCA

The user label of the surround VCA can be edited from the Central GUI Title Bar when the surround VCA is in
access. See Editing User Labels.

12.6 Revealing the VCA Slaves

The REVEAL button provides quick access to the Surround VCA (or normal VCA) slaves so that you can offset
fader levels and other parameters.
The faders used to "reveal" slaves can be any bay of fader strips or the optional Reveal user panel.
Note that if you are using the Reveal user panel, then you can only reveal surround VCAs (and not the slaves of a
normal VCA).
12.6.1 Reveal on Fader Strips

This method can be used to reveal Surround VCAs or normal VCAs.
Before using REVEAL, you should check where the slave faders will appear, using the Reveal options in the
System Settings display. You can also use these options to disable REVEAL if you wish.
Ø To reveal the slaves of a VCA master:

1. Select the VCA channel - either by pressing its fader SEL button or using the ACCESS/ASSIGN panel.
2. Now press the SURROUND CHANNEL REVEAL button located in the Centre Section:
The slaves appear in their predetermined position on the control surface (as set by the Reveal options in the
System Settings display).
3. You can now adjust the slave fader positions and other relative parameters. (For details on which
parameters are relative, see the Master/Slave Behaviour Appendices.).
For Surround VCA masters, faders are always moving. Therefore, you will need to open the surround VCA
master fader in order to offset the slaves.
When surround channels are created, the front and rear left/right pairs of the surround channel are
automatically linked for stereo. This means that when you reveal the slaves, the front L/R and rear L/R
components appear on two stereo fader strips. If you wish to control the Left and Right independently, then
unmake the stereo link: e.g. press SEL on the L/R slave channel and deselect the STEREO button on the
IMAGE panel.
4. Deselect REVEAL to revert the fader strips to their previous assignments.
A VCA can be the master of a Surround VCA. If this is the case, first select the VCA fader SEL button and
press REVEAL to reveal the VCA group; then press the Surround VCA fader SEL to reveal the surround
slaves.

12.6.2 The Reveal User Panel

Reveal Fader User Panel (optional)
This panel can be fitted to the right of the Central GUI, see Overbridge options. It provides five dedicated faders
for controlling surround VCA slaves.
The main differences to revealing on normal fader strips are:
· You cannot reveal normal VCAs on this panel.
· The last selected surround VCA remains assigned to the reveal faders even if you select a different
channel type. (Note that from Version 5.10.2 onwards, you can change this from the System Settings.
If the Reveal Panel Assign Mode option is enabled, the reveal panel is cleared and performs no function
unless the channel in access is a surround VCA.)
Ø To reveal the slaves of a Surround VCA master:
1. Select the Surround VCA channel - either by pressing its fader SEL button or using the
The slaves automatically appear on the five faders; you will see the name of the component channel (e.g. Lr, C,
LF, etc.) in the fader display.
2. Adjust the fader and MUTE buttons as required. You can also AFL, PFL or select (SEL) each slave.
3. Select a different surround VCA to reveal its slaves.
The layout of the slave channels varies depending on the surround format, and whether channels are linked for
stereo. For example, if the global surround format is 5.1, you will see:
· Fader 1 = Lr (front LR linked for stereo)
· Fader 2 = C
· Fader 3 = LF (LFE)
· Fader 4 = Su (surround LR linked for stereo)
· Fader 5 = blank
If you remove the stereo linking for both the front LR and surround LR slaves you will have 6 fader levels (too
many for the user panel). To access the additional channels, a central user button can be factory-configured to
switch say fader 3 between Centre and LFE.
You can reveal to both console fader strips and the user panel if you wish. Or, set the Reveal bay count
option to 0 to disable reveal on normal fader strips.

12.7 Hyper Pan
The console’s Hyper Pan section is designed to help reposition surround sources within a surround field. For
example, you may have to deal with a surround microphone where the left and right inputs are out of phase, or
maybe you wish to rotate the surround source around the sweet spot axis.
To adjust the Hyper Panning of a surround channel:
1. Put the surround VCA (e.g. SUR I 1) into access by pressing its fader SEL button.
2. Select the Central Control Section PANNING button. Check that ON is enabled (this switches panning
into circuit), and the current XY pan position - the default starting point should be the sweet spot.
3. Then select HYPER PAN and enable its ON button (this switches panning from XY to Hyper Pan mode).
You can double-check all your selections from the Main Display - both PANNING and HYP should be on
(green), and the XY position should be at the sweet spot (X = 0 and Y = 0):
Main Display
If you are unsure about any of the current settings, then reset panning using the RESET function.
Hyper Pan is best explained by looking at the Main Display. The current positions of each node are color coded
according to the surround format (as defined by the AES). In our 5.1 example, the colors are:
· Yellow = Front Left
· Orange = Front Centre
· Red = Front Right
· Blue = Surround Left
· Green = Surround Right
4. Use the rotary controls to adjust each Hyper Pan parameter. In the examples which follow, we have
reset each control before adjusting the next to show the affect of each parameter. However, you can combine
parameters as you wish.

Ø TURN
This parameter rotates the surround source within the surround field. It can be adjusted from 0 degrees to +180
or -180 degrees:
Ø DEPTH
This parameter reduces the depth of the surround source with respect to the sweet spot. It can be adjusted from
+100% through 0% (all nodes are aligned at the sweet spot) to -100% (front and rear nodes are reversed) – our
example shows the depth reduced to +40%:
Ø FWIDTH (Front Width)

This parameter adjusts the width of the front channels. It can be adjusted from +100% (full width) through 0% (all
channels centered) to -100% (left and right channels are reversed):

Ø BWIDTH (Back Width)

This parameter adjusts the width of the rear channels. It can be adjusted from +100% (full width) through 0% (all
channels centered) to -100% (left and right channels are reversed) - our example shows Back Width set to
+20%:
Ø Adjusting the Sweet Spot

Use the joystick to reposition the sweet spot – the example below shows all parameters set to their defaults,
but with the joystick position set forward, effectively bringing the surround channels closer to the front field:
Ø Combining Parameters
If you now adjust the TURN control, you will find that the surround source rotates around front centre (the current
joystick position):
By enabling the TURN PRE PAN button (on-screen), you can turn the surround source and then position the
rotated source using the joystick.

12.7.1 Hyper Pan on Surround Slave Channels

You can use Hyper Pan on individual surround slaves to adjust the relative position of an individual channel – for
example, if a surround source is offset slightly to the right, then put the right channel (e.g. INP 18) into access
and use the Hyper Pan TURN control to adjust the offset independently from the other slaves. Remember to
undo the stereo linking for inputs 1 and 2 first!
12.7.2 Hyper Pan on Mono or Stereo Channels

The Hyper Pan controls can also be used on mono or stereo channels which are assigned to a surround output.
The example below shows the default position of a stereo source when working in Hyper Pan mode:
Set the Y pan position (front/rear) to 0 and then use the TURN control to rotate the stereo source within the
surround field.

12.8 AMBIT
The Lawo AMBIT (AMBience IT) is a DSP module specifically designed for 5.1 surround channels providing
upmix and spatialise processing. It can operate in one of two modes:
· Upmix (& Spatialise) – a 2 in, 6 out upmixer which, using sophisticated algorithms, converts stereo
signals into 5.1 surround.
· Spatialise Only – a 6 in, 6 out spatialiser which processes the surround left and right channels only,
ideal for treating incoming 5.1 signals.
The module is available in all full processing channels configured for 5.1 surround, except auxes. In other words,
AMBIT can be applied to 5.1 input channels, monitor channels, groups and sums.
AMBIT Conditions
· AMBIT processing can be applied to Inputs, Monitor channels, Groups or Sums, but not to Auxes.
· The global surround format must be 5.1. If a different format is selected, the AMBIT module is not
available.
· AMBIT processing must be enabled from the System Settings display (using the Upmix/Spatialize
Enable option).
· Once an AMBIT module is active, the 5.1 component channels lose some of their other DSP. This is
necessary to support the extra processing required for the AMBIT algorithm:
o On Recording channels, the Delay, Filter, Image, Gate and Expander modules are suspended.
o On Broadcast channels, the Delay, Insert and Dynamics modules are suspended.
· All AMBIT parameters are stored in productions, snapshots and presets.
· AMBIT processing is fully compatible with any downmix.
· The following functions are NOT supported by the AMBIT module - Link Groups; COUPLE; LISTEN;
Snapshot crossfades; Timecode Automation.

12.8.1 How AMBIT Works

The Upmix & Spatialise mode uses sophisticated algorithms to convert 2-channel stereo signals into 5.1
surround. It can be used on an Input or Monitor channel, or on an output Group or Sum.
Applications
Here are some examples of when you might apply AMBIT processing to different channel types:
· Inputs – you could use the AMBIT module within a 5.1 Input channel to create a surround upmix from a
stereo ambience microphone.
· Sums – you can create a 5.1 upmix from your stereo master by applying the AMBIT processing to a
Sum.
· Groups – to upmix some stereo sources but not others, then apply the AMBIT processing to a 5.1
Group which feeds a 5.1 Sum. Route all the stereo sources you wish to upmix to the Group. Then route
any channels you wish to bus and pan manually onto the 5.1 Sum.
Parameters
Imagine that you are sitting in a virtual room, listening to the source from a pair of stereo loudspeakers. You are
the target. Using AMBIT you can define:
· The Virtual Room – the size of the room and how it handles reflections.
· The Source position – the position and width of the source playback loudspeakers.
· The Target position – your listening position.
Having defined how the source signal is “heard”, you can then determine how the 5.1 output is processed:
· Front Processing – these parameters define how much correlated signal (mono signal) feeds the
discrete centre channel, as opposed to left and right (phantom centre). There are two modes in which
you can work:
o Auto-centre – in this mode the AMBIT module decides automatically how much correlated signal
feeds the discrete centre channel versus left and right (phantom centre), based on the correlation
threshold and time. The algorithm works dynamically, according to changes in the correlated signal
level, producing a stable front image for any content:
o Manual centre – with Auto-centre turned off, the correlated signal feeding the centre channel is set
manually. You can adjust the left/right width (Basewidth) and discrete centre channel level
(Centering). You can also choose to link Centering and Basewidth in order to maintain a consistent
ratio.
· Rear Processing – these parameters define the processing applied to the surround left and right
channels. Parameters are available to control the left/right width (Basewidth), high pass filtering and the
virtual room simulation:
In Spatialise mode, only the rear processing is applied to the incoming surround left and surround right
channels.

12.8.2 Turning On AMBIT

The AMBIT DSP module is enabled, disabled and controlled from the surround VCA master of a 5.1 channel.
AMBIT processing can be applied to Inputs, Monitor channels, Groups or Sums, but not to Auxes.
The global surround format must be 5.1. If a different format is selected, the AMBIT module is not available.
AMBIT processing must be enabled from the System Settings display (using the Upmix/Spatialize Enable
option).
1. Select the Surround VCA master by pressing its fader SEL button.
2. Press the CHAN/CONFIG button, located on the SCREEN CONTROL panel, to view the Main Display:
With the surround VCA in access, the buttons to control the AMBIT module appear at the bottom of the
MODULES list on the right of the display:
If you cannot see the Upmix (UPX) and Spatialise (SPZ) buttons, then check the following:
· Is the surround VCA in access?
· Is the global surround format set to 5.1?
· Is the Upmix/Spatialize Enable option turned off within the System Settings display?
3. Turn on the Upmix & Spatialise mode (2 in: 6 out) by selecting the UPX touch-screen button.
Both UPX and SPZ are enabled (green).
4. Alternatively, turn on Spatialise mode (6 in: 6 out, rear processing only) by selecting SPZ only.
When AMBIT processing is turned on, then the component channels lose some of their other DSP:
· Delay, Filter, Image, Gate and Expander (Recording channels).
· Delay, Insert and Dynamics (Broadcast channels).
This is reflected by the greyed-out module icons on the Main Display.
5. To reinstate the suspended DSP modules, you must turn off the AMBIT processing - deselect UPX and
SPZ.

12.8.3 Changing the Signal Flow

The AMBIT module can be moved within the channel signal flow in the same manner as other DSP modules.
1. Put the surround VCA into access – press SEL on its fader strip.
2. Open the Channel Config display.
3. Select the AMBIT module and adjust its position using the Up, Down, Left, Right soft keys or right-
click options.
The method is identical to moving other DSP modules, see Changing the Signal Processing Order.
12.8.4 Controlling AMBIT Processing

All AMBIT parameters are adjusted from the Main Display on the Central GUI.
1. Make sure that the surround VCA is in access and assign the AMBIT module to one of the assignable
views on the Main Display:
3. Make sure that the AMBIT module is turned on – either UPX and SPZ, or SPZ only.
4. Adjust the parameters from the on-screen buttons. You have a choice of two modes: Easy or Expert.

12.8.5 AMBIT Easy Setup

The Easy tab allows you to configure AMBIT processing using just 10 parameter options:
1. First set the REF-SIZE for the VIRTUAL ROOM.

This defines the virtual room size in metres (m).
2. Then determine the FRONT PROCESSING parameters as follows:
In Easy setup keep AUTO CENTER turned ON. In this mode the AMBIT module decides automatically how
much correlated signal (mono source signal) feeds the discrete centre channel versus left and right (phantom
centre) according to the Correlation Threshold and Time. The algorithm works dynamically, following changes in
the correlated signal level, producing a stable front image for any type of content.
The correlated signal threshold and time determine the working point for the auto-centering algorithm:
· CORR THRES – sets the correlated signal threshold (100% = +1, 0% = 0).
Correlated signals above the threshold feed the centre channel and those below feed left and right equally
(phantom centre).
· CORR TIME – sets how quickly the auto-centering reacts to correlated signals falling above/below the
threshold.
You can monitor the affect of the auto-centering algorithm using the on-screen graphics:
If you wish to control the front processing parameters manually, then use Expert setup.
3. Next adjust the REAR PROCESSING parameters:
· DE-CORR – sets the amount of de-correlated signal applied to the rear. In other words, the impact of
mono source content on the rear channels.
100% is the default value. You can increase it to 200% (only de-correlated signal) or reduce it to 0% (only
correlated signal).
· PRE-DELAY – sets the amount of pre-delay in milliseconds (ms) applied to the rear channels.
The bigger the pre-delay, the more reflective the virtual room will appear.
· HP FREQ – sets the roll-off frequency for the high pass filter in Hz (see below).
· HIGH-PASS – turns the high pass filter on or off.
The rear processing high pass filter is a 2nd order (12dB/octave) filter which can be applied to the rear channels.
4. Finally adjust the LFE low pass filter parameters:

· LFE FREQ – sets the roll-off frequency for the low pass filter in Hz (see below).
· LFE FILTER – turns the LFE filter on or off.
The LFE low pass filter is a 4th order (24dB/octave) filter which can be applied to the Low Frequency Effect
(subwoofer) channel.

12.8.6 AMBIT Expert Setup

The Expert tab provides access to more advanced parameters.
When working in Expert setup, assign the AMBIT module to both assignable views within the Main Display.
This allows you to view different tabs simultaneously.
For example, it makes sense to view the Reflection Patterns for the Surround Left/Right channels (POSITION
tab) while adjusting ROOM and then PROCESSING parameters, as both have an effect on the reflection
patterns:

ROOM
1. Select ROOM to define the virtual room:
2. Use the ROOM-SIZE parameters to define the shape and size of the virtual room:
· REF-SIZE - Room size in metres (m). Also available in Easy setup.
· LENGTH - Length as a % of the room size.
· WIDTH - Width as a % of the room size.
· HEIGHT – Height as a % of the room size.
Any changes are represented by the on-screen graphics.
3. Use the WALL REFLECTIVITY parameters to define the reflectivity of the surfaces within the virtual
room.
100% = very reflective; 0% = not reflective:
· SIDE - Reflectivity of the side walls (left/right).
· REAR - Reflectivity of the rear wall.
· CEILING - Reflectivity of the ceiling.

POSITION
1. Select POSITION to define the source and target positions:
2. Use the SOURCE parameters to define the position and spacing of the stereo source loudspeakers:
· FRONTAL - front/rear speaker position: 100% = front; 0% = middle of the room; -100% = rear.
· LATERAL - left/right speaker position: 100% = right; 0% = centre; -100% = left.
· HEIGHT - height of speaker position: 100% = top; 0% = middle; -100% = bottom.
· SPACING – left/right spaving: 100% = full width; 0% = mono.
3. Use the TARGET parameters to define the position of the listening target:
· FRONTAL - front/rear target position: 100% = front; 0% = middle of the room; -100% = rear.
· LATERAL - left/right target position: 100% = default.
· HEIGHT - height of target position: 100% = default.
The on-screen graphic provides a visualization of the resulting reflection pattern.
4. If not already visible, select the ROOM tab and you will see that the source and target positions are
represented by the yellow (left channel), red (right channel) and turquoise (target) dots.

PROCESSING
1. Select PROCESSING to define the front and rear processing parameters.
2. When dealing with the FRONT processing parameters, it is best to work with AUTO CENTER either on
or off:
· AUTO CENTER ON - use the correlated signal threshold and time as described for Easy Setup.
· AUTO CENTER OFF – control the front upmix processing manually:
o BASEWIDTH – sets the left/right width: 100% = default; 200% = overwidth; 0% = mono.
o CENTERING – sets the amount of correlated signal feeding the discrete centre channel: 100% =
discrete centre only; 0% = phantom centre, no discrete.
o LINK - turn on this option to link BASEWIDTH and CENTERING. This ensures that the correlated
signal level remains constant and that there is an equal distribution of power between the three front
channels.
The results are best represented by the on-screen graphic within the Easy tab:
3. The REAR processing parameters are identical to those in Easy setup.

FILTER
1. Select FILTER to define the remaining parameters:
2. Use the REAR DIRECT REFL. and REAR CROSS REFL. parameters to adjust the virtual room
reflections applied by the Spatialiser to surround left and right.
Note that these parameters affect the room simulation, and are completely separate from the rear
processing high pass filter (controlled from the PROCESSING tab).
Direct reflections describe reflections from the closest wall; cross reflections come from an opposing wall. So, if
a signal eminates from the left source loudspeaker, then direct reflections come from the left and cross
reflections from the right.
For each pattern, you can apply a shelving filter with parameters for:
· FREQ - the roll-off frequency of the shelving EQ.
· GAIN – the gain of the shelving EQ.
· ABS GAIN – offsets the resultant shelving pattern.
12.8.7 Save, Load, Select and Copy/Reset
Ø Saving and Loading AMBIT Parameters

All AMBIT parameters are stored in productions and snapshots. Therefore, you can easily store and recall upmix
processing as part of your mix.
AMBIT parameters can also be stored as presets in order to save and load favourite settings. To save or load a
preset:
1. Right-click on either the UPX or SPZ button on the right of the Main Display and select Load or Save
Preset:

Ø Selecting the AMBIT Module

Some operations, such as copy channel, require you to select the AMBIT module. This is achieved by using the
on-screen SEL button within the Main Display:
The SEL button turns green when selected.

Note that the AMBIT module is automatically selected by pressing SEL ALL on the Central Control Section.
Ø Copy and Reset for AMBIT
· Copy Parameters - AMBIT parameters can be copied between surround VCAs. You cannot copy
AMBIT parameters to other channel types.
· Reset Parameters - AMBIT parameters can be reset.
See Copy & Reset for more details.

12.9 The Downmix Display

The Downmix display provides on-screen control of any downmix matrices supported by your system. For
example, if you have a 5.1 surround to stereo downmix, then you can adjust how much level from the front LR,
Centre, LFE and rear LR channels feed the stereo output.
Note that the required DSP resources must be available (in hardware) and configured using AdminHD. For
details, please refer to your Technical Manual. If there are no Downmix matrices configured, then the display will
appear empty.
1. Open the Downmix display in the usual manner.
In the top half of the display you will see a list of all available downmixes for your system. In our example, we
have one downmix named 5.1 Mains:
The downmix matrix Name is defined by AdminHD.
2. You can edit the Downmix Label field to apply a user name to the matrix.
User labels are inherited into the Signal List and mx Routing displays.

12.9.1 Controlling Downmix Parameters

1. Select a downmix from the Available Downmixes list to view its parameters.
Our example shows an 8 x 8 matrix which is configured to produce 4 stereo outputs (Downmix 1 to 4) from a
5.1 input:
2. Using any of the usual methods, adjust the following parameter values for Downmix 1 to 4:
· Front level – from inputs 1 (Left) and 2 (Right).
· Center level – from input 3 (Centre), unless Alt Center is active, see below.
· LFE level – from input 4 (LFE).
· Surround level – from inputs 5 (Surround Left) and 6 (Surround Right).
· Alt Center – use this option to replace the Center input with an alternate centre channel:
o Off = no alternate centre is used. Input 3 feeds the Centre channel.
o 1 = input 7 replaces input 3.
o 2 – input 8 replaces input 3.
You can use this option to generate a clean feed or alternate language downmix. For example, Downmix 1
might be your main programme output, Downmix 2 the clean feed, and Downmix 3 an alternate language
version.
· Output level – adjusts the output level for the stereo downmix.
3. Select Reset levels to reset the downmix to its default parameters, and Yes to confirm.
All parameters are reset to the default values stored in the AdminHD configuration.

12.9.2 Saving and Loading Downmix Settings

The settings for each Downmix matrix are stored within snapshots and productions, so remember to save or
update a production to save any changes.
By default each matrix is isolated so that it will not be affected by a snapshot load. You can adjust this by
selecting the Isolate box beside the matrix name in the Downmix display:

13. Metering
13. Metering
This chapter describes the console's metering.
Topics include:
· Metering Locations
· Multi-row Metering
· Bargraph Types
· Peak Metering
· Loudness Metering
· Meter Pickup Points
· The Main Faders Display
· The Metering Display

13. Metering
13.1 Metering Locations

There are several places where signals can be metered:
· The Channel display provides dedicated metering for every fader strip. The bargraphs can be set to peak
metering, loudness metering or both (see Bargraph Types).
· The Main Faders display (on the Central GUI) provides the same functionality as the Channel display but
for channels assigned to the main fader strips.
· The meter in the label display on the fader strip always monitor the channel input. You can use this to
check that signal is present before opening a fader.
· The Main Display (on the Central GUI) includes a meter which follows the same bargraph options as the
Channel display, and also meters signals at other points such as the insert send, direct out and
dynamics.
· The Metering display (on the Central GUI) contains four pages of assignable meters.
· Optionally, a RTW TM7 or TM9 may be fitted to the Overbridge. The meter is wired internally to the local
IO. By default, it will follow the CRM 1 monitor source selector.

13. Metering
13.2 Multi-row Metering

All Channel displays across the console can support up to three metering rows:
Multi-row Metering Example
The first (lower) row always meters the active bank/layer, while the upper rows can be assigned to a "hidden"
bank/layer of channels.
The additional rows can either be turned on and saved in the production, or enabled/disabled via user buttons
programmed by the Custom Functions display.
Note that you can only assign a complete Bank and Layer to a metering row. Therefore, the channels you wish
to meter must be assigned to either the first or second Layer of a fader strip Bank (1-6). and the order of meters
within the row follows the selected Bank/Layer fader strip assignments.

13. Metering
Ø To Configure Multi-row Metering:

1. From the System Settings display, select Channel Display -> Multirow Metering.
2. Select the Second Metering Row Bank option and choose from:
· Bank 1 to Bank 6 - assigns a specific bank.
· Desk - the metering row follows the desk's BANK switching.
· None - the metering row is disabled.
3. Select the Second Metering Row Layer option and choose from:
· First or Second - assigns a specific layer.
· Front - the metering row follows the desk's LAYER switching, and displays the channels at the front (on
the active layer).
· Back - the metering row follows the desk's LAYER switching, and display the channels at the back (on
the inactive layer).
For example:
To always meter channels assigned to the alternate Layer of the active Bank, you would select Desk + Back.
To always meter channels assigned to the Bank 4, Layer 1, you would select Bank 4 + First, and then assign
the channels you wish to meter to Bank 4, Layer 1.
To disable a metering row, select None from the Metering Row Bank option.
4. These steps can be repeated to configure a third metering row.
Once the Metering Row Bank option is set to anything other than None, the lower row resizes. Note that
adding more metering rows affects the size of the channel meter and number of displayed bus assignments.
Use the Bay Bus Count and Strip Layout options to adjust the size of the lower row.
The settings affect all Channel displays across the console, and are saved and loaded by the production.

13. Metering
13.3 Bargraph Types

For all on-screen meters you can choose to display peak metering, loudness metering, or a
combination of both.
Note that the bargraph type affects all on-screen meters, including the Channel, Main and
Metering displays.
Also note that loudness metering must be active, before any loudness measurements are displayed.
The default option can be set independently for input channels and summing channels (groups,
sums, auxes) from the System Settings display.
In each case, you can choose from:
· Combi – peak and loudness metering side by side.
· Peak – peak metering only.
· Loudness – loudness metering only.
You can then edit the bargraph type, individually for each channel, either from the Channel display or
Main display. Click anywhere in the METERING area and select Peak, Combi or Loudness from the pop-up
window:
Channel Display Main Display on Central GUI

13. Metering
13.4 Peak Metering

Peak metering bargraphs are mono, stereo or multi-channel according to the format of the channel.
Pickup Point
The meter can be switched to different points within the channel signal flow by adjusting the peak meter
pickup point.
Peak Meter Scales and Characteristics
A range of meter scales and characteristics are available from the System Settings display, see
Bargraph options.
For ITU compliant operation, you should choose True Peak as the Full Channel Mode characteristic, and
dBFS as the Scale mode. Then set the Reference Level equal to your maximum analog Level and the
Headroom to 0dB. This ensures that the dBFS metering across the console matches any external AES
metering you may have. You can use the Safe Area, Operation Range and Line Up Level options to help
manage your own headroom.
Peak Hold
This function is also enabled from the System Settings display, see Peakhold options.
When enabled, the system monitors and marks the peak level reached on each meter across the console. You
can set the peak hold indicator to clear automatically after a certain time period, or manually using the CLEAR
soft key or Peakhold Reset option. You can also set the color for the peak hold indicator.

13. Metering
13.5 Loudness Metering

The mc²56 provides loudness metering conforming to the ITU-R BS1770.
Loudness Metering Bargraphs

A single bargraph (blue) represents the average energy of the summed component channels: mono,
stereo or surround. The color indicates whether loudness is above or below the Target Level:
· Light Blue = equal to, or below, the Target Level.
· Dark Blue = above the Target Level.
The dark and light blue scale markers indicate a tolerance of +/- 1 LU/LK.
The M or S at the bottom of the bargraph represents the integration time for the measurement:
· M = Momentary integration time (400ms sliding window)
· S = Short term integration time (3s sliding window)
This and other options are defined within the System Settings display.
Integrated Loudness Measurement

On summing channels, you can also start an integrated loudness measurement. The result is
displayed above the bargraph. In our example, PGM 5.1 is reading -23.6 LUFS (Loudness Units Full
Scale).
The integrated measurement provides a very useful tool for measuring loudness over long periods of
time. For example to measure the loudness of a complete program transmission.
Pickup Point
The loudness meter can be positioned independently from the peak meter by adjusting the loudness meter
pickup point.
Presets and Options

All options for loudness metering are adjusted from the System Settings display, see Loudness Metering. A
choice of Active Presets recall the default settings specified by the EBU R128 or ATSC A/85 & ARIB.
You can find more information on loudness metering, and the international standards, in a white paper titled
“Loudness Metering” available from the Lawo website:
English: http://www.lawo.com/en/products/mixing-consoles/loudness-metering.html
German: http://www.lawo.com/de/produkte/mischpulte/loudness-metering.html

13. Metering
13.5.1 Configuring Loudness Metering

When loudness metering is activated you must disable (suspend) some DSP from the processing channel in
order to provide resources for the metering algorithm.
You can choose which DSP modules you would like to suspend on a channel by channel basis. The choice of
suspended DSP module(s) is saved in the production.
Note that:
· If you suspend the EQ DSP module, then on Recording channels, you will lose the pre-EQ Aux send.
This is due to the fact that the send is taken from the input to the EQ module.
· If wish to activate loudness metering and AMBIT (upmix processing), then:
o On Recording channels, you must choose DSP modules which do not include the Delay, Filter,
Image, Gate or Expander (disabled when AMBIT is active).
o On Broadcast channels, you must suspend the EQ (the only module not suspended by AMBIT
processing).
The default suspended DSP module can be set independently for input channels and summing channels
(groups, sums, auxes) from the System Settings display.
Ø To modify the suspended DSP module on an individual channel:
1. Select the channel you wish to modify by pressing its fader SEL button.
3. Right-click on the LOUD DSP module to access the loudness metering options.
The suspended module is indicated at the bottom of the drop-down menu, in our example, the SCF:
4. To change the module, select On by suspension of and choose an option:
Options for Recording Channels Options for Broadcast Channels

13. Metering
For example, when using Recording channels, select Delay + Image - the display updates accordingly:
Selecting an option also activates loudness metering. This is indicated by the pink LOUD module, and the
greyed out suspended modules (e.g. DELAY and IMAGE).
Note that if you subsequently change the Default Module Suspend Set (in the System Settings display), then
this will reset any individual channel modifications.
13.5.2 Activating the Loudness Meter Bargraphs

Before activating loudness metering, check that you have:
· Configured your Bargraph Types (to show Loudness or Combi metering).
· Recalled an Active Preset and adjusted the loudness metering options.
Then activate loudness metering either globally or for individual channels (recommended) as follows:
Ø To Activate Loudness Metering (across all channels):

1. From the System Settings display, select the Activate In All Channels Loudness Metering option - a
confirmation pop-up appears:
2. Select Yes to proceed.

Loudness metering is activated for all channels that support it across the console. This could be for all input
channels, all summing channels or both according to your Bargraph Type.

13. Metering
Ø To Activate Loudness Metering (on a single channel)

1. From the Channel Config display, right-click on the LOUD DSP module to access the loudness
metering options:
2. Select the On (xxx) option to enable or disable the loudness metering DSP:
· Loudness metering is off when the LOUD module is grey (as above).
· Loudness metering is on when the LOUD module is pink and the suspended DSP modules are in grey
(e.g. SCF):
Ø To Disable Loudness Metering (and reinstate any suspended DSP modules):

1. Right-click on the LOUD DSP module and deselect the On (xxx) option so that it becomes unticked.

13. Metering
13.5.3 Integrated Loudness Measurement

On any summing or monitor channel you can start and stop an integrated loudness measurement.
This allows you to measure the loudness of channels, such as main programme or a clean feed,
from start to finish. You can even pause the measurement during any unwanted periods such as an
advert break.
Note that the integrated loudness measurement is only available on summing channels (Sums,
Groups, Auxes) and monitor channels. It is not available for input channels.
The result of the integrated measurement is displayed above the loudness bargraph either in
LU/LUFS or LK/LKFS according to the choice of EBU or ATSC/ARIB presets. In our example, PGM
5.1 is reading -23.6 LUFS.
In addition, you can display the integrated loudness measurement for a particular summing
channel, such as main program, in the title bar of the central GUI. This allows you to keep track of
its loudness while working in other displays, or selecting different channels.
When you first activate loudness metering, the integrated loudness measurement remains blank.
This indicates that either the integration has not been started, or that there is no signal to measure.
Note that to comply with the ITU standard, the signal’s loudness must be greater than -70 LUFS
before an integrated measurement is registered.
Starting the Integrated Loudness Measurement

1. Select the summing channel by pressing its fader SEL button, or using the ACCESS CHANNEL/ASSIGN
panel.
Note that that on a surround channel, you must select the Surround VCA (e.g. SUR S 1), and NOT one of the
component channels.
2. Press the CHAN/CONFIG button, located on the SCREEN CONTROL panel, to view the Main Display.
3. Click anywhere in the METERING area and select Start integration from the pop-up window:
Providing that there is signal > -70 LUFS at the loudness meter pickup point, the integrated loudness reading
updates. This figure represents the integrated loudness over time, and continually updates during your
transmission.
The measurement is displayed either as an absolute value in LUFS, or relative to the Target Level in LU, as
defined in the System Settings display.
Note that when you start the integration, the channel’s SNAP ISO button can also be enabled. This protects the
summing channel from snapshot recalls which may destroy the integrated loudness measurement. This default
option can be modified from the System Settings display.

13. Metering
Stop (Pause) and Reset

1. To pause the integration, make sure that the correct channel is in access (SEL lit).
2. Click in the METERING area on the Main display and select Pause integration from the pop-up
window.
As long as the integrated loudness measurement is paused, the reading flashes on the metering displays:
This value represents the average loudness of the channel since you started the measurement.
3. To restart the measurement, select the channel, click in the METERING area of the Main display, and
select Start integration:
The integrated loudness measurement restarts, continuing from before the pause. The readings stop flashing to
indicate that integration is active.
You can pause and restart the integrated loudness measurement as many times as you wish. For example,
you can exclude any advert breaks from the program loudness measurement.
4. If you wish to clear and restart the measurement, then select Reset integration.
This clears the current reading, and starts a new integrated loudness measurement.
As an alternative to using the on-screen METERING pop-up window, you can program user buttons to start,
pause and reset the integrated loudness measurement. These functions are available from the Custom
Functions display.

13. Metering
Displaying Integrated Loudness in the Title Bar

The integrated loudness measurement for a particular channel, such as main programme, can be displayed in
the title bar of the central GUI. This allows the Loudness measurement for a particular channel to remain in view
at all times, regardless of which display or which channel is selected.
Ø To change the title bar display:
1. Click on the headline and select Loudness metering display from the pop-up window:
The measurement is displayed either as an absolute value in LUFS, or relative to the Target Level in LU, as
defined in the System Settings display.
Ø To assign the summing channel you wish to meter:
1. Select the channel by pressing its fader SEL button – in our example, we have selected SUR S 1, the
Surround VCA master for our 5.1 programme output.
2. Press the CHAN/CONFIG button to view the Main Display.
3. Click anywhere in the METERING area and select Show in Title from the pop-up window:
The channel is assigned, and if integration has been started, you will see the value update.
You can confirm the assignment by hovering the cursor over the reading; a message appears stating the name
of the assigned channel.
Once assigned, you can start, pause or reset the integrated loudness measurement from the title bar:

13. Metering
13.6 Meter Pickup Points

The meter pickup point can be selected independently for the peak and loudness meters. There are several
methods you can use (see below). In each case, the pickup options are:
· INP – meters the channel input (post the INMIX section).
· PF – meters the pre-fader signal.
· AF – meters the post fader signal.
· DIR – meters the direct output.
· TRK (Recording channels only) – meters the track bus output.
Ø Using the Channel display

1. Touch the meter on the Channel display and select an option for the Peak or Loudness Pickup:
Ø Using the Channel Config display

3. Then select either the PEAK or LOUD modules to move their position:
And use the soft key/right-click options to change the pickup point.

13. Metering
Ø Using the Extra Buttons display

2. Open the Extra Buttons display on the Central GUI.
3. Then use the Meter select buttons to adjust the pickup - the PEAK/LOUD button determines whether
you are choosing a pickup point for the peak or loudness meter.
The METER ALL button can be used to define a cluster of channels so that the meter point is switched across
multiple channels:
1. Select ALL, located in the Meter section - the fader SEL buttons across the console flash, in green.
2. Add channels to the cluster by pressing their fader SEL buttons - the fader SEL buttons turn red:
3. Now switch the meter point for all channels in the cluster, by selecting a touch-screen button – for
example, press INP. The channels are switched to meter the input; channels not in the cluster are unaffected.
The Meter touch-screen buttons will continue to switch metering for the cluster while the ALL button is lit.
4. To return to individual channel meter switching, deselect ALL.
Note that if you re-select the ALL button, the same cluster of channels as defined in step 2 will be reinstated.

13. Metering
13.7 The Main Faders Display

The Main Faders display provides Channel Display functionality for channels assigned to the main fader strips.
1. Open the Metering display on the Central GUI and keep cycling through the page options until the
Main Faders display appears.
The display provides metering and assignment options for the centre section's main faders.

13. Metering
13.8 The Metering Display

The Metering display contains four pages of assignable meters.
1. Open the Metering display on the Central GUI.
There are four pages - the current page is always named at the top – in our example, Metering 1:
2. Select the channel you wish to meter - either by pressing its fader SEL button or using the
3. Select a meter and press the ASSIGN soft key (on the SCREEN CONTROL panel). Or, right-click on
the meter and select Assign.
The selected channel is assigned to the meter; its label updates and the display automatically selects the next
meter. This makes it easy to make multiple assignments quickly.
Note that the format of the meter depends upon the channel format - mono, stereo or surround.
4. To remove an assignment, select the meter and press the CLEAR soft key. Or, right-click and select
Clear.
The Metering display assignments are saved within productions, but not in snapshots.

14. Monitoring & Talkback

This chapter covers monitoring and talkback.
Topics include:
· Control Room Monitoring
· Talkback

14.1 Control Room Monitoring

14.1.1 Monitor Source Selection, Level, Cut & Dim
The console provides two monitor outputs with independent source selection, volume, cut and dim: CRM 1
supports 5.1 surround, while CRM 2 is stereo. There are also two stereo headphone outputs which follow the
monitor source selectors and have their own level control.
In each case, connections can be made via any IO. However, usually the two monitor outputs connect via the
console's rear panel, and the headphones via the sockets on the front buffer.
Level controls for CRM 1 and CRM 2 are located on the centre section's MONITORING panel. All other controls,
including source selection, are handled by the Central GUI. In order to view the monitoring touch-screen buttons,
first make sure that ACCESS/ASSIGN on the SCREEN CONTROL panel is turned off. Then select the MON 1-2
page using the on-screen arrow buttons. The touch-screen buttons are divided into three columns: CRM 1, CRM
2 and the monitoring page selections:
Monitor Source Selection

Use the right-hand column to select a page of sources: SUM, AUX, GRP, etc. Then make a selection from the
first column to assign a source to CRM 1, and/or a selection from the second column to assign a source to
CRM 2. You can choose sources from different pages to assign say SUM 1-6 to CRM 1 and GRP 7/8 to CRM 2.
The first three source pages provide "hard-wired" access to sums, auxes and groups; page 4 is reserved for
external inputs (these will vary from one installation to another); page 5 provides AFL and PFL options. In page 4
it is a good idea to configure some "GUI" signals. These are virtual destinations which can be connected from
any source using the Signal List display. This allows you to monitor any input to the system.
In the default configuration, headphone 1 follows the CRM 1 source selector and headphone 2 follows CRM 2.

Volume, CUT and DIM

Use the rotary controls to adjust the volume of each monitor output. The accompanying buttons will CUT or DIM
each output; the amount of dim defaults to 20dB but can be adjusted from the CTRL page.
The same rotary controls can be used to adjust the volume of two headphone outputs by enabling the VOL HP's
touch-screen button.
In each case, the current level and function appears on the touch-screen display.
CTRL Page
The CRM1ctrl page provides access to other functions such as individual loudspeaker cuts; mono monitoring;
etc. The SET button allows you to adjust the dim level, stereo balance, etc. For example, press SET followed by
DIM and then turn the corresponding rotary control - the electronic label shows that you are now adjusting the
Dim LVL and its new value. For full details, see Monitoring Parameters.
X-tra
The X-tra button is provided for convenience and will open the Extra Buttons display.

14.1.2 AFL & PFL

The AFL and PFL busses can be switched to CRM 1 and/or CRM 2.
On the Central GUI, select PAGE 5. Then use the touch-screen buttons to assign AFL and/or PFL to each
monitor output. You can assign more than one bus to each output if you wish.
AFL1 is surround; while PFL1, PFL2 and AFL2 are always stereo. Note that AFL2 and PFL2 can used to provide
independent monitoring within isolated bays.
Press the PFL/AFL CLEAR button, on the Central GUI touch-screen, to quickly clear all AFL and PFL
selections.

To route AFL or PFL to an external output, use the Signal List display. You will find all the listen bus outputs
under the Bus Out Source Directory:
To change the level of a listen bus, or to assign it to a meter, put the listen bus into access (via a right-click in
the Signal List).
A variety of AFL, PFL and Solo button options are also available from the System Settings display. Or, AFL can
be set to operate as Solo-in-place.
14.1.3 Monitoring Parameters

The following parameters can be adjusted via the CTRL page and SET button. Note that, depending on your
monitoring configuration, not all parameters may be supported.
Dim Levels
The console features two independent monitor dim settings:
· Monitor Dim – actioned by pressing the DIM button.
· Talkback Monitor Dim – actioned by a user button or external GPI trigger (defined in the monitoring
configuration). This can be used to automatically dim the main monitoring when you press a Talkback
button.
To adjust the amount of dim:
1. Press SET and DIM - the touch-screen displays DIM LVL. Use the rotary control to adjust the monitor
dim level.
2. Press SET again to set the amount of talkback dim - the touch-screen displays TB DIM LVL. Use the
rotary control to adjust the talkback dim level.
Mono Left/Right
1. Press the MONO button to mono the Left and Right monitor outputs to both speakers. This automatically
applies a 3dB reduction to the left and right channels to compensate for the mono sum.
2. To adjust the mono gain reduction, press SET and MONO - the touch-screen displays TRIM MONO. Use
the rotary control to adjust the mono trim level.

Stereo Monitoring Functions

1. Press LtoB to assign the Left monitor output to both left and right speakers.
2. Press RtoB to assign the Right monitor output to both left and right speakers.
3. Press PH L to reverse the phase of the Left monitor output.
4. Press PH R to reverse the phase of the Right monitor output.
The two phase reverse buttons allows you to deal with phasing issues on either front speaker.
Left/Right Monitor Balance

The monitor balance control allows you to offset the Left and Right monitor output levels to compensate for poorly
aligned stereo speakers.
1. Press SET - the touch-screen displays BALANCE. Use the rotary control to adjust the left/right balance.
Balance can be adjusted from -20dB to +20dB.
Individual Loudspeaker Mutes

The L, C, R, SL, SR and LFE touch-screen buttons are used to mute the individual surround speakers and select
parameters for setting balance and volume trim settings.
1. To mute a speaker, touch the corresponding mute button - the mute button turns red when selected.
Note that the active mute buttons are determined by the surround format.
Individual Loudspeaker Level Trims

Each of the monitor outputs can be individually trimmed to help align your surround loudspeakers.
1. Press SET and one of the speaker mute buttons (L, C, R, SL, SR or LFE) - the touch-screen updates to
display the speaker trim level (e.g. TRIM FL for Trim Front Left). Use the rotary control to trim the speaker level.
Levels can be trimmed between -128 and +15dBr.
For more details on the available surround formats and how they correspond to the front panel mute buttons, see
the Appendix: Surround Levels.
Individual Loudspeaker Solos

The L, C, R, SL, SR, and LFE touch-screen buttons can be used to solo individual surround loudspeakers. The
solos are additive.
1. To solo a speaker, touch the SOLO button followed by the corresponding mute button - the mute button
turns green.
Note that if a speaker mute button was activated before the SOLO mode, then if you try and solo the same
speaker its LED turns orange to indicate that you are now attempting to solo a muted speaker!
Alternate Loudspeaker Switching

1. Press the ALT touch-screen button to cut the main speakers and switch the monitor output to an
alternate set of speakers.
To use this feature, the alternate speaker outputs must be defined in the monitoring configuration.

14.2 Talkback
14.2.1 Configuring Talkback
Front Panel User Buttons & Connector
Rear Panel Connectors
The female XLR on the front panel can be used to connect a talkback microphone.
It is wired directly to the male XLR (marked TB) on the console's rear panel. Note that the console does not
include a dedicated talkback mic preamp, and so the rear panel TB connector must be wired either to an external
communications system (via a mic preamp), or to one of the console's local mic/line inputs (via the rear panel). If
using the latter option, the mic input should be defined as the talkback source in all user-defined Custom
Functions. Note that MIC IN 16 is intended for this purpose, as it can be switched away from the MIC IN 9-16
Sub D and onto the MIC IN 16 XLR by adjusting the recessed switch as shown above. All that remains to be done
is to connect the two XLRs, using a short cable, to complete the circuit.
Talkback switching is programmed from the Custom Functions display. It can be switched from the fader strip
using a FADER USER BUTTON, or from the centre section using a TALKBACK or CENTRAL USER BUTTON.
Please refer to the following Custom Functions for more details:
· Fader User Button, Talkback to Channel
· Central User Button, Talkback to Access Channel
· Central User Button, Talkback to DSP Channel

15. Control Channels & Grouping

This chapter describes all grouping and control channel operations.
Topics include:
· Group Types & Hierarchy
· The Couple Group
· VCA Grouping
· Link Groups
· Fader Control of Levels
· General Purpose Channels (GPCs)

15.1 Group Types & Hierarchy

To control parameters across multiple channels, you can use any of the following:
· The Couple Group - a temporary way of adjusting parameters across a range of channels.
· VCA Groups - a permanent group which links all parameters across multiple channels and provides
master control from a single fader strip.
· Surround VCAs - created automatically whenever you create a surround channel.
· Link Groups - a permanent group where every member is a master. You can choose to link (or not link)
individual parameters. For example, to link EQ across multiple channels, while keeping fader levels and
other parameters independent.
Note that the hierarchy of the different group types is: Couple; Link; VCA; Surround VCA. This means that:
· Whenever a channel is part of a couple, all other groups are temporarily suspended. This means that the
couple can be used at any time and across all types of channels and groupings.
· A channel can be assigned to both a link group and a VCA. For example, the vocal soloists within a choir
can be controlled by a link group for the choir, and by a separate VCA for the soloists; the link group
takes overall priority.
Please take care with the overall gain structure through the system, especially if you are nesting VCAs,
adding a VCA master to a Link group or combining the Couple function with other types of group. Offset
values can wrap around and result in very loud volumes when adjusting the overall master!

15.2 The Couple Group

The couple group provides a quick way of adjusting parameters across a range of channels. Unlike other types of
group, it is temporary and will be dissolved once the desired changes have been completed.
Couple Group Conditions

· There is only ever one couple group – you cannot create multiple couples.
· Channels assigned to the couple group must be on adjacent fader strips – i.e. you cannot couple non-
consecutive faders.
· The couple group links all channel parameters.
· The coupled channels can be of any channel type, as long as they are assigned to adjacent faders.
· When working with a couple group, faders are always moving.
· The master/slave behaviour varies depending on the parameter (please refer to the master/slave
Appendices).
· Whenever a channel is coupled, all other groups are temporarily suspended. This means that the couple
can be used at any time and across all types of channels and groupings.
· Please take care when combining the Couple with other types of group. Offset values can wrap around
and result in very loud volumes when adjusting the overall master!

15.2.1 Creating a Couple

To create a couple, there are two methods:
Direct Couple
1. Press and hold the fader SEL button on the first and last channels you wish to couple:
The fader SELs turn red to indicate that coupling is active.

2. Now adjust a parameter – for example, turn the EQ gain control on any channel within the couple group
- all EQ gains across the coupled channels are adjusted, and any offsets are retained.
3. To dissolve the couple group, press the fader SEL button on any fader strip outside the couple range.
Using the COUPLE Button

Alternatively you can use the COUPLE button as follows:
1. Select COUPLE from the centre section LINK buttons (or Extra Buttons display) - the button flashes to
indicate that it is active.
And the fader SEL buttons across the console flash, in green.
2. Press the first and last fader SELs on the strips you wish to couple - the fader SELs turn red to indicate
that coupling is active.
3. To dissolve the couple group, deselect COUPLE or press the fader SEL on any fader strip outside the
couple range.

15.3 VCA Grouping

You can use VCAs to create permanent groups which link all parameters across multiple channels and provide
master control from a single fader strip.
VCA Grouping Conditions

· The system supports up to 128 VCA masters.
· Any number of channel or main fader strips can be assigned to each VCA. This allows you to control
not only input channels but also groups, sums, aux masters, GPCs, Surround VCAs and other VCAs.
· A channel can only be assigned to a single VCA. However, a VCA can be assigned to another VCA,
see Nested VCAs. And, a VCA can be assigned to a Link group.
· The VCA master will adjust all slave channel parameters; individual offsets are retained. The
master/slave behaviour varies depending on the parameter (please refer to the master/slave
Appendices).
· VCA groups can use moving or non-moving slave faders, defined by the Relative Slave faders option in
the System Settings display.
· Please take care when combining VCAs with other types of group. Offset values can wrap around and
result in very loud volumes when adjusting the overall master!
· VCA assignments are stored in snapshots and productions.
The channels assigned to a VCA can be on any Bank or Layer. This allows you to have a single VCA
master controlling a number of slave channels on a "hidden" Bank or Layer.
15.3.1 Creating a VCA Group

You can use any of the usual bus assign methods to assign channels to a VCA:

15.3.2 Working with VCAs

1. Assign the VCA master to a fader strip in the usual manner, see Fader Strip Assignment.
The fader strip updates, and you will see metering for the first 8 slave channels on the Channel
display. The meters display the lowest to highest fader strip slave from left to right. For example, if
the VCA master is controlling fader strips 1, 3, 5 and 6, then you will see the slave channels in
that order on the VCA master meters.
Note that the pickup point for the slave channel metering is set from the VCA master. Therefore,
make sure you have the VCA master is in access when changing the pickup point.
2. You can now adjust the level (and other parameters) of all slave channels from the VCA
master.
If the Relative Slave faders option is set to non-moving faders, then the slave faders remain
stationary when the master moves; you will see the level change applied to each slave channel in
its fader label display.
The master/slave behaviour varies depending on the parameter. For example, main level and input
gain are controlled relatively so that you can offset the slave positions; EQ frequency and Q are
always set by the master (absolute), so that any change is inherited by all slaves; the MUTE is
switched ON from a Surround VCA master but not OFF. For full details, see the Master/Slave
Behaviour Appendices.
Please take care with the overall gain structure through the system, especially if you are
nesting VCAs or adding the VCA to a Link group or Couple. Offset values can wrap around
Renaming a VCA
The user label of the VCA master can be edited from the Title Bar when the VCA master is in access.
Revealing the VCA Slaves

Use the REVEAL function to temporarily reveal VCA slaves onto fader strips.
This is particularly useful if the slave channels are on a hidden Bank or Layer, as you can use Reveal to quickly
access the slaves to offset fader levels and other relative parameters.
15.3.3 Nested VCAs

From Version 5.10.0 onwards, a VCA master can be assigned to another VCA, allowing VCA groups to be
nested. For example, to create VCAs for the drums, guitars and vocals within a band, and then control these from
an overall "Band" VCA master. Any of the usual methods can be used to nest a VCA.
Note that:
· Technically, there is no limit on the number of the VCAs which can be nested (e.g. VCA 1 to VCA 2 to
VCA 3, etc.). However, offset values can wrap around and this can result in very loud volumes when
adjusting the overall master! In practice, we recommend keeping the number of nested VCAs to a
minimum (less then six).
· Each VCA can control a mixture of channel types. This allows you to combine nested VCAs with other
channel types such as input channels and surround VCA masters.
You can display the nested VCAs which a channel is assigned to by increasing the Bay VCA Count option in the
System Settings. For example, if INP 1 is assigned to VCA 1, and then VCA 1 is assigned to VCA 8, you will
see both VCA 1 and VCA 8 at the top of the Channel Display for INP 1.

15.4 Link Groups

Link groups can be used to create a permanent group where every channel within the link group is a master.
You can choose to link (or not link) individual parameters. For example, to link EQ across multiple channels,
while keeping fader levels and other parameters independent.
Link Group Conditions

· The system supports an unlimited number of link groups.
· Any number of channels can be assigned to each link group, including channels of a different DSP type:
inputs, groups, sums, etc.
· The link can apply to all channel parameters or to individual processing sections – for example, to link
EQ sections but not faders.
· A channel can only be assigned to a single link group. However, a channel can be assigned to both a
link group and a VCA master.
· Every channel within a link group is a master. For example, moving any of the 8 faders within a link
group adjusts the level of all 8 channels; individual offsets are retained. The master/slave behaviour
varies depending on the parameter (please refer to the master/slave Appendices).
· When working with Link groups, faders are always moving.
· Please take care when combining Link Groups with other types of group. Offset values can wrap around
· Link group assignments are stored in snapshots and productions.
The channels assigned to a link group can be on any Bank or Layer. This allows you to assign one member
of the link group to your working Bank/Layer, and have it control other channels on a "hidden" Bank or
Layer.

15.4.1 Creating a Link Group

1. Select one of the channels you wish to link - either by pressing its fader SEL button or using the
ACCESS CHANNEL/ASSIGN panel.
2. Select MODULE LINK from the centre section LINK buttons (or Extra Buttons display):
The fader SEL buttons across the console flash, in green.

3. BEFORE selecting any faders, first select the audio module(s) you wish to link, by pressing the SEL
buttons on the Central Control Section.
You can select any audio module using the SEL buttons. You can also link bus assignments by selecting BUS
on the COPY/RESET AUDIO panel. See Selecting Channel Parameters.
4. Now press the fader SEL buttons on the channels you wish to link:
The selected audio modules across the selected channels are linked; the fader SEL buttons stop flashing and
change color, from green to red; the LNK status lights on the fader strip; and the Channel display updates. In
our example, the first four channels are part of the link group named "Strings":
5. Deselect MODULE LINK to complete the operation.

6. Repeat the steps to create additional link groups.
7. To edit an existing link group, select any channel within the link, press MODULE LINK, and adjust the
Central Control Section and/or fader SEL buttons. (To clear the link group, deselect all the fader SELs within
the group.)

15.4.2 Link Group Options

Link groups are indicated at the top of the Channel display where you will see:
· The link group name – e.g. Strings.
· The link group color code – e.g. turquoise.
In addition, you can choose to meter the first 8 linked channels on each of the grouped
channels. This allows you to assign one member of the link group to your working
Bank/Layer, and move the other members to a "hidden" Bank or Layer.
Each option is edited from the Channel Config display:

1. Select one of the linked channels, either by pressing its fader SEL button or using the ACCESS
CHANNEL/ASSIGN panel.
2. Press the CHAN/CONFIG button, located on the SCREEN CONTROL panel, to view the Channel
Config display.
Our example shows that the channel in access (INP 1) is assigned to Link group 1:
3. To edit the link group name, click within the LINK 1 field and type a new name – e.g. Strings.
4. To assign a color, use the drop-down menu:
5. To enable multi-channel metering on each of the link group channels, select the Link metering option:

15.4.3 Working with Link Groups

Once a link group is created, any channel within the link group can be used as the master; moving a control
adjusts the parameter across all the linked channels. The master/slave behaviour varies depending on the
parameter, see the Appendices.
Any offsets which were present when the link was created are retained. To adjust offsets, there are two
methods:
Touch-Sense
1. Hold the first control so that its touch-sense is active – e.g. fader 1.
2. While holding fader 1, adjust another control within the link group – e.g. fader 5.
You are now adjusting the offset position of fader 5 relative to the rest of the link group.
You can use this method for any touch-sensitive control: fader or rotary encoder.
Link Offset
Alternatively, if you want to change the offsets for lots of controls it is better to use LINK OFFSET. This
temporarily suspends the link group to allow adjustments to individual control positions:
1. Select LINK OFFSET from the centre section LINK buttons (or Extra Buttons display):
The button flashes to indicate that it is active.

2. Now adjust the position of your controls.
While LINK OFFSET is active, any link groups are temporarily suspended. This allows you to completely
change the balance within a group quickly and easily.
3. When you are happy, deselect LINK OFFSET.
The link groups now return to their normal “grouped” mode of operation.
Please take care with the overall gain structure through the system, especially if you are adding a VCA
master to the Link group or using Couple. Offset values can wrap around and result in very loud volumes
when adjusting the overall master!
15.4.4 Link Group Numbering

Every time you link channel parameters, a link group number is automatically assigned by the system. Thus,
the first set of linked parameters form link group 1, the second link group 2, and so on. You can verify the link
group number from the Link field in the Channel Config display:
The next link group to be created will automatically take the next available link group number.

15.5 Fader Control of Levels
The FADER CONTROL buttons temporarily assign another level parameter onto the console's faders. For
example, to control auxiliary send levels from the channel faders to set up a quick headphone balance. Note that
the buttons switch all faders - channel and main - globally across the console. There are two different
assignment methods:
· Select and scroll through the available level objects - for example, to scroll through Aux Sends 1 to 32.
· Pre-select a level object, by copying it to the FADER CONTROL clipboard, and then assign it to the
faders. This allows you to switch directly to say Aux Send 28 without scrolling.
The FADER CONTROL and COPY/RESET AUDIO CLIPBOARD are one and the same. Therefore, if you
select an object for FADER CONTROL, this will remain in the parameter CLIPBOARD, and vice versa.
You can Bank and Layer switch while in the FADER CONTROL mode to gain access to all assigned levels
across multiple banks and layers of channels.
Ø To scroll through the level objects:

1. Select a level object by pressing:
· AUX SENDS – Send levels for the console’s 32 auxiliaries.
· DIG AMP – Digital amplifier gain.
· INSERT SEND – Insert send level.
· DIR OUT – Direct output level.
· AFV – Audio Follow Video On level.
· LFE – Low Frequency Effect (Subwoofer) level, see Panning.
The name of the selected object (e.g. AUX 1) flashes in the clipboard display and the faders move to reflect the
current Aux send values.
The fader label displays also update to show the parameter name; the name flashes to warn you that you are
now controlling something other than channel level!
2. If you have selected AUX SENDS, then use the Left or Right arrow buttons to scroll up or down through
the 32 sends.
Each time a new send or level object is selected, the faders across the console update accordingly.
3. Move the faders to adjust the levels.
4. When you have finished, deselect the level object button to return the faders to their normal operation.
To quickly set all aux sends from a channel to the same level (e.g. unity gain), switch AUX 1 to the faders
and set the fader to 0dB. Keep touching the fader and scroll through the aux sends using the Left and Right
arrow buttons – each aux send is set in turn to 0dB.

Ø To pre-select a level object:

1. Select the level object by touching its rotary control on the Central Control Section. For example, touch
Aux send 1 gain to place AUX 1 into the FADER CONTROL clipboard.
2. When you are ready to switch the object to the faders, press USE TYPE.
The faders are now controlling the clipboard object.
3. To switch back to normal fader level operation, deselect USE TYPE.
You can only assign valid level objects to the faders; if you try to select EQ gain, for example, then the USE
TYPE button cannot be enabled.

15.6 General Purpose Channels (GPCs)

GPCs (General Purpose Channels) are control channels, assigned to any fader strip, which provide remote
control of external devices (via MIDI). Typical applications include:
· Adjusting and storing camera microphone levels via MIDI to VCA converters:
· Adjusting fader levels and other parameters within a digital audio workstation (DAW):
The console supports up to 256 General Purpose Channels and each channel features the same control objects
as a normal DSP channel – EQ, Delay, Compressor, Limiter, etc. Remember that these channels are for control
only, and the parameters they adjust depend on the mapping within the MIDI protocol. For example, you may be
using channel Delay to set the reverb time within an outboard effects unit.
From Version 5.4, the consoles support native RTP MIDI (MIDI over Ethernet). Thus, control of up to 32 channels
(four conventional MIDI devices) can be achieved using an Ethernet connection to the Lawo network. RTP MIDI
support is native within MAC computers and can be achieved on PCs using dedicated software tools.
Alternatively, your system can be fitted with the Recording Com Kit to provide MIDI in/out connections.
The assignment of channel objects to MIDI program changes and controller values can be defined within the
factory configuration or programmed from the Custom Functions display.
Fader Strip Assignment

GPCs can be assigned to any channel or main fader strip in the usual manner, by selecting GPC as the channel
type.
Storing Settings
The settings for GPCs are stored in snapshots in exactly the same way as normal DSP channels.
Therefore, use SNAP ISO to isolate an individual GPC from snapshot recall, or protect all GPCs using the
Global Snapshot ISO DSP option.
DSP Parameter to GPC Mapping

In addition to controlling external devices, GPCs can be used to control and automate DSP channel parameters.
For example, to change a specific DSP parameter (e.g. Delay) from an Audio Follow Video event. By mapping
the Delay parameter to a GPC fader, and then assigning the Audio Follow Video event to the GPC channel, the
delay will be triggered when the AFV event is active.
This type of function is programmed from the Custom Functions display.

16. Console Reset
16. Console Reset

This chapter explains the reset capabilities and file management.
Topics include:
· User Data: Overview
· What's Stored in a Production/Snapshot?
· Productions
· Snapshots
· Cuelists
· Snapshot Offsets
· Module ISO
· File Import/Export

16. Console Reset
16.1 User Data: Overview

One of the major benefits of the mc²56 is the ability to store and recall all settings.
Productions
Productions form the top level of user data storage and store all the settings required to reset the system.
If you only need one version of the system's settings, then it is enough to save (and load) a production. However,
within a production you can also store snapshots, cuelists and mixes.
Snapshots
Snapshots can be used to load different settings within the same production, or to reset the system while you are
live/on-air. For example, to recall a particular console layout before a live broadcast, a different mix for each band
during an entertainment show, or a different setup for each scene in a theatre production.
"show" folders to store your snapshots. To manage the recall, snapshot isolates can be applied to individual
channels, specific modules or global elements of the desk.
Cuelists
Cuelists are provided for convenient recall of snapshots and other events during a live show.
A cuelist contains a series of "cue points" which can be loaded in sequence. Each cue point can load a
snapshot, a series of output events or a combination of both. The transition between snapshots can be
crossfaded if required. In addition, offsets can be applied to deal with last minute changes such as a change of
artist. By combining a snapshot load with multiple output events, you can execute a complex set of changes from
each change of cue!
Note that, from Version 5.10.2 software, Cuelists replace Sequences.
Mixes
Mixes store the console's automated settings referenced to timecode. Multiple mixes, each with its own Pass
Tree, can be stored in a production.
Presets
Presets are stored independently of productions, and save and load settings for processing modules (EQ, Gate,
Compressor, Panning, etc.) or for a complete channel. For example, to save your favourite vocal EQ, or the
complete settings for an announcer channel.
Transferring User Data

All user data is stored on the system's internal flashcard and can be imported and exported to a USB memory
stick, networked file server or mxGUI computer..
User data is fully compatible with any mc 2 or Nova, regardless of the hardware configuration. This enables the
transfer of user data to and from any system (including any other mc 2), in order to recall settings in a different
studio.

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16.2 What's Stored in a Production/Snapshot?

Productions
Each production can store multiple snapshots, cuelists, command triggers and mixes, plus the following settings
which are NOT included in snapshots:
· DSP configuration
· Input and Output sample rate converter settings, see IO Parameters.
· System Settings display - the status of all system options including Levels, Metering, the surround
format, etc.
· Metering display setup.
· ISO BAY status for each fader bay.
Note that every time you save or update a production, a special hidden snapshot (called the production snapshot)
stores everything included in normal full snapshot. This means that loading a production will reset the complete
system, and you only need to use snapshots if you wish to load different settings within the same production, or
recall settings while live/on-air.
Note also that separate folders are used to organise snapshots and cuelists, while command triggers are stored
as a single set of events, and automation as multiple mixes (each with its own Pass Tree).
Snapshots
Snapshots are one-shot memories which can be used to recall settings either before or during a live show.
Every full snapshot includes:
· DESK: the assignment of channels to fader strips across all banks and layers, and the current status of
bank and layer switching.
· CONN: signal connections for all sources and destinations (via the Signal List or mx Routing display).
· LABEL: User and Source Labels.
· DSP: all channel DSP settings including analog input control.
· IO: remote mic preamp and router IO settings (e.g. router level and word length).
· BAY: the assignment of channels to fader strips across all banks and layers, and the current status of
bank and layer switching for all isolated (ISO) fader bays.
· MXDSP: all settings for the optional mxDSP modules.
· PLUGIN - all settings stored on the optional remote plug-in server.
Note that the system also supports partial snapshots for storing selected routing crosspoints only. See mx
Routing for more details.

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16.3 Productions
Productions form the top level for user data storage and store all the settings required to reset the system.
If you only need one version of the system's settings, then it is enough to save (and load) a production. However,
within a production you can also store snapshots, cuelists, mixes and command triggers.
Note that every time you save or update a production, a special hidden snapshot (called the production snapshot)
stores everything included in normal full snapshot, plus other lower level settings (not included in snapshots). See
What's Stored in a Production/Snapshot.
It is good practice for a studio to have a Basic Setups or Default production (note that the name may vary). This
is a production which will provide a common starting point for all new users or shows. Load this production to
reset the system; then save a new production to store your own settings.
Productions are managed from the Productions display.
16.3.1 The Productions Display

1. Open the Productions display on the Central GUI:
The display is divided into two halves:

· Productions – lists all the productions stored on the internal user data flash card. This is where you can
load, save, update rename, protect or delete a production.
· Fallback – lists any fallback productions stored in temporary memory. Fallback productions provide a
level of undo in case you update or delete your production accidentally.
The active production (marked with an A) is also shown in the title bar – in our example, Olympic Games.
Therefore, you will always see the active production name across all displays.
To the right of each production name you will see the date and time when the production was last saved or
updated, and the size of the production file. You will also see a padlock icon if the production is protected.
If the list of Productions or Fallback Productions is longer than the available window space, focus on the list and
use the rotary scroller on the SCREEN CONTROL panel to navigate up and down the list. You can also resize the
windows and/or use the on-screen scroll bars.

16. Console Reset
Operations are available from the dedicated screen buttons (Save and New), the SCREEN CONTROL soft keys
or by right-clicking on a production:
· Load – loads the selected production settings to the console.
· New – clears all existing snapshot and cuelist folders plus automation mixes from memory, to create a
new empty production.
· Save – creates a new production by saving the current console settings. ("Save As...")
· Update – saves the current console settings into an existing production. ("Save")
· Delete – deletes the selected production.
· Protect – protects the selected production.
16.3.2 Loading a Production

You can load stored settings to the console at any time by loading a production.
When you load a production you will reset the console, so make sure that the current settings are saved if you
wish to retrieve them later.
If you do make a mistake, don’t panic! When a production is loaded, a backup of the current settings is created in
the Fallback list, see Fallback Productions.
WARNING: Productions store and recall low level settings which can cause a brief interruption to audio.
Therefore, do not load a production during a live show. Instead, use snapshots to recall settings while live on-
air.
Ø To load a production:
1. Select a production from the Productions list (e.g. Football):
2. Right-click and select Load, or press the LOAD soft key to complete the operation.

16. Console Reset
The console status updates, and the title bar shows that Football is now the active production:
For additional confirmation, watch the status bar at the bottom of the Central GUI; you should see a loading…
message as the production data loads:
16.3.3 Saving a New Production

You can save the current settings of the console into a new production using SAVE. (i.e. this operation performs
a "Save As..".)
SAVE keeps all the current settings and saves them under a new production name.
It is a good idea to save and organise your productions carefully. Don’t overwrite another production with your
own settings by using update! Instead, use the SAVE function to save into a new production.
Ø To save a new production:

1. Select the on-screen Save button, or focus on the list of Productions and press the SAVE soft key.
The current settings are saved into a new production which is given a default name (e.g. production 0012):
The production is time and date stamped, and automatically becomes the active production (A) as indicated in
the title bar. For additional confirmation, watch the status bar at the bottom of the Central GUI; you should see a
saving... message as the production data is saved.

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16.3.4 Renaming a Production

1. Click on the production name:
Click once to select all the text, or twice to modify an existing name (you will see a flashing cursor).
2. Enter a new name using the keyboard.

3. Press ENTER to confirm the new name (e.g. Formula One):
Or, to exit without making a change, press ESCAPE.
16.3.5 Updating a Production

You can save the current settings of the console into an existing production using UPDATE.
Updating a production overwrites it. Therefore, make sure you select the correct production to update. If you do
make a mistake, don’t panic! When a production is updated, a backup of the "old" production is created in the
Fallback list, see Fallback Productions.
If a production is protected, then you will not be able to update it. (Use Protect to safeguard any important
productions which you do not want to accidentally overwrite).
There are two ways to update a production:

Ø The UPDATE button
This button always updates the active production, marked with an A and named in the title
bar. (i.e. this operation performs a "Save".)
You can use the button at any time; the Productions display does not need to be selected.
But, remember that a protected production cannot be updated.
The button also flashes if you have snapshots or automation which have not been saved.

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Ø Update from the Productions display

From the Productions display, you can update any existing production, not only the active one.
1. Select a production from the Productions list (e.g. Formula One):
2. Right-click and select Update, or press the UPDATE soft key, to complete the operation. (Remember
that a protected production cannot be updated.)
The selected production is overwritten with the current console settings. You can confirm this by looking at the
new date and time stamp. For additional confirmation, watch the status bar at the bottom of the Central GUI;
you should see a saving... message as the production data is saved.
16.3.6 New Production

NEW clears any existing snapshot and cuelist folders and mixes from memory, so that when you save a
production you can start from an empty Folders or Mixes list.
Note that NEW only clears folders and mixes; it does not alter the current state of the console and it does not
save any data.
1. Select the on-screen New button, or focus on the list of Productions and press the NEW soft key.
The snapshot and cuelist folders and mixes are cleared, and you will see an empty active production name in the
title bar at the top of the display:
You can now save the current state of the console using either Save or Update.

16. Console Reset
16.3.7 Protect & Delete
Protect
A protected production cannot be updated or deleted. You can use this safeguard any important productions
which you do not want to accidentally overwrite or delete.
1. Select a production from the Productions list (e.g.News).
2. Right-click and select Protect, or press the PROTECT soft key, to complete the operation - a padlock
icon indicates that the production is now protected:
Delete
Delete removes a production and all of its contents – snapshots, cuelists and mixes - from the internal user data
flash card.
To prevent accidental deletion, protected productions cannot be deleted.
1. Select a production from the Productions list (e.g. Football).
2. Right-click and select Delete, or press the DELETE soft key, to complete the operation:

16. Console Reset
16.3.8 Reloading the Production Snapshot

Every time you save or update a production, the production snapshot stores everything included in a normal full
snapshot - see What's Stored in a Snapshot.
From Version 5.0 software onwards, you can reload the production snapshot from the Active production. This
provides a convenient way of loading only the production snapshot data, without other lower level settings:
1. Select the Reload Production Snap button to load the snapshot:
The console status updates, and the snapshot field in the title bar is cleared - this indicates that an unnamed
snapshot is now the last one to be saved or loaded.
This function always loads the production snapshot from the Active production, which may differ from the
selected production in the Productions list.
16.3.9 Fallback Productions

When a production is loaded, updated, deleted or cleared (using NEW production), a temporary copy of the
current console settings or overwritten/deleted production is created in the fallback productions memory.
Five fallback productions are stored providing five levels of undo.
For example, whilst setting up for Racing, the operator forgets to update the production. He/she decides to load
a different production to check the settings for Olympic Games. In the background, before the load is
performed, the console automatically stores the current settings into a fallback production.
The name of the fallback production is taken from the active production when the mistake was made, in our
example Racing. However, note that the fallback is not a copy Racing but a backup of the unsaved settings
before the load operation was performed. You can see this from the different time and date stamp date between
productions called Racing in the Productions and Fallback lists:

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To recover the unsaved settings:

1. Select the Racing production from the Fallback list.
2. Right-click and select Load, or press the LOAD soft key, to complete the operation - the fallback
production settings are loaded into the console and the operator’s settings are restored!
3. To save these settings permanently, you must now save the settings into a new production, or update
the original Racing production.
WARNING: The fallback productions memory is a first-in first-out memory holding a maximum of 5 fallback
productions.
16.3.10 Importing and Exporting Productions

A complete production, or elements of a production (such as a folder or snapshot) can be imported or exported to
a USB interface, mxGUI computer or network drive. This allows you to archive or transfer productions between
systems. In addition, you can use this function to copy elements from one production to another. See File
Import/Export for details.

16. Console Reset
16.4 Snapshots
Snapshots can be used to load different settings within the same production, or to reset the system while you are
live/on-air. For example, to recall a particular console layout before a live broadcast, a different mix for each band
during an entertainment show, or a different setup for each scene in a theatre production.
"show" folders to store your snapshots.
To manage the recall, snapshot isolates can be applied to protect individual channels, specific modules or global
elements of the desk.
Note that a production stores the same settings as a snapshot plus other lower level settings. See What's Stored
in a Production/Snapshot.
Note also that are two types of snapshot - full and partial. A full snapshot stores all snapshot settings, while a
partial snapshot stores selected routing crosspoints only. In this section we will be dealing with full snapshots.
However, the same principles of load, save, delete, etc. can be applied to partial snapshots.
Snapshots and their folders are written onto the user data flash card when you save or update a production.
Snapshots are managed from the Snapshot List display.
16.4.1 The Snapshot List Display

1. Open the Snapshots List on the Central GUI:
At the top of the display you can manage the snapshot folders, abd isolate global elements from a snapshot load
(Global Snapshot ISO).
The main Snapshots area lists all the snapshots stored in the selected folder. Here you will see:
· Name - the snapshot name.
· Type - indicates whether it is a full or partial snapshot, see What's Stored in a Snapshot.
· Date/Time - the date and time when the snapshot was saved or last updated.
· Padlock Icon - identifies snapshots which have been write-protected.
· Memo 1 & 2 - a summary of any notes added to the snapshot.

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· Channel Type - indicates the DSP channel type which was active when the snapshot was saved or last
updated. This is important as you cannot load a Broadcast snapshot to Recording channels, or vice
versa. See Transferring User Data.
· Isoset - can be used to link an Iso Set to a snapshot in order to apply snapshot-specific filtering. See
Linking Iso Sets to Snaphots.
If the list is longer than the available window space, then on-screen scroll bars will appear.
The Snapshot memo area can be used to add notes to the selected snapshot.
The buttons at the bottom of the display provide access to snapshot operations: Load, Save, Update, Delete and
Protect. These functions are also available from the SCREEN CONTROL soft keys when you are focussed on the
Snapshots list. Or, if you select a snapshot and right-click.
The name of the last snapshot saved or loaded is always shown in the title bar of the Central GUI across all
displays – in our example, Act 1 Scene 2.
Use the access bar on the far right of display to show or hide the Fade Sets area. Fade Sets are used to define
which channels and modules will crossfade when loading Fade Snapshots from a cuelist. See Fade Sets for
details.
16.4.2 Snapshot Folders

Snapshot folders are used to organise the snapshots within a production. Each production can contain any
number of folders, and within each folder you can store multiple snapshots
If necessary, use File Import/Export to copy snapshots between folders.
Note that the Folders list includes two special folders:
· FALLBACK - contains fallback snapshots, which provide a way of recovering settings should you change
the DSP Configuration (Recording to Broadcast, or Broadcast to Recording) by accident. This folder
cannot be renamed or deleted.
· BACKUP - contains backup snapshots, which provide levels of undo by periodically saving snapshots.
This folder appears when backup snapshots are enabled.
Snapshot folders can be accessed from the Snapshot List, Cuelist, Snapshot Trim Sets or Iso Sets display. The
operation is identical, and so here we will show the Snapshots List display.
1. Open the Snapshot List display on the Central GUI.
The displays lists all Snapshots stored in the current folder, e.g. Music:
2. To change folder, click on the folder name - a drop-down menu appears listing all Folders stored in the
active Production:

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Note that the active Production is always shown in the top right of the Title Bar (e.g. Olympic Games). If you
wish to change production, then go to the Productions display.
Having made a selection, the Snapshots list updates accordingly - in our example, there is one snapshot (named
Default) stored in the Basic Setups folder:
Folder Operations
Ø To create a new folder:
1. From the Folders area select the NEW button, or press the NEW soft key - a new folder appears with a
default name (e.g. folder 0000):
Ø To rename a folder:
1. Select Rename to rename the current folder - a pop-up window appears:

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3. To confirm, press ENTER/OK. Or, to exit without making a change, press ESCAPE/Cancel.

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Ø To delete a folder:
1. Select the folder you wish to delete from the Folders list.
2. Select the Delete button or press the DELETE soft key:
If a folder contains snapshots, fade sets, oversnaps or ISO-sets that are protected, then it cannot be deleted.
Therefore, you will need to unprotect or delete these items (from the relevant displays) if you wish to continue.
3. To confirm, select OK. Or, Cancel to abort the operation.

Ø Importing and Exporting Folders
A complete folder can be imported and exported to a USB interface, mxGUI computer or network drive. This
allows you to archive or transfer folders between systems. See File Import/Export for details.
16.4.3 Loading a Snapshot

You can load stored settings to the console at any time, even while on-air, by loading a snapshot.
If snapshot offsets are active, then they are applied to the loaded parameters.
Any isolated objects are not reset by the snapshot load. You can isolate individual channels, individual signals, or
global console elements, see Snapshot Isolate.
1. Select a snapshot from the Snapshots list (e.g. Act 1 Scene 2).
2. Select the on-screen Load button, press the LOAD soft key, or right-click and select Load to complete
the operation.
The console instantly updates and the title bar shows that Act 1 Scene 2 is now the active snapshot:

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16.4.4 Snapshot Isolate

Before loading a snapshot you can isolate certain objects, so that they are not reset by the snapshot load. You
can choose to isolate individual channels, individual modules within specific channels, individual signals, or global
console elements. Snapshot isolates are stored and recalled by productions.
Isolating Channels (SNAP ISO)

To isolate a complete channel, select its SNAP ISO button. This isolates all the channel's DSP settings including
analog input control, see Channel processing.
SNAP ISO can be programmed onto a fader strip user button, or selected from the Central Control Section
CHANNEL buttons.
Note that the Isolate option, on the System Settings display, prohibits the selection of SNAP ISO buttons across
the console.
Isolating Channel DSP Modules (Module ISO)

To isolate individual channel DSP modules, on a per channel basis, you can apply a Module ISO Set. Different
ISO sets can be stored and recalled, and linked to individual snapshots, providing a powerful tool for both front of
house and live theatre applications.
Isolating Signals
To isolate an individual source or destination, select the Isolate function on the Signal List display.
Global Snapshot ISO

To isolate global console elements from a snapshot recall, enable the following buttons on the Snapshot List
display:
The buttons apply globally across the system; for example, select DESK to protect the layout of your fader strips,
but still recall all of your DSP settings, signal routing, etc.
· DESK: the assignment of channels to fader strips across all banks and layers, and the current status of
bank and layer switching.
· CONN: signal routing connections for all sources and destinations (via the Signal List or mx Routing
displays).
· LABEL: User and Source Labels.
· DSP: all channel DSP settings including analog input control.
· IO: remote mic preamp and router IO settings such as router level and word length.
· BAY: the assignment of channels to fader strips across all banks and layers, and the current status of
bank and layer switching for isolated fader bays.
· MXDSP: all settings for the optional mxDSP modules.
· PLUGIN - all settings stored on the optional remote plug-in server.

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16.4.5 Saving a Snapshot

You can save the current settings of the console into a new snapshot using SAVE.
All settings are always saved into a snapshot regardless of the snapshot isolate status.
1. Select the folder you wish to save into on the left of the Snapshot List display.
2. Then select the on-screen Save button.
The current settings are saved into a new snapshot which is given a default name (e.g. snapshot 0011):
The snapshot is time and date stamped, marked as a full snapshot, and automatically becomes the active
snapshot as indicated in the title bar.
Note that the Save Partial screen button or PARTIAL soft key is used to save a partial snapshot.
16.4.6 Renaming a Snapshot

1. Click on the snapshot name:

3. To confirm, press ENTER. Or, to exit without making a change, press ESCAPE.

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16.4.7 Adding a Memo

You can use the two Snapshot Memo lines to add memo information. For example, you may wish to remind
yourself about the artist’s position on stage for a particular snapshot.
1. Select the snapshot and then select a line in the Snapshot Memo field - a black cursor appears.
2. You can now type to enter your information from the keyboard:
The first and second memo lines appear beside the snapshot name in the Snapshots list. You can enter as
many characters as you wish in each line; the list will automatically resize to fit.
If you cannot enter any memo text, check that the snapshot is not protected.
Right-click on the memo field to Copy and Paste the text to another snapshot:
You can also drag and drop the Memo columns to change their position on the display.

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16.4.8 Updating a Snapshot

You can save the current settings of the console into an existing snapshot using UPDATE.
Updating a snapshot overwrites it. Therefore, make sure you select the correct snapshot to update; there is no
undo from this operation!
If a snapshot is protected, then it cannot be updated. (Use Protect to safeguard any important snapshots
which you do not want to accidentally overwrite).
1. Select the snapshot you wish to update from the Snapshots list (e.g. Act 1 Scene 3):
2. Select the on-screen Update button, press the UPDATE soft key, or right-click and select Update.
The selected snapshot is overwritten with the current settings. You can confirm this by looking at the new date
and time stamp.

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Protect
A protected snapshot cannot be updated or deleted. You can use this safeguard any important snapshots which
you do not want to accidentally overwrite or delete.
1. Select a snapshot from the Snapshots list.
2. Select the on-screen Protect button, press the PROTECT soft key, or right-click and select Protect.
The padlock icon indicates that the snapshot is now protected:
3. Select the snapshot followed by Unprotect to remove the protection - the padlock icon disappears.
Delete
Delete removes the snapshot from the internal memory.
1. Select a snapshot from the Snapshots list.
2. Select the on-screen Delete button, or press the DELETE soft key, or right-click and select Delete:
If a snapshot is protected, then it cannot be deleted. (Use Protect to safeguard any important snapshots
which you do not want to accidentally delete).

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16.4.10 Backup Snapshots

Backup snapshots can be used to provide levels of undo.
You can set how often the backup snapshots are stored and how many are held in memory from the System
Settings display, using the Backup Snapshot options.
For example, you can set the backup snapshot interval to every 5 minutes, and limit the number to 12 backup
snapshots giving yourself a 1 hour ‘undo’ window.
Note that you can disable backup snapshots by setting the number to 0. This can be a good idea during on-air
operation, as each automatic save causes a brief interruption to console control.
All the backup snapshots for a particular production are stored within a special folder named BACKUP; this
folder cannot be deleted. However, you can rename the folder if you wish to keep the last set of backup
snapshots. After the next backup snapshot interval, a new BACKUP folder will be created.
At any time, you can use the backup snapshot system to revert to an earlier configuration:
1. Select the BACKUP folder at the top left of the Snapshot List display - the Snapshots list now shows
all the backup snapshots, each one date and time stamped:
2. Select a backup snapshot from the list, and select Load - the console updates to the backup snapshot
settings.
Note that the backup snapshot load works in the same manner as a normal snapshot load. Therefore, any
snapshot isolates will be applied.
16.4.11 Importing and Exporting Snapshots

Individual snapshots can be imported and exported to a USB interface, mxGUI computer or network drive. This
allows you to archive or transfer snapshots between systems. See File Import/Export for details.

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16.5 Cuelists
For convenient recall of snapshots and other output events during a live show, the mc²56 provides real-time
"cuelist" automation.
A cuelist contains a series of "cue points" which can be loaded in sequence. Each cue point can load a
snapshot, a series of output events or a combination of both. Output events can be specific channel parameters
(e.g. open a fader), load events (e.g. load a DSP preset), global operations (e.g. clear snapshot ISOs) or remote
events such as GPIOs or MIDI messages. By combining a snapshot load with multiple output events, you can
execute a complex set of changes from each change of cue!
Note that cue points do not store any actual settings, but are pointers to snapshots and output events within the
active production. Multiple cuelists can be created and stored in folders. This allows you to create a cuelist for
each version of a show. Cuelists and their folders are written onto the user data flash card when you save or
update a production.
The Cuelist display is used to create, edit and play out the automation. In summary:
· You can save snapshots and cue points into a cuelist as you work through a rehearsal. This approach
works well when the rehearsal runs in the same order as the show, as you can save each snapshot and
add it to the cuelist in one operation.
· You can add existing snapshots into a cuelist at any time. For example, if the rehearsal is unlikely to
follow the same running order as the show, then it may be better to save your snapshots into a folder
from the Snapshot List display, and then create the cuelist at a later time.
· Cue points can load any snapshot stored in the active production (in any folder), but NOT snapshots
stored in a different production. Therefore, if you are saving snapshots which you intend to use in a
cuelist later, make sure that they are saved in the same production. If not, you will need to copy the
snapshot folder(s), see Copying Files Internally.
· To fade automatically from one cue to the next, the cue points must load a snapshot and a fade set.
The fade set specifies the channels and modules which will crossfade. You can link the same fade set
to multiple snapshots, or fade sets can be snapshot-specific. Thus, you can define exactly which
parameters will crossfade at each change of cue.
· At any time you can edit a cue point to change its snapshot or include other output events.
· During play out, you can load the cue points in sequence, or choose to skip or revert to the previous cue
at the touch of a button.
· Finally, cue points themselves can be triggered by an event. For example, to trigger a specific cue
change from a GPI input.
Use the SNAPSHOT/SEQUENCE front panel to access the most important play out functions.
You can apply offsets to each snapshot load using the Snapshot Trim Sets display. This is great if there are
last minute changes you wish to make to the whole show.
You can also apply snapshot isolates to protect global elements, individual channels or DSP modules, see
Snapshot Isolate and Module ISO.
The Cuelist display is used to create, edit and play out cuelists.

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16.5.1 The Cuelist Display

1. Open the Cuelist display on the Central GUI. Our example shows a pre-prepared cuelist:
On the left you will see all the Snapshots within the selected Snapshot Folder, and all the Cuelists within the
selected Cuelist Folder. From here you can manage the folders, save new snapshots and manage the cuelists.
If a cuelist has already been saved, then it will appear in the Cuelists area (e.g. Saturday).
The middle of the display can be toggled between two views: the Snapshots stored in the selected Snapshot
Folder OR the Current Cuelist - click on the blue access bars (1) to change the view.
When viewing the Current Cuelist, you will see the following information for each cuepoint:
· # - the cuepoint index.
· Individual Enable (Tickbox) - enables (or disables) a cuepoint during playout.
· B, C or N - indicates the Back, Current or Next cue point to be actioned during playout
· Trigger - assigns an input trigger to the cue point.
· Name & Memo - here you can name the cuepoint and add a memo.
· Snapshot - shows the snapshot assigned to the cuepoint in the format: "SnapshotFolderName" /
"SnapshotName"
· Outputs - here you will see icons indicating the type of event(s) assigned to the cuepoint.
Use the Enable button (at the top of the area) to enable or disable the cuelist automation.
The New, Up/Down, Delete and Clear buttons can be used to manage cuepoints in the list. The Back, Goto
and Next buttons (in the Transport area) will play out the cuelist.
On the right, you can reveal which Output Events are assigned to the Selected Cuepoint - in our example,
cuepoint0005 will recall the snapshot named "Act 2 Scene 2" from the snapshots folder "Mozart". The blue
access bar (2) can used to show or hide this area.
Note that you will see the names of the Back, Current and Next cuepoints in the status bar once cuelist
automation is enabled) - for example:

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16.5.2 Changing Views

The middle of the display can be toggled between two views by clicking on the blue access bars (upper or
lower): the Snapshots stored in the selected Snapshot Folder OR the Current Cuelist. In each case, you can
show or hide a further area by clicking on the right access bar. The following screenshots show the four possible
views:
Snapshots list
Snapshots list with Fade Sets revealed

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Current Cuelist
Current Cuelist with Selected Cuepoint/Output Events revealed

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In addition, you can click and drag on the blue dividing lines to increase or decrease the size of an area. For
example, to hide the Snapshots and Cuelists areas (usually on the left of the display). This is ideal once a
cuelist is prepared and you are ready for playout:
Current Cuelist area maximised
16.5.3 First Steps

To prepare a simple cuelist:
1. Open the Cuelist display on the Central GUI.
If there are no cuelists saved in the active production, then you will see an empty display like this:

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2. First, select a Snapshot Folder.

This can be a folder containing existing snapshots OR the folder you wish to use to save new snapshots (via
Save or Save to Cuelist). In our example, we have selected a folder named "Mozart" which contains some
snapshots taken earlier (Act 1 Scene 1, Act 1 Scene 2, etc.). The contents of the selected folder appears in
the Snapshots list:
3. Next, select a Cuelist Folder, or create a New folder, to store your cuelist(s).
Multiple cuelists can be stored in each folder making it easy to store different versions of a cuelist for the same
show.
Note that the cuelist folder is separate from the snapshot folder, and a cuelist can reference any snapshot in any
snapshot folder as long as it is stored in the same production.
In our example, we have chosen to rename the folder (click on Rename). A pop-up window opens where can
type in a new name. In our example, we are using the same name as for the snapshots folder. This is a good
idea if the cuelists and snapshots are closely related.
4. Next, add some cuepoints to the cuelist using either of the following methods:

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Ø To add existing snapshots:

Select New to add some new "empty" cue points:
Then select a cuepoint, click on Select snapshot (from the Selected Cuepoint area) and choose the snapshot
you wish to assign (from the pop-up window). Here you will see all the snapshots available in the selected
Snapshot Folder. Confirm by selecting OK:
To assign consecutive snapshots to consecutive cuepoints, click on Step to make all the assignments
before selecting OK. See Using the Step Function for more details.

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In our example, the snapshot Overture (stored in the snapshot folder Mozart) has been assigned to
cuepoint0000:
Ø To save a new snapshot and add it as a cuepoint:

First select Save in the Snapshots area to save a new snapshot. You can rename it if you wish.
Then, select the snapshot and click on Add to Cuepoint:
The snapshot is added as a new cuepoint.

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Note that the snapshot takes the entered name (e.g. Act 4 Scene 1), while the cuepoint takes the next default
name (e.g. cuepoint0005). You can rename the cuepoint later if you wish.
At any time, you can use the Delete button to delete the selected cue point, or Clear to clear the entire
contents of the cuelist. Note that Clear will remove ALL cuepoints from the list and should be used with
caution!
5. Next, save the contents of the cuelist by clicking on Save (in the Cuelists area) - the cuelist is saved
and named automatically (e.g. cuelist0000):
You can rename the cuelist by clicking in the name field and typing in a new name (e.g. Saturday).
The cuelist is now prepared, saved and named, and you can use the Back, Goto and Next buttons (in the
Transport area) to playout the cuelist.

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6. At any time you can edit its contents by selecting a cuepoint and assigning a different snapshot or
output event (from Selected Cuepoint area):
Assign Output Event
7. If you make any changes, then you must update the cuelist (right-click and select Update):
8. And then either update (or save) the production:
Note that you MUST perform steps 7 and 8 in order to save any changes, as Cuelists and their Folders are
only written onto the user data flashcard when you update (or save) a production.

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16.5.4 Running a Cuelist (Playout)

Once you have prepared some cuepoints, you can play out the cuelist in real time.
To do this, use the on-screen Next button in the Cuelist display's Transport area. You may also wish to
maximise the Current Cuelist area as shown in our example below, see Changing Views.
Cuelist Display

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Preparing for Playout

First, make sure that the cuelist and its cuepoints are enabled for automation as follows:
1. Select either the Enable button (at the top of the Current Cuelist area), or the front panel ON button, to
enable the cuelist automation:
If Enable/ON is turned off, then the Transport buttons are disabled (and greyed out like this):
2. Make sure that the individual cuepoints are enabled (via the "enable" tickboxes).
You can use the tickboxes to include or exclude (skip) a cue if you wish.

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Playout Operations
The first time you Enable the Current Cuelist, the N flag appears beside the first cuepoint in the list (e.g.
Overture). This tells you that this cuepoint will be the next to play out when you press the NEXT button:
1. Press NEXT to start the play out.

If the cuepoint specifies a snapshot, then the snapshot is loaded according to any snapshot isolates and offsets
you have applied. The cuepoint is marked with a C for Current and highlighted in red. In addition, the N flag
moves down to the next cuepoint in the list:
If the snapshot does not load, check your snapshot isolate settings.

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2. Keep pressing NEXT to step down through the cues in turn.

In each case, the cuepoint loads its assigned snapshot and/or output events, and the N, C and B flags update:
· N indicates the Next cuepoint to be loaded. This shows you exactly what will be recalled when you
press the NEXT button.
· C indicates the Current cuepoint. This is always the current cue (the last one loaded).
· B indicates the Back cuepoint.
3. To play out the cuelist from beginning to end, then keep pressing NEXT repeatedly.
When you reach the last cuepoint in the list, the playout ends and the NEXT button performs no further function:
4. At any time, you can press the BACK button to quickly return to the previous cue's settings. For
example, if an artist misses their entrance or you press the NEXT button too early!
5. To skip a cuepoint, deselect its green tickbox. If the cuepoint is next to playout, then the N flag moves
one position down the list. You can skip any number of cuepoints.
In our example below, we have chosen to skip the Act 1 Scenes 2 and 3:
6. To restart the playout from a different position, select the cuepoint you wish to return to and select the
Goto button - the N flag updates accordingly. Now press NEXT to restart the cuelist playout from this point.

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16.5.5 The Current Cuelist

Having prepared some cuepoints, you can use the Current Cuelist (in the middle of the display) to manage the
cuelist:
For each cuepoint, you will see:

· # - the cuepoint index.
· Individual Enable (Tickbox) - enables (or disables) a cuepoint during playout.
· B, C or N - indicates the Back, Current or Next cue point to be actioned during playout
· Trigger - assigns an input trigger to the cue point.
· Name & Memo - here you can name the cuepoint and add a memo.
· Snapshot - shows the snapshot assigned to the cuepoint in the format: "SnapshotFolderName" /
"SnapshotName"
· Outputs - here you will see icons indicating the type of event(s) assigned to the cuepoint.
1. Use the Enable button (at the top of the area) to enable or disable the cuelist automation.
2. Use the New button to add a new (empty) cuepoint to the list. You can then assign a snapshot or
output event later.
3. The Up/Down, Delete and Clear buttons can be used to manage cuepoints in the list.
4. The Back, Goto and Next buttons (in the Transport area) will playout the cuelist.

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Renaming Cuepoints
1. Click in the name field and enter a new name using the keyboard.
You can use the following keyboard shortcuts to quickly rename multiple cuepoints:
1. Click in the name field and press CTRL + A to select all text, and then CTRL + C to copy the text field:
2. Press the keyboard's Down arrow to select the next cuepoint name field, and press CTRL + V to paste
in the copied text.
3. Now edit the text as you wish and press ENTER to confirm the name change.
4. Repeat this process to quickly rename all the cuepoints in the list:

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Changing the Order of Cuepoints

1. Select the cuepoint you wish to move (e.g. Orchestra Only):
2. Then select either the Up or Down button to move the selected cuepoint up or down the list:
At any time, you can use the Delete button to delete the selected cue point, or Clear to clear the entire
contents of the cuelist. Note that Clear will remove ALL cuepoints from the list and should be used with
caution!

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Assigning an Input Trigger

Each cuepoint in the Current Cuelist can be assigned an input trigger such as a GPI or fader open. This can be
useful if you wish to execute a cue automatically.
1. Click on the cuepoint's Trigger field (in the Current Cuelist) to open the "Choose Trigger" window.
The system supports a wide variety of input triggers, and so you will see the following categories:
· Channel Parameters - specific channel events (e.g. main fader level above/below, channel cut set, aux
send level above/below).
· Load Events - such as a snapshot load.
· Remote Events - such as a GPI, incoming timecode position passed or MIDI message.
For screenshots showing all available options, see Input Triggers.
2. Select a cateogory (e.g. Remote Events), an input trigger (e.g. General Purpose Input Changed)
and then define its parameters.

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In the example below, click to select a GPI from the drop-down menu and then set its Value (state):
· Value checked = state high
· Value NOT checked = state low
Note that at the bottom of the window are a number of useful functions:
· Back - click to step back to the last operation; in this instance, to the previous window
· Step - click to step forwards to the next cuepoint AND automatically increment the step field (marked
by the yellow dot). In our example, this will assign consecutive GPI inputs to consecutive cuepoints.
See Using the Step Function.
3. Confirm all changes with OK or, to exit without making a change, select Cancel.
Once confirmed, an icon appears beside the cuepoint in the Current Cuelist representing the input triggger (e.g.
GPI, TC, MIDI, a fader icon, etc.):
4. To remove an existing input trigger, click on the icon (to re-open the trigger assign window) and select
Remove.

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Input Triggers
The screenshots below show the options available when assigning an input trigger:
Channel Parameters Load Events
Remote Events

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16.5.6 The Selected Cuepoint

The Selected Cuepoint area (on the right of the display) can be used to interrogate or assign new functions to
a cuepoint. If you cannot see this area, the check the current view.
1. Select a cuepoint (e.g. Orchestra Only) - the Selected Cuepoint and Output Events areas update:
Under Selected Cuepoint you will see:

· Name - click to edit the name of the cuepoint.
· Enable - click to enable (or disable) the cuepoint during playout.
· Snapshot - click to assign a snapshot to the cuepoint.
· Trigger - click to assign an input trigger to the cue point.
· Memo1 & Memo2 - click here to enter notes about the cuepoint:
o the Memo1 field is displayed in the Current Cuelist (in the middle of the display) and accepts up to
32 characters.
o the Memo2 field is only displayed in the Selected Cuepoint area, but can accept more text then
Memo1. Press SHIFT + ENTER to start a new line.
Under Output Events you will see:
· Select (tickbox) - click to select the event (for example, to Remove the event).
· Individual Enable (tickbox) - click to enable (or disable) the event during playout.
· PreRoll - click to enter the amount of preroll (in seconds). You can use this to delay the start of an
event after the cuepoint is loaded.
· Icon - here you will see an icon indicating the type of event (e.g. a file icon).
· Name & Description - here you will see the system name of the output event (e.g. Load Snapshot)
and a more detailed description (e.g. the name of the snapshot in the format: "SnapshotFolderName" /
"SnapshotName").
2. Use the New button to add a new (empty) output event to the cuepoint. You can then assign an event
type later.
3. The Up/Down, Edit, Group and Remove buttons can be used to manage the Output Events.

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Assigning a Snapshot
A snapshot can be assigned to a cuepoint as follows:
To apply crossfades to cue changes, you will need to assign a fade snapshot (and not a normal snapshot
as described in this topic). See Snapshot Crossfades for details.
1. Select a cuepoint and open the Selected Cuepoint area (on the right of the display).
2. Click on Select snapshot - the "Load Snapshot" window appears:
3. Choose a Snapshot folder and a snapshot.

· Back - click to step back to the last operation; in this instance, it closes the snapshot assign window.
· Cache - click to add the snapshot load to the Cache.
· Test - click to load the selected snapshot (to "test" its contents).
by the yellow dot). In our example, this will assign consecutive snapshots to consecutive cuepoints.

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In the example below, snapshots from the snapshot folder named Mozart have been assigned to each of the
cuepoints:
Note that once a snapshot is assigned, it automatically appears in the Output Events list. Therefore, another
way to access the "Load Snapshot" window is to select the event and click on Edit. See Managing Output
Events for more details.
5. To remove a snapshot assignment, select the "Load Snapshot" from the Output Events list and click
on Remove.

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Assigning an Output Event

An output event can be assigned to a cuepoint as follows.
Note that you can assign multiple events to each cuepoint, and combine output events with a snapshot load.
This allows you to execute a complex set of changes from each change of cue!
1. Select a cuepoint and open the Selected Cuepoint area (on the right of the display).
2. Click on the New button (at the bottom of the Output Events area) - the "Choose Command" window
appears:
3. To assign a single output event, select New Command followed by the type of command. Alternatively,
you can use New Group to create a group of events, or Cache to select events previously stored to the
cache.
When you select New Command, you will see the following categories:
· Load Events - such as a channel preset, snapshot, iso set or oversnap.
· Global Operations - such as clearing all iso sets.
· Remote Events - such as a GPO or MIDI message.
For screenshots showing all available options, see Output Events.
To apply crossfades between cue changes, choose Load Events and assign a Snapshot and Fade Set to
each cuepoint. See Snapshot Crossfades.

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4. Select a cateogory (e.g. Remote Events), an option (e.g. Send MIDI Note On Message) and then
define its parameters.
In the example below, select an Interface Index and MIDI Channel from the drop-down menus, and then enter
the Note and Velocity values:
· Interface Index - is defined in the "post_config.tcl" file during commissioning, and is used to
distinguish the optional KISS box MIDI interface from RTP MIDI.
· MIDI Channel - from 1 to 16 (as defined by the MIDI 1.0 standard).
· Note - from 0 to 127 (as defined by the MIDI 1.0 standard).
· Velocity - from 1 to 127 (as defined by the MIDI 1.0 standard).
· Back - click to step back to the last operation; in this instance, to the previous window.
· Cache - click to add the event to the Cache.
· Test - click to load the output event (to "test" its contents).
by the yellow dot). In our example, this will assign consecutive Note values to consecutive cuepoints.
Once confirmed an icon appears in the Outputs field to represent the assigned event (e.g. a MIDI connector
icon):
6. To remove an event from the selected cuepoint, select it from the Output Events list and click on
Remove.

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Output Events
The screenshots below show the options available from the "New Command" window:
Channel Parameters Load Events
Global Operations Remote Events

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Managing Output Events

All the events assigned to the selected cuepoint, including snapshots, are listed in the Output Events area.
Note that output events cannot be renamed, as the name field show the system name (e.g. Load Snapshot,
Send MIDI Note on Message, Set General Purpose Output Val, etc.):
1. To remove an output event from a cuepoint, first select the cuepoint (from the Current Cuelist), then
select the event (from the Output Events list), and click on Remove.
Note you can select multiple events and remove them in one operation by using the select tick boxes. However,
there is no level of confirmation, and so you should use this feature with caution!
2. To change the function of an event, first select the cuepoint (from the Current Cuelist), then select the
event (from the Output Events list), and click on Edit - either the Load Snapshot or Choose Command window
appears, allowing you to assign a different snapshot or event.
3. To change the order of events for a cuepoint, select the event you wish to move. Then click on either the
Up or Down button to move the selected event up or down the list.
Note that, depending on the type of event, the order can be important. For example, if a specific channel
parameter event is placed after a load snapshot, then this may be reset by the values stored in the snapshot!
4. To delay the start of an event, enter a value into the PreRoll field (in seconds).
5. To create a group of events, select multiple events using the select tickboxes (as shown above), and
click on Group. See Using Groups.

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16.5.7 Using Keyboard Shortcuts

When assigning a trigger or event, you can use the following keyboard shortcuts to speed up the navigation and
selection process:
· [Cursor Up] or [Cursor Down] - scrolls up or down through the list entries.
· [Enter] or [Backspace] - step forwards or backwards to the next window.
· [Escape] - closes the current window.
Assigning an Input Trigger
Once an event window parameter window is open, you can also use the keyboard to adjust the parameter
values:
· [Cursor Up] or [Cursor Down] - increments or decrements the value of the selected field.
· [TAB] or [CTRL] + [TAB] - selects the next or previous field.
MIDI Event Parameter Window

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16.5.8 Using Groups

If you have multiple events which relate to a single operation, then it can be useful to create a group. Note that
there are two ways to create a group: either group some existing events OR create new events as a group from
"Choose Command" window.
Ø To group existing events:
1. First select the cuepoint containing your events (from the Current Cuelist).
2. Select the events you wish to group using the select tickboxes (in the Output Events list) - in our
example, a MIDI Note On and GPO event:
3. Then click on Group (at the bottom of the Output Events area) - the group is created and indicated by
the following icon in the Output Events area and Current Cuelist:

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Ø To create new events as a group:

1. First select a cuepoint (from the Current Cuelist) and click on New (at the bottom of the Output
Events area) to open the "Choose Command" window:
2. Select New Group and OK to open the "Group" window:
From here you can click on New to add new events as described on the next page.

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Ø Group Operations
For an existing group, select the Group (in the Output Events list) and click on Edit to open the "Group"
window:
If you are creating new events in a new group, then this window should already be open.
From here you can edit and test the grouped events, or add the grouped events to the cache as follows:
1. To add more events to the group, select New -> New Command -> choose a category (e.g. Channel
Parameters) -> choose an option (e.g. Main Level), and edit the parameters.
In our example, we have added two new Main Level events which set the levels of Input channels 1 and 2 to 0dB:
2. To test the grouped events, click on Test.

3. To change the order of events, select an event and click on Up/Down.
4. To remove an event, select it and click on Remove.
5. To add the grouped events to the cache, click on Cache.
6. Once you have finished making changes, confirm with OK, or click on Cancel to exit without making a
change.

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7. At any time, you can click on the small arrow beside the group to interrogate the its contents:

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16.5.9 Using the Cache

The cache is a storage area which is saved in the active production. It is useful for storing events which you wish
to recall later when making assignments to a cuepoint or command trigger. For example, to store the setup of
an event, or group of events, which you wish to use repeatedly in several cuepoints.
The cache can be accessed from the Cuelist display (when assigning a snapshot or output event to a cuepoint),
or from the Command Triggers display (when assigning a command to a trigger).
Note that the contents of the cache are stored onto the user data flashcard whenever you update or save a
production. In the current release, there is no way to clear or edit the contents of the cache, other than to save a
new production. Therefore, it is recommended to only store items to the cache where necessary.
The example below describes how to save a group of events to the cache and then recall it to another cuepoint,
but the same principles can be applied to single events and command trigger assignments.
Ø To save events to the cache:
1. First define the event(s) you wish to cache in the usual manner - for our example:
· Select a cuepoint from the Current Cuelist area (e.g. Overture).
· Click on the New button (at the bottom of the Output Events area) to open the "Choose Command"
window.
· Select Channel Parameters -> Main Level, and define the parameters - in our example, to set the
main level of Sum channel 1 to 0dB.
· Repeat for Sum channel 2 so that there are two "Set Main Level" events in the Output Events area.
· Then select and group the events as described earlier. (Note that this step is optional, but for our
example, it makes sense to use a group).
2. Now select the event or group (from the Output Events area) and click on Edit to open the "Group"
window:
3. Click on Cache to save the event/group to the cache - you are asked to enter a Name and
Description.

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Note that a Name must be entered while the Description is optional. It is good idea to give cached items a
short name, for easy identification, and use the description field to add more detail as necessary:
4. Select OK to confirm - your event/group is now saved to the cache.

Note that you will see a yellow triangle appear beside the event/group in the Current Cuelist and Output
Events areas. This indicates that the the event/group is a child of the cache, meaning that if you subsequently
edit its contents, any changes will be carried forward. You can prevent this from happening by re-opening the
Edit window and choosing In Place Save. This is described in more detail later.

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Ø Assigning a cached event to a cuepoint

Once you have added an event or group to the cache, then it can be assigned to a different cuepoint as follows:
1. First select a cuepoint (from the Current Cuelist) and click on New (at the bottom of the Output
Events area) to open the "Choose Command" window:
2. Select Cache and OK to open the contents of the cache - in our example, there is only one item
available (our group named Open SUM 1/2):

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3. Select an entry and OK - the following window now opens:
There are now two ways in which you can add the cached event/group to the cuepoint:
4. Select OK to add the event/group as a child of the cache. This means that any changes you make to
the event/group at a later time will be carried forward.
5. Alternatively, select In Place Save to add the event/group as a one-time copy of the cache. (i.e.
subsequent changes to the cached event/group will NOT apply).
Note that an event or group which is a child of the cache is indicated by a small yellow triangle in the Current
Cuelist and Output Events areas - in our example, both of the "Open SUM 1/2" groups remain a child of the
cache:

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Ø Child of the Cache Operations

At any time you can re-open an event or group which is a child of the cache as follows. This allows you to edit or
test its contents, or re-save the event/group using In Place Save.
1. Select the child event or group (in the Output Events list) and click on Edit:
2. In our example, we can use any of the group editing commands (New, Up/Down, Edit or Remove) to
change the contents of the group as described earlier. Note that these will not appear for a single cached
event.
3. To test the cached event/group, click on Test.
4. Once you have finished making changes, confirm with OK, or click on Cancel to exit without making a
change. Or, to re-save the event/group to the cuepoint as a copy of the cache, click on In Place Save.

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16.5.10 Using the Step Function

The Step function can be used make consecutive assignments to consecutive cuepoints very quickly. The
function is available when assigning an input trigger, snapshot or output event to a cuepoint.
The example below describes how to assig consecutive snapshots to consecutive cuepoints, but the same
principles can be applied to any event type:
1. Select the first cuepoint you wish to assign and open the Selected Cuepoint area (on the right of the
display).
2. Click on Select snapshot - the "Load Snapshot" window appears:
3. Choose a Snapshot folder and the first snapshot - e.g. Act 1 Scene 1.
4. Then, instead of selecting OK, click on Step - automatically, the system makes current assignment,
and then selects the next cuepoint AND automatically increments the step field (marked by the yellow dot).
5. Keep pressing Step to work through the assignments.
6. When you reach the end of the snapshots you wish to assign, confirm all changes with OK.
Note that if you use Step with an output event, then it is the selected step field which will auto-increment.
Choose this by clicking on a circle to the left the parameter field - the selection is marked with a yellow dot:
In the example above, Step will auto-increment the GPO output address, and so this is a quick way of assigning
incremental GPOs to consecutive cuepoints.

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16.5.11 Cuelists and Folders

Cuelists are stored in folders within the active production.
Note that the cuelist folder is separate from the snapshot folder, and a cuelist can reference any snapshot in any
snapshot folder as long as it is stored in the same production.
Use the Cuelist Folders and Cuelists areas on the lower left of the display to manage the cuelists and their
folders as follows:
Cuelist Folders
1. Select New to create a new cuelist folder - each folder is named automatically (e.g. folder0000).
2. Select Rename to rename the current folder - a pop-up window appears asking for a new name (as
shown above).
3. Once more than one folder has been created, click on the drop-down menu to change folder.
4. Select Delete to delete the current folder.

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Cuelists
1. Select Save to save the contents of the Current Cuelist into a new cuelist - each cuelist is named
automatically (e.g. cuelist0000) as shown above.
2. Click in the cuelist Name field to edit the name:
3. If you add more cuepoints to the Current Cuelist or edit the Selected Cuepoint contents, then either
select Update (to update the selected cuelist), or Save (to save the contents in a new cuelist).
4. At any time, you can load the contents of a cuelist by selecting the cuelist followed by Load - the
Current Cuelist updates accordingly.
Note that this will replace the entire contents of the Current Cuelist, so be sure to save any changes first (see
step 3) before you a load a different cuelist!
The active cuelist is indicated by the A in the "active" column.
5. Select Delete to delete the selected cuelist.
4. Select Protect to protect the selected cueslit - a padlock icon appears in the "protect" column.
Remember to save all your cuelists and cuelist folders by updating (or saving) the production.

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16.5.12 Cuelists and Snapshots

The Snapshot Folders and Snapshots listed at the top left of the display are identical to those in the Snapshot
List. This means that any changes will be applied throughout the system - for example, updating a snapshot
from the Cuelist display is the same as updating a snapshot from the Snapshot List.
The Snapshot Folders and Snapshots are provided for convenience so that you can manage your snapshots
as you create a cuelist.
Snapshot Folders
1. If your system already has snapshots saved, then select a Snapshot Folder from the drop-down menu
- the Snapshots area shows its contents accordingly.
2. Alternatively, select New to create a new snapshot folder - each folder is named automatically (e.g.
folder0000).
3. Select Rename to rename the current folder - a pop-up window appears asking for a new name.
4. Select Delete to delete the current folder.

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Snapshots
1. Select Save to save a new snapshot into the selected folder - the snapshot is named automatically.
You can click on the name field to rename it if you wish.
2. Select Add to Cuelist to add the selected snapshot to the list of cuepoints:
Note that the snapshot uses its own name (e.g. Act 4 Scene 1), while the cuepoint takes the next default name
(e.g. cuepoint0005). You can rename the cuepoint later if you wish:
3. The remaining functions - Load and Update - are provided for convenience:
· Select Load to load the selected snapshot. This allows you to check its settings before assigning it to
a cuepoint.
· Select Update to update the selected snapshot. This allows you to overwrite the snapshot with the
current console settings.
Remember to save all your snapshots and snapshot folders by updating (or saving) the production.

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16.5.13 Snapshot Crossfades

When playing out snapshots from a cuelist, you can choose to crossfade from one snapshot to another.
For each cuepoint, you will need to assign a snapshot AND a fade set. The fade set specifies the channels and
modules which will crossfade. You can link the same fade set to multiple snapshots, or fade sets can be
snapshot-specific. Thus, you can define exactly which parameters will crossfade at each change of cue.
The fade snapshot also defines the crossfade time (in milliseconds) and whether switched functions (e.g. mutes)
will change state at the start or the end of the crossfade. Note that these parameters are applied to the cuepoint
which you are fading to.
For example, if cuepoint 0001 loads fade snapshot 0001 with a crossfade time of 1 second, and cuepoint 0002
loads fade snapshot 0002 with a crossfade time of 2 seconds, then:
· if you step from cuepoint 0001 to 0002, using the NEXT button, a crossfade time of 2 seconds is
applied.
· if you then step back to cuepoint 0002 from cuepoint 0001, using the BACK button, a crossfade time of
1 second is applied.
To apply crossfades, you must play out fade snapshots from a cuelist.
Crossfade are NOT applied when you load normal snapshots from either the Cuelist or Snapshots List
displays.

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Fade Sets
A fade set is used to specify the channels and modules which will crossfade when fade snapshots are loaded
from a cuelist. For convenience, they can be managed from both the Snapshot List and Cuelist displays. Here
we will use the Cuelist display, but the operations are identical from the Snapshot List.
Ø The FADE SEL Button
You will need to assign the FADE SEL function onto a Central User Button (via the Custom Functions display) in
order to create a new fade set.
Ø To create a new fade set:
1. Press the FADE SEL Central User button - it flashes (green) when active:
2. Select the DSP module(s) you wish to fade, by enabling the SEL buttons on the Central Control
For example, to select the fader and EQ, press SEL beside the fader and EQ sections.
3. Then press the fader SEL buttons to apply your chosen selections across multiple channels:

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4. Now open the Fade Sets area (on either the Snapshots List or Cuelist display) and select Save - a
new fade set is saved and automatically named.
5. Repeat steps 1 to 4 to save the different fade sets required for the cuelist.
In our example, we have created three different fade sets:
If you cannot see the Fade Sets area, then check the current view.
Fade sets are stored in the current snapshot folder (e.g. Mozart). If the fade sets apply to specific snapshots,
then it makes sense to save them in the same folder. However, if they are more generic, then you could use a
separate snapshot folder. A fade set can be linked to any snapshot (stored in any snapshot folder) as long as
they are saved in the same production.
Ø Other Fade Set Operations
You can manage fade sets in a similar manner to snapshots:
· Name - click in the Name field to rename a fade set.
· Memo - click and type into the Memo1 or Memo2 fields to enter memo text..
· Load - loads the selected fade set.
· Save - saves the current module and channel selections into a new fade set.
· Update - updates the selected fade set with current module and channel selections.
· Delete - deletes the selected fade set.
· Protect - protects (or unprotects) the selected fade set.
Remember to save the fade sets by updating (or saving) the production.
Importing and Exporting Fade Sets

Fade Sets cannot be accessed individually from the File display, but they can be imported and exported by
copying the snapshot folder:
1. Copy the snapshot folder containing your fade sets to a USB interface or network drive using the File
Export function from the File display.
2. Connect your USB interface or network drive to the destination console.
3. And import the snapshot folder into the current production using File Import from the File display.
If you now open the Fade Sets area (in either the Snapshot List or Cuelist displays) and select the imported
folder, you will see your fade sets.

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Assigning Fade Snapshots to Cuepoints

To apply crossfades to a change of cue, you must assign a Snapshot AND a Fade Set to each cuepoint in the
Current Cuelist.
1. First save all the snapshots and fade sets you wish to use for the cuelist.
2. Then click on New (at the bottom of the Current Cuelist) to create some new "empty" cuepoints:
If you have already assigned snapshots to cuepoints using the Select Snapshot method, then you will
need to remove these assignments, and replace them with fade snapshots as described below.
3. Select the first cuepoint and open the Selected Cuepoint area (on the right of the display).
4. Click on the New button (at the bottom of the Output Events area) - the "Choose Command" window
appears:
5. Select New Command -> Load Events -> Load Snapshot - the "Load Snapshot" window appears.
Resize this window so that you can see all of the fields for both the Snapshot selection and Fade Set.

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6. First, select the snapshot you wish to load, and then select a fade set.
In our example, the snapshot and fade set are stored in the same snapshot folder, but you can choose
snapshots and fade sets from any folder as long as they are stored in the same production.
7. Now enter the parameters for the crossfade using the following fields:
· Fade Time - enter a value in ms.
· Switch Mode:
o At Start = switched functions change state at the start of the crossfade.
o At End = switched functions change state at the end of the crossfade.
· Back - click to step back to the last operation; in this instance, it go back a page.
· Cache - click to add the fade snapshot to the Cache.
· Test - click to load the selected snapshot (to "test" its contents).
by the yellow dot). In our example, this will assign consecutive snapshots to consecutive cuepoints
using the same fade set and crossfade time/switch mode. See Using the Step Function.

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In our example, the fade snapshot assigned to cuepoint0000 will load the snapshot named Overture and apply
the fade set named Orchestra channels - faders only. We have then used Step to assign fade snapshots to
the other cuepoints in the list:
Remember to save your assignments by saving or updating a cuelist, and then updating (or saving) the
production.
The cuelist can now be played out in the usual manner, so press NEXT to crossfade into the first cuepoint
(cuepoint0000). In our example, this will apply a fade time of 3 seconds and change switched functions at the
start of the fade.
If nothing happens when you recall your cuepoint, check the following:
· Is cuelist automation enabled (Enable button on)?
· Are the channels and modules defined by the fade set isolated from the snapshot recall (using snapshot
isolate)?
· Have you entered a crossfade time greater than 0ms?!
· Make sure that you’re not crossfading between snapshots with the same parameters!

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16.6 Snapshot Offsets

Whenever a snapshot is recalled, either from the Snapshots or Cuelist display, it can be recalled with offset
parameters.
For example, if you are running an opera where different soloists will perform on different nights, you can store a
basic set of snapshots for the show, and then apply offset parameters for soloist A, soloist B, etc. without
affecting the original snapshot values.
Any number of offsets can be applied, and can include a mixture of absolute and trim values:
· Use an absolute offset when you want a new static value throughout the cuelist – for example, to apply
a new EQ setting for soloist B.
· Use a trim offset when you want to keep the relative changes from the snapshots within the cuelist – for
example, to make soloist B’s fader level +3dB louder throughout the show.
The active snapshot offsets are known as the Current Trim Set. This is a temporary buffer which you can update
at any time allowing you to modify offset parameters during a show. For example, if soloist B sings louder than
during rehearsal you can wish to adjust their trim offset!
You can also store offsets by saving the contents of the Current Trim Set into memories called Oversnaps.
Each oversnap can store any number of offset parameters, and different combinations of oversnaps can be
added to the Current Trim Set. This allows you to make any combination of offsets active – for example, to
combine the offsets for soloist A with those for trombonist B.
Oversnaps are stored in the current snapshot folder within the active production. Oversnaps are written onto the
user data flash card when you save or update a production. Note that you must use oversnaps to store and
recall snapshot offset parameters. (The Current Trim Set is a temporary buffer which is saved in the system’s
warm start data to protect you from a system restart. However, if you clear the Current Trim Set, or change
production, then any active snapshot offsets will be lost.)
Whilst snapshot offsets are designed for cuelist play out, active offsets are applied to any snapshot load.
When trimming input GAIN, you can only trim the SOURCE gain for mic/line inputs, and not for fixed gain or
digital sources. In other words, you cannot trim the IO DSP gain (Volume).
For any type of input, you can apply trim to the INMIX channel input gain.
Snapshot offsets are managed from the Snapshot Trim Sets display.

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16.6.1 The Snapshot Trim Sets Display

1. Open the Snapshot Trim Sets display on the Central GUI.
The display is divided into four areas:

· Folders – manages the folders stored in the current production; one will be selected, in our example,
Mozart.
· Oversnaps - lists any oversnaps stored in the selected folder.
· Contents - shows either the Current Trim Set or Oversnap Trim Set – click on the headings to toggle
between the options:
o Current Trim Set - lists the active snapshot offset parameters. If the list is empty, then a snapshot
will load with its original values. If the list contains offsets, then the offset values will be applied. Use
the Current Trim Set to update the active offset parameters. This can be done live from the console,
or by loading an oversnap.
o Oversnap Trim Set – lists the offset parameters which are stored in the selected oversnap. This
allows you to view offset parameters before you load the oversnap.
· Operations – this area contains buttons for managing Oversnaps.
During a live show, it is best to show the Current Trim Set in the Contents area. This way you can be sure
that you are viewing the active offset parameters which will be applied to your next snapshot load.

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16.6.2 First Steps

The Current Trim Set lists the active snapshot offset parameters. Offsets listed here are applied to all snapshot
loads.
To update the list, you can either add offset parameters live from the console, or load a stored oversnap. Here
we will look at adding offsets to the Current Trim Set from the console.
The contents of the Current Trim Set are applied to all snapshot loads, including loads from the
Snapshots and Cuelist displays.
When adding offsets, the console compares the current desk position to the value stored in the last loaded
snapshot. Therefore, it’s a good idea to start by loading the snapshot you want to use as a reference point for
the comparison. (In our workflow, this will be the last snapshot played out from the cuelist.)
1. Load a snapshot - the console updates to the stored positions.
2. Open the Snapshot Trim Sets display.
3. Click on Current Trim Set to view any active snapshot offsets.
The Current Trim Set will be empty, unless you have already been working with snapshot offsets.
4. You can clear the Current Trim Set by clicking on the clear abs and clear trim buttons (lower right of
display):
5. Now adjust the console parameters you wish to offset – for example, some fader levels and an EQ
setting.
Let’s assume that we want the new EQ setting to be static for the whole show (an absolute offset), but that the
level changes should be relative (trim offsets).

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6. Press ABS (under CHANNEL in the Central Control Section), or the on-screen Select Abs button, to
activate the absolute offset parameter selection - the ABS button flashes.
7. Assign the channel with the EQ setting to the Central Control Section, by pressing its fader SEL button.
Any audio modules which have a different setting to that stored in the last loaded snapshot are displayed with
green SEL buttons – in our example, the SEL button on the EQ section:
8. To add the new EQ setting to the Current Trim Set, press the green EQ SEL button.
The SEL button turns red and each modified EQ parameter is added to the Current Trim Set as an absolute
(ABS) offset on the Snapshot Trim Sets display:

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9. Now repeat the last three steps, but select the TRIM button or the on-screen Select Trim - the TRIM
button flashes to show that you are now selecting trim offset parameters.
10. Assign one of the channels with a new fader level to the Central Control Section.
This time the fader SEL button lights (green) to indicate that the level has changed from that stored in the last
loaded snapshot.
11. Press the green SEL button to add the trimmed fader level to the Current Trim Set.
The SEL button turns red and the trimmed fader level is added to the Current Trim Set on the Snapshot Trim
Sets display.
12. Repeat for each new fader level, by assigning the channel to the Central Control Section and then
pressing the green parameter SEL buttons.
As each offset parameter is selected, it is added to the Current Trim Set on the Snapshot Trim Sets display:
Note that the trim offset is the difference in level between the current fader position and the level stored in the
last loaded snapshot – for example, if the snapshot loads a main fader level of -6dB, and you have moved the
fader to +4dB, then the trim offset is +10dB.
13. When you have finished selecting offset parameters, turn off the SNAPSHOT OFFSET ABS and TRIM
buttons, or Select Abs and Select Trim on the Snapshot Offsets display.
Note that the Current Trim Set is a temporary buffer and its contents are not saved other than in the system’s
warm start data. To save your offsets so that they can be recalled at a later date, you should save an oversnap.

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16.6.3 Recalling Snapshots with Offsets

As soon as you have added offset parameters to the Current Trim Set, these offsets are active. This means
that any snapshot loaded from this point on, either from a cuelist or from a snapshot load, will have the Current
Trim Set offsets applied:
See Running a Cuelist and Loading a Snapshot for details.
16.6.4 Clearing Snapshot Offsets

To disable snapshot offsets, you must clear the Current Trim Set.
1. Click on the clear abs button to clear all absolute snapshot offsets.
2. And click on clear trim to clear all trim offsets:
Once the Current Trim Set list is empty, snapshots will be loaded with their original values.
You can update the snapshot offsets in order to clear or modify a single offset parameter.

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16.6.5 Updating Snapshot Offsets

To update a snapshot offset - for example, if Soloist B sings louder than in rehearsal:
1. Press the TRIM button (under CHANNEL in the Central Control Section), or on-screen Select Trim.
2. Assign the Soloist B channel to the Central Control Section by pressing its fader SEL button.
The fader SEL button will be red as this parameter already has an active offset:
3. Adjust the fader level to the new setting - the parameter SEL button turns orange.
4. Press the orange parameter SEL button to confirm the new setting - the SEL button turns red and the
trim offset updates within the Current Trim Set
5. Alternatively, to remove the trim offset altogether, press the red parameter SEL button - the SEL button
returns to green and the Main LVL offset is removed from the Current Trim Set.
6. Remember to deselect the ABS and TRIM buttons (or on-screen Select Abs and Select Trim) when
you have finished updating offsets. If you don’t, and adjust a parameter with an active offset, then you will
update the offset!

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16.6.6 Oversnaps
At any time, you can save the contents of the Current Trim Set into a memory called an Oversnap. This allows
you to recall offset parameters at a later date.
Each oversnap can store any number of offset parameters. And, different combinations of oversnaps can be
loaded back to the Current Trim Set. This allows you to make a combination of offsets active – for example, to
combine the offsets for soloist A with those for trombonist B.
Oversnaps are stored in the current snapshot folder within the active production.
Note that you must use oversnaps to store and recall snapshot offset parameters. (The Current Trim Set is
a temporary buffer which is saved in the system’s warm start data to protect you from a system restart.
However, if you clear the Current Trim Set, or change production, then any active snapshot offsets will be
lost.)
Oversnap Operations
Ø To save the contents of the Current Trim Set into an oversnap:

1. Click on the Save button in the Operations area (at the bottom of the display).
A new oversnap is saved into the current snapshot folder (e.g. Mozart) and appears at the bottom of the list
with a default name (e.g. oversnap0002):
Ø To rename an oversnap:
1. Click on the oversnap name field.
2. Enter a new name from the keyboard.

3. Press ENTER to confirm the new name. Or, to exit without making a change, press ESCAPE.

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Ø To check the contents of an oversnap:

1. Select the oversnap you wish to interrogate.
2. Click on the Oversnap Trim Set heading in the lower half of the display - the trim set updates to show
the contents of the selected oversnap:
3. When you have finished interrogating stored oversnaps, it is a good idea to switch back to the Current
Trim Set. This way you can be sure that you are viewing the active offset parameters which will be applied to
your next snapshot load.
Ø Recalling an oversnap:
When recalling snapshot offsets, you can choose to either load or add an oversnap to the Current Trim Set.
Any offsets listed within the Current Trim Set will then be applied to subsequent snapshot loads.
1. From either the Operations area, or a right-click, select Load or Add:
· Load – replaces the contents of the Current Trim Set with the stored offsets.
· Add – adds the stored offsets to the existing parameters within the Current Trim Set. For example, to
combine the snapshot offset parameters saved for different artists.

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The contents of the Current Trim Set update accordingly:
If an added oversnap contains parameters for an identical audio module to that in the existing Current Trim Set,
then the added parameter replaces the existing one.
Ø To update an oversnap with the contents of the Current Trim Set:

1. Add the offset parameters you wish to store to the Current Trim Set.
To edit the contents of an existing oversnap: load the oversnap first; then adjust the snapshot offsets.
2. Then from either the Operations area, or a right-click, select Update - the oversnap is overwritten with
the contents of the Current Trim Set:
Ø To delete an oversnap:
1. From either the Operations area, or a right-click, select Delete.
2. Select OK to delete the oversnap from the snapshot folder.

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Importing and Exporting Oversnaps

Oversnaps cannot be accessed individually from the File display, but they can be imported and exported by
1. Copy the snapshot folder containing your oversnaps to a USB interface or network drive using the File
If you now go to the Snapshot Trim Sets display and select the imported folder, you will see your oversnaps.

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16.7 Module ISO

Whenever a snapshot is recalled, from either the Snapshot List or Cuelist display, any active module ISOs are
applied. This can be used to isolate individual channel DSP modules, on a per channel basis, so that particular
DSP modules are not reset by a snapshot load.
1. Open the Iso Sets display on the Central GUI.
The display is divided into five areas:

· Folders – manages the folders stored in the current production.
· Contents - defines what will be isolated from the next snapshot load.
· Iso Sets - lists any Iso Sets stored in the selected folder.
· Global Activations - determine what is currently active.
· Operations - buttons for managing Iso Sets such as Load, Merge, Delete, etc.
The Contents matrix can operate in either Isolate View (shown above) or Load View (where green ticks
indicate the modules to be loaded). Clear all can be used in either view to clear all current matrix selections.
You can save the Current Global status of the matrix as an Iso Set, by using the Save button (bottom right).
This allows you to Load (or Merge) different Iso Sets later, or link an Iso Set to a specific snapshot.
The Activations (bottom left) determine what is currently active:
· GLOBAL (on) = the Current Global status of the matrix will be applied to the next snapshot load.
· SELECTIVE (on) = any Iso Sets which have been linked to snapshots will be applied when the
corresponding snapshot is loaded.
Note that either or both activations can be enabled, allowing you to combine the Current Global matrix with the
contents of an Iso Set linked to a specific snapshot - the G and S flags (in the Iso Sets area) indicate:
· G = the last global Iso Set to be loaded.
· S = the last selective Iso Set to be loaded (from a linked snapshot).
The radio buttons, on the lower left of the Contents matrix, can be used as follows:
· Current Global - shows what will be applied to all snapshot loads.
· Preview - shows the contents of the selected Iso Set.
· Last Snapshot (Read Only) - shows the isolations applied by the last snapshot load. For example, if
both the GLOBAL and SELECTIVE activation buttons are enabled, you will see the combined effect of
both the Current Global matrix and an Iso Set loaded from a linked snapshot.

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16.7.1 First Steps

1. Locate the Module Iso buttons (under CHANNEL in the Central Control Section) and on-screen in the
Extra Buttons display.
These functions can also be assigned to Central User Buttons (from the Custom Functions display).
Extra Buttons display
2. Check the Folder location of your snapshots from the Snapshot List display - note that the Isoset field
can be used to link an Iso Set to each snapshot later.
Snapshot List display

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3. Select the Iso Sets display and choose a folder from the Folders area (top left):
Iso Sets display
Any Iso Sets which you save will be stored in this folder within the active production.
If you wish to link an Iso Set to a snapshot later, then both the Iso Sets and Snapshots must be stored in
the same folder - e.g. in Show 1.
4. Select the view you wish to use by clicking on either Isolate View (to change to Load View), or vice
versa - the matrix updates accordingly:
· In Isolate View, the red crosses within the Contents matrix indicate which DSP modules will be
isolated - for example, all Delay modules across all Input channels, plus the EQ, Fader and Mute on
Input channels 1 to 8.
· In Load View, the green ticks indicate which DSP modules will be loaded - for example, only the EQ
on Input channels 1 to 8.
Isolate View Load View

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16.7.2 Defining the Current Global ISOs

When switched to Current Global, any isolations which appear in Contents the matrix will be applied to all
subsequent snapshot loads, providing the GLOBAL activation button is enabled (green).
Note that you can save the Current Global matrix as an Iso Set if you wish to store and recall settings. You
can also combine the Current Global isolations with selective Iso Sets which have been linked to snapshots.
Both operations will be described later.
Ø To define the Current Global isolations:
1. Select the Current Global radio button (on the lower left of the Contents matrix):
2. At the top of the Contents matrix, use the drop-down menu to choose the type of channels you wish to
isolate - for example, Inputs for input channels:

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3. Then use the on-screen matrix, or SEL ISO (described later), to add isolations to the matrix - in Isolate
View, the red crosses indicate which DSP modules will be isolated:
When using the on-screen matrix, you can:

· click on an individual crosspoint to select a single DSP module on a single channel.
· click on the ALL crosspoint fields (beside each row of DSP modules) to select a single DSP module
across all channels.
· click on the ALL crosspoint fields (above each channel) to select all DSP modules on a single channel.
Note that the ALL fields indicate:
· blank = nothing is selected.
· red X with no outline = something is selected.
· red X with an outline = everything is selected.
Use the scroll bars at the top and on the right of the matrix to access all channels and all DSP MODULES.

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Using SEL ISO

Rather than using the on-screen matrix, you can use the Module SEL ISO button to make selections:
1. Press the SEL ISO button (on the Extra Buttons display) - it flashes (green) when active:
2. Select the DSP module(s) you wish to isolate, by enabling the SEL buttons on the Central Control
For example, to select the fader and mute, press SEL beside the fader, and mute sections.
3. Then press the fader strip SEL buttons to apply your chosen selections across multiple channels.
In each case, your selections are added to the Contents matrix:
Click on Clear all, or select the CLEAR CURRENT button (on the Extra Buttons display), to clear all
current selections.

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4. When you have finished making selections, remember to turn off SEL ISO.
5. To apply your selections to the next snapshot load, check that the GLOBAL activation button (bottom
left) is enabled (green).
Note that if you turn off the GLOBAL activation button, then no isolations will be applied to the next snapshot
load - this is indicated by the "greyed out" crosspoints in the Current Global matrix:
In Load View, the selection process is identical, only this time you will need to use the green tick boxes to
select the channels and DSP modules you wish to load (rather than isolate):
16.7.3 Working with Iso Sets

If you wish to store and recall the status of the Current Global matrix, or link a specific setup to a snapshot
load, then you will need to use Iso Sets as follows.

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Saving & Renaming an Iso Set

1. Define the Current Global ISOs as explained earlier.
2. From the Operations area (bottom of display), select Save - the status of the Current Global matrix
is saved as an Iso Set into the selected Folder (e.g. Show 1). The Iso Set is given an automatic Date and
Time stamp, and a default name.
3. From the Iso Sets list, click on the name field to enter a new name from the keyboard.
4. If you wish, you can also enter two sets of text into the Memo fields.
5. Repeat to save all the Iso Sets that you wish to use for the production - for example:
Loading & Merging Iso Sets

1. Select an entry from the Iso Sets list, and select Load (from the Operations area). Then click on OK
to confirm:
When an Iso Set is loaded, its contents will overwrite the Current Global matrix.

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2. Now select a different Iso Set, and click on Merge and OK to confirm:
This time the contents are merged with the existing Current Global matrix:
Note that whenever a global Iso Set is loaded or merged, you will see a G beside its name in the Iso Sets list.

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Updating an Iso Set (& Preview)

To edit the contents of an Iso Set, either:
1. Load the Iso Set.
2. Make your changes.
3. Select the Update button (from the Operations area).
Or:
1. Select the Preview radio button (on the lower left of the Contents matrix).
The matrix updates to show the contents of the selected Iso Set, but without changing the Current Global
status (which is now hidden from view).
In our example, this has allowed us to preview the third Iso Set in the list:
2. Make your changes.

3. Select the Update button (from the Operations area).
4. Select the Current Global radio button to return the Contents matrix to its usual mode of operation.

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Other Operations
· Delete - deletes the selected Iso Set from the snapshots folder.
· Protect - protects the selected Iso Set. Once protected, the Iso Set cannot be updated or deleted.
Importing and Exporting Iso Sets
Iso Sets cannot be accessed individually from the File display, but they can be imported and exported by
1. Copy the snapshot folder containing your iso sets to a USB interface or network drive using the File
If you now open the Iso Sets display and select the imported folder, you will see your iso sets.
16.7.4 Snapshot Specific Iso Sets

Any Iso Set can be linked to a specific snapshot in order to apply different isolations to each snapshot load.

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Linking an Iso Set to a Snapshot

1. Save each of the Iso Sets you wish to link, as described earlier - you should have at least one entry in
the Iso Sets area:
2. Then open the Snapshots List display.

3. Select one of the snapshots and left-click on the Iso Set field - select the Iso Set you wish to link from
the drop-down menu:
You must LEFT-click (and not right-click) on the Iso Set field to access the drop-down assignment menu.
The menu will include all the Iso Sets which you saved earlier from the Iso Sets display.

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In our example, we have assigned two Iso Sets to two of our snapshots:

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Loading Snapshots (with Linked Iso Sets)

1. Return to the Iso Sets display and check that the SELECTIVE (Activations button) is enabled (green).
Or, use the SELECTIVE ENABLE button (on the Extra Buttons display).
2. Then, from the Snapshots List display, Load one of the linked snapshots:
The linked Iso Set is applied to the snapshot load, providing the SELECTIVE activation button is enabled
(green).
You can check what has been applied by returning to the Iso Sets display, and selecting the Last Snapload
(Read-only) radio button - in our example, the matrix shows the combined effect of the last loaded Global Iso
Set marked with a G, and the linked loaded snapshot Iso Set marked with an S:

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16.8 File Import/Export

The file import/export functions can be used for a number of applications:
· To archive or transfer user data between systems.
· To archive or transfer system logfiles for servicing purposes.
· To copy user data elements - for example, to copy a snapshot to a different production.
User data includes complete productions or elements of a production (such as a folder, snapshot or automation
mix), plus other data stored "outside" of productions such as presets.
From the central GUI, the File display is used to transfer data to and from a USB interface or network drive.
Note that you can also transfer data to an external computer using mxGUI, via the File Transfer display.
User data is fully compatible with any mc 2 or Nova, regardless of the hardware configuration. This enables
the transfer of user data to and from any system (including any other mc 2), in order to recall settings in a
different studio.
You will need to take care when moving productions to a system with fewer DSP boards, and be aware that the
channel DSP settings saved in snapshots from Recording channels cannot be loaded to Broadcast channels.
See Transferring User Data for more details.

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16.8.1 The File Display

The File display transfers user data to/from a USB interface or network drive.
1. Open the File display on the Central GUI.

· Production Files - on the left you are always viewing files or folders on the console’s internal data
card.
· File Browser - on the right you can view files or folders on one of the following storage devices:
o Internal - the internal data card.
o USB - a mounted USB device.
o Net - a network drive (pre-configured using AdminHD).
At the bottom of the display you will the amount of free space (in MB) on your selected device.
For each file, you can see its name, type, the date and time when the file was last updated and the file size in
Kb.
Open or close folders by double-clicking on the folder name (or click on the arrow beside the name).
Right-click on a file or folder and select:
· EXPORT - to transfer from left to right (internal to internal, USB or network drive).
· IMPORT - to transfer from right to left (internal, USB or network drive to the internal data card).

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The Production Files List

1. Double-click, or use the arrows, to close the folders in the Production files list until you reach the top
level of the internal data card.
You should see three folders – Productions, Presets and System logfiles:
You can open the System logfiles if you need to access message files or the alarm logfile - these are
diagnostics files which you can need to copy to USB and email to your service engineer should you encounter a
system problem:
More commonly, you will be dealing with the Productions folder in order to copy or export a production, folder or
snapshot.
2. Open Productions and the display will update to show all the productions stored on your system.
At this level, the productions you see are zipped. They can only be selected as a complete file, and cannot be
opened to view or individual elements. The only entry which can be opened further is the Active production as
this is not zipped.
3. Open the Active production to reveal two further directories: Snapshot folders and Automation:

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4. Open Snapshot folders to access any Folders stored within the Active production:
5. And open a Folder to access the individual snapshot files.

6. Remember that at any time, you can go back one level by closing the folder – double-click on the folder
name, or click on the arrow beside the name.
The File Browser

Selecting and navigating within the File Browser varies slightly from the Productions list. This is because the
files you see within the File Browser are dependent on the directory level of the Productions list. For example,
if you are viewing zipped productions within the Productions list, then you will only see zipped productions in
the File Browser. This prevents you from copying files to ‘illegal’ locations:

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1. To see all files from the File Browser regardless of their compatibility, select the show all files option
- the File Browser updates to list all files on the selected device; the Type column shows whether they are
compatible for import.
In our example, the Snapshot folder called Football is compatible for import:
2. If your selected storage device contains folders, then you can open a folder by double-clicking on the
folder name - the file path is shown at the top of the File Browser – in our example, /56 productions:
3. To close the folder and move back to the top level directory, double-click on Folder…

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Resizing and Sorting

1. You can resize the Production files and File Browser areas by clicking and dragging on the separator
bar:
2. You can sort files by name, date, size, type, etc. by clicking on the column headers, or pressing the
SORT NAME or SORT TIME soft keys.
The SELECT soft key provides another method for opening or closing a folder.

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16.8.2 File Types & Extensions

The File display can be used to export any the following files from the internal data card:
· The Active Production. The active production can be exported in full, or opened in order to select
individual elements such as a folder, snapshot or automation mix.
· Prod – zipped production files. These are zipped files which cannot be opened. They can be exported
as a file to the external storage device, imported on another console, and then unzipped within that
console to access their individual elements.
· SnapF – an individual Folder within the Active production. By selecting a Folder, you can easily export
all the snapshots for a particular show.
· Snap – an individual Snapshot within the Active production.
· Mix – an individual Automation Mix within the Active production.
· Presets – an individual channel or processing module preset.
· Log – a message file (system log file).
Note that you can also export these files to an external computer running mxGUI, see the File Transfer display.
You can view and rename user data files on an external computer. However, if you edit the contents, or
modify the file extension, you can corrupt the file and lose data!
The following extensions must be intact to permit a valid file import:
· .lsn – a snapshot
· .lpn – production
· .lau – automation mix
· .pch – channel preset
· .peq, etc. – EQ preset, Compressor preset, etc.
· .lcf – complete configuration (mxGUI only)
· .lco – core configuration: config.tcl (mxGUI only)
· .lsl – signal list: gui_config.tcl (mxGUI only)

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16.8.3 Exporting to USB

1. First, connect your USB interface to one of the console's USB ports.
2. Click on the USB interface icon at the bottom right of the display, or press the EXTERNAL soft key:
· If the USB interface is mounted, then its icon will turn green and the File Browser will show any files or
folders already stored on the device.
· If the USB interface is not mounted, then you will see the following:
3. Try refreshing the USB selection - select Internal and then back to USB.
The device should now show as ready. If not, check your connection or try a different USB device.
Lawo cannot guarantee compatibility with all available USB interfaces. Therefore, please check the
compatibility of your USB interface on your system.
4. Select the destination folder on your USB from the File Browser. (You can create folders to help
organise files.)

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5. Then right-click on the file you wish to export from the Production files list and select Export, or press
the EXPORT soft key.
The file is copied from the internal data card onto your USB storage device - in our example, we have exported
the production named 000a News:
6. Once the data has finished transferring, you can unplug the USB device.
Note that there is no need to dismount the USB interface before you remove it. However, DO NOT unplug the
USB interface while data is transferring as this may result in loss of data.
16.8.4 Exporting to a Network Drive

Follow the same steps to export a file or directory to a network drive. Note that the drive must be configured by
your system administrator using the AdminHD configuration software for it be available.
1. Once configured, you can mount the drive by selecting the Net icon or pressing the NETSHARE soft
key:
Note that the contents of the File Browser will not automatically update if changes are made from another
console or computer. So, to see any changes, refresh the Net selection - select Internal and then back to
Net.

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16.8.5 Importing a File

You can import files from a USB interface or networked drive in a very similar manner to File Export, but this
time:
1. Select the file you wish to import from the File Browser.
2. Select the correct destination level from the Production Files list.
3. Then right-click on the File Browser file and select Import, or press the IMPORT soft key.
In our example, we have imported the snapshot folder called Football into the Snapshot folders of the Active
Production:
Note that if a file or folder of the same name already exists, then the file will be copied with an appended name –
for example, Football (0001).
4. If you now select the Snapshots List display, you will find the imported Folder in the Folders drop-down
menu at the top left of the display:

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16.8.6 Copying Files Internally within the System

The File display can also be used to copy files internally within the system. For example to copy a snapshot or
folder from one production to another.
As you cannot open up a zipped production to select individual elements, you will need to perform this operation
in several stages:
1. First, load the production which contains the snapshot you wish to copy from the Productions display.
2. Now, go to the File display and within the File Browser, click the Internal drive icon.
You will see the contents of a temporary directory within the internal drive as your destination. This directory
may be empty, or it may contain previously copied files.
3. Now, from the Production files list, open up the Active production, the Snapshot folders directory and
select the folder to copy – in our example, Football:
4. Select EXPORT to export the folder to the temporary directory:

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5. Next, return to the Productions display and load the production you wish to copy into - this now
becomes the Active Production.
6. Select the File display.
7. From the Production files list open up the Active production and select the Snapshot folders
directory.
8. And, on the right hand side, select the folder you copied earlier – Football:
9. Select IMPORT to import the snapshot to the Active Production Folder.

10. If you now select the Snapshots List display, you will find the imported Folder.
If you are using this operation to copy a lot of files, then it is a good idea to delete files from the temporary
directory.
Remember the File Browser can only show files which can be imported to your selected destination. For
example, if you have selected a snapshot folder, you will only see snapshots; if you have selected the
Productions directory, then you will see productions. To see all files, turn on the show all files option.
16.8.7 File Management

To help manage your data on your external USB interface or networked drive, the File display enables you to
create a new folder or delete a file or folder in the File Browser (on the right of the display).
These functions are designed to give you the basic tools to manage your exported data. However, to reorganise
the data structure on your storage device, connect it to your PC!
Ø To Create a New Folder

1. Select Internal, USB or Net to select your interface.
2. Right-click on the File Browser and select New Folder, or press the NEW FLDER soft key.
A new folder is created with a default name.

3. You can rename the folder by clicking on the folder name and editing the text in the usual manner.

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Ø To Delete Files or Folders

1. Select Internal, USB or Net to select your interface.
2. Right-click on the file or folder from the File Browser and select delete, or press the DELETE soft key.
You can delete files or folders within the temporary folder on the internal drive, or on your external USB interface
or network drive.
Note that you cannot delete files or folders from the Production files list. (To perform these data management
functions, go to the Snapshots, Mixes or Productions displays.)
16.8.8 Transferring User Data

All user data is fully compatible with any mc 2 system. However, you should note the following if you are
transferring data between systems:
Productions
The DSP configuration is saved and loaded as part of the production. Normally, you only need to save or update
the production to ensure all settings are recalled when you later load the production back.
However, if you move a production to a console with fewer DSP boards, then the DSP configuration will not load
(as it is looking for more physical cards). And, if the current channel type is not compatible with the production
snapshot, your DSP settings will not load either.
To overcome this, save a snapshot on the original console in addition to saving the production. When you move
the production to the new console, load the production, then manually load a DSP configuration with a
compatible channel type. Now load the snapshot. Your settings will be recalled to all available DSP channels.

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Snapshots
Snapshots do NOT store the DSP configuration (to avoid an interruption to audio from a snapshot load). And,
you cannot load a Broadcast snapshot to a console running Recording channels, or vice versa. To help manage
this, the Snapshots List includes a channel type column:
1. Open the Snapshots List display.
2. The Channel Type column shows which channel type was active when the snapshot was saved: either
Recording or Broadcast:
To keep things simple, always choose a DSP configuration which matches the snapshots for the production.
When this is the case, settings load as normal, and you can load snapshots from one console to another, even
if the number of DSP boards or DSP configuration varies. For example, if a snapshot saved with settings for 192
Broadcast input channels, is loaded onto a console running 96 Broadcast input channels, then settings are
recalled to the matching available input channels (1 to 96).
If you do try and load a Recording snapshot to a console running Broadcast channels, then the following will
happen:
· Incompatible channel DSP settings (e.g. EQ, Dynamics, Fader levels, VCA grouping, etc.) cannot be
loaded. The only exception to this is bus assignments.
· All other parameters – signal routing, IO settings, desk configuration, etc. – are loaded as normal.
If you really need to transport a snapshot from one channel type to another, then this can be achieved using the
dynamic automation (see Mixes).
Presets
Unlike snapshots, it is possible to load a preset saved on a Broadcast channel to a Recording channel, or vice
versa. If you do so, all matching parameter values are recalled. However, as not all parameters are included, the
result may not sound the same.
For example, if you attempt to load a 3rd order filter setting from a Recording channel preset to a Broadcast
channel, then a 2nd order filter (the maximum) is applied.

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Mixes
You can also load a mix created with Broadcast channels, to a DSP configuration running Recording channels,
or vice versa.
Any matching parameter values, such as fader levels, are recalled. However, as not all parameters are included,
the result may not sound the same.
This is a way of transporting snapshots from one channel type to another:
· Enable dynamic automation and recall the snapshot you wish to transfer.
· Turn off the automation.
· Then change the DSP configuration channel type (all channel DSP settings reset.)
· Turn on the automation to recall the compatible parameter values.
· Now save a new snapshot which matches the DSP configuration channel type.

17. Timecode Automation

This chapter covers the timecode automation system.
Topics include:
· Prerequisites
· Automation: Overview
· Before You Mix
· Writing Automation: First Steps
· Saving & Loading Automation Data
· Updating Fader Moves
· Writing Automation on Controls and Switches
· Automation Modes
· Command Functions
· Protecting Automation Data
· Recalling a Snapshot
· The Mixes Display
· The Passes Display
· Mix Pass Editing
· Machine Control
· Machine Locators

17.1 Prerequisites
The system must be specified with the Recording Com Kit (958/80) to provide LTC or MTC to the external
playback device.

17.2 Automation: Overview

The automation system automates console settings referenced to timecode, and is controlled from virtual
automation panels (VAP1 and VAP2) on the right of the Central GUI:
VAP 1 VAP 2
Any channel type can be automated (inputs, groups, sums, auxes, VCA masters, surround VCA masters and
GPCs). And automation can be enabled for any audio module (fader, mute, aux sends, EQ, bus routing, channel
signal flow, etc.)
Automation data can be written with timecode rolling forwards, backwards and at any speed, providing fast and
efficient mixing. The way in which data is written is governed by a number of modes, allowing you to write
dynamic or static automation; step in or step out of write to make updates; trim existing moves; protect
channels to prevent overwriting existing moves; and isolate channels to remove them from the automation
system completely.
Each stream of automation data is recorded as a ‘Pass’, and multiple passes are stored within a ‘Mix’. The
‘Pass Tree' allows you to view the history and A/B between different passes within each mix. You can also edit
mix passes in order to delete, copy, shift, insert or paste sections from different passes.
Multiple mixes can be created within each production; mixes are stored permanently on the system when you
update or save a production.
Control of the playback machine can be programmed onto user buttons from the Custom Functions display, or
handled from the optional Machine Control panel.
You can also use the Machine Locator display to store and recall cue points, and/or switch one of your console
displays to a remote desktop in order to view and control a DAW.

17.3 Before You Mix

Let's assume that you have created a new production and have a basic setup with levels, panning, EQ, etc.
Before enabling the automation system, there are a few basic checks to perform:
1. Select the timecode reference for the automation system using the Timecode/Frame Rate options in the
handled from the optional Machine Control panel.
You can use the Machine Locator display to store and recall timecode positions.
2. Change the Central GUI headline to display timecode rather than local time or loudness by clicking in
the headline at the top of the title bar:
3. Press PLAY on your machine and check that the timecode follows.
You can choose Offset Timecode from the headline options, and set a timecode offset from the Passes
display, if your mix starts at an odd timecode value.
4. If necessary, set a pre-roll tolerance for your playback machine.
This option is set by the Pre-roll window option in the Passes display.
5. Check the Mixes display and create a new mix to store automation (described next).
6. Select the channels/modules you want to automate (described shortly).
If you wish, you can enable Solo-in-Place from the System Settings display.
On the mc 256, we recommend programming a R/W user button for faders from the Custom Functions
display. This will allow you to step in and out of write, and view the status of fader automation, across
multiple channels.

17.3.1 Checking the Active Mix

When you enable automation, data from the Active Mix is loaded to the console. Therefore, to make sure you
don’t lose your current settings, you should check the Mixes display.
1. Open the Mixes display on the Central GUI - the list shows all the mixes in the current memory:
The name of the Active Mix is shown at the top of the display. It is the passes from this mix which appear in
the Pass Tree, and its Play pass which loads when you enable automation.
The columns beside each mix name show the date and time stamp, the number of passes within the Pass Tree,
whether the mix is protected (padlock icon) and the size of the mix. You can drag and drop columns to change
their order.
At the bottom of the display, the Mix Memo box can be used to add notes to a particular mix.
The on-screen buttons and right-click options provide access to Load, New, Protect and Delete operations.
These functions are also available on the SCREEN CONTROL panel soft keys.
· If the Active Mix box is empty, you can skip straight onto selecting the channels and modules you
want to automate. The first time you enable the automation, a new mix and Record pass are created
automatically.
· However, if an Active Mix already exists (loaded from the production), you should create a new mix
before proceeding. Otherwise, when you press the AUTO ON button, the system will load the Play pass
from the Active Mix, thereby resetting your existing settings.

17.3.2 Creating a New Mix

1. Press the NEW soft key, or on-screen New mix button, to create a new mix.
An empty mix appears at the bottom of the Mixes list and automatically becomes the Active Mix. It is given a
default name (e.g. mix0009), and is date and time stamped:
17.3.3 Selecting Channels/Modules for Automation

The SEL AUTO function selects which modules within each channel are enabled (or disabled) for automation.
The first time you enable a module for automation, it defaults to dynamic automation mode and is armed
(ready to read and write automation) in absolute.
This operation uses the virtual automation panel (VAP 1), available from the touch-screen buttons on the right of
the Central GUI.
1. Assign one of the channels you want to automate to the Central Control Section, either by pressing its
fader SEL button or using the ACCESS/ASSIGN panel.
2. Press SEL AUTO - the button flashes to show it is active:

On the Central Control Section, the current status of each module is shown by the select buttons:
· SEL button lit (orange) = automation enabled.
· SEL button off = automation disabled.
3. Press the Central Control Section SEL buttons to enable, or disable automation, for each audio module.
You can select any audio module(s), plus the channel signal processing (CH), bus routing (BUS), fader strip
assignment (STRIP) and channel color coding. See Selecting Channel Parameters.
For our example, toggle SEL ALL to deselect all channel parameters, and then press the SEL beside the fader
control so that it lights. This enables fader automation on the channel in access.
4. Next press MLT to apply this setting across more than one channel:
The fader SEL buttons across the console flash, in green.

5. Use the fader SELs to select the channels you wish to automate - the buttons turn red when selected:
You have now enabled automation for the fader modules on the selected channels. The AUT indicator on the
fader strips illuminates to reflect the status.
6. Deselect SEL AUTO, or press ESC on the SCREEN CONTROL panel, to exit the SEL AUTO mode.
To change what is automated at a later date:

· Repeat steps 1 to 3 to enable, or disable, automation on the channel in access.
· Repeat steps 4 and 5 to apply the new module selections to multiple channels - note that you will need
to refresh the fader SEL buttons in step 5 (turn them off and back on) to update existing selections.

17.4 Writing Automation: First Steps

Having prepared the console, you are now ready to turn on the automation and write your first pass.
1. Rewind your playback machine to the start of the mix, and turn on automation by enabling the AUTO
ON button:
The fader R/W buttons turn green. If they don't, then the fader is NOT selected for automation or it is disarmed.
2. Check that FILL END is selected as the 'Stepout Mode':
The FILL END 'Stepout mode' is great for writing early passes where you are working through the song or
production chronologically. Each time you stop and finish a pass, any values in write are written through to the
end of the mix. This means that you don’t have to play through the whole song just to write a fader level to the
end of the mix. See Step Out Modes for more details.

3. Press the AUTO button, located on the SCREEN CONTROL panel, to view the Mixes display.
The Active Mix is shown at the top of the display - in our example, mix0009:
4. Press the AUTO button again to page to the Passes display.

The Pass tree should be empty as we have not yet written any data:

5. Now press play and write some dynamic fader moves as the timecode rolls forwards.
As soon as you touch a fader, its R/W button changes from green to red to indicate that you are writing new
data.
You will see that a Record pass is created – as this is the first pass, it is named pass0000:
You cannot create a new Record pass if the mix is protected.

You will not be able to write dynamic automation if the fader has been disarmed or is running in static
automation mode.
6. When you are ready, finish the pass in one of two ways:
· Press rewind or locate backwards; the change of timecode direction causes the pass to finish
automatically.
· Press FINISH PASS to finish the pass manually:
The automation data is recorded in pass0000 which moves to the Play pass box in the Passes display:
In addition, all fader R/W buttons return to green indicating that they are back in read mode.

7. Locate back to the beginning of the mix and press play.

Watch your recorded moves play back against timecode!
A normal automation day starts at 00:00:00:00 and ends at 23:59:59:xx, meaning that the maximum mix
pass length is 24 hours!
If your audio starts or crosses 00:00:00:00, then you should offset the timecode from the playback device to
avoid the 23:59:59:xx/00:00:00:00 change of day.

17.4.1 Updating a Pass

To update the moves in pass0000:
1. Press play and touch the faders you want to update:
The fader R/W buttons turn red to show that they are back in write.
The R/W buttons on untouched faders remain green and play back the moves from pass0000.
Note that the up/down arrows on the fader strip indicate the direction of the level stored within the Play pass.
This is particularly useful when working in modes such as OUT IF CROSS.
Having written some moves, a new Record pass – pass0001 – is created:
2. Finish the pass, either by pressing FINISH PASS or locating backwards.

Pass0001 now becomes the current Play pass ready for further updates:
If FILL END is still selected as the 'Stepout mode', any levels in write when you finish the pass are written to the
end of the mix. For alternatives, see Step Out Automation Modes.

3. Continue updating the mix.

Each time you update the current Play pass, a new Record pass is created with a new unique reference
number – pass0002, pass0003, etc.
The passes are kept within the Pass Tree showing the history of each update.
17.4.2 Cancelling a Pass

1. If you start a new Record pass and make a mistake, press CANCEL to throw away the data before
finishing the pass:
The next time you begin a Record pass, it takes the next unique pass number. For example, if you cancel
pass0001, then the next Record pass is named pass0002.
17.4.3 Reverting to an Earlier Pass

If you make a mistake and finish the pass, then you can go back to an earlier Play pass using the Pass tree:
1. Select the pass to revert to, for example pass0002.
The name of the pass is shown in the Selected pass box.
2. Press the PLAY soft key, or right-click and select Play from the drop-down menu options.
Pass0002 becomes the current Play pass and the console settings update to reflect the new replay data.
3. Now go into play and write some fader updates.
The newly created pass takes the next unique pass reference number, in our example pass0007, and appears
as a new branch in the Pass tree:
The Pass tree provides a history for every pass created within the active mix. You can use the Pass tree to A/B
between different mixes or to write different versions of automation for a chorus or scene. Passes can be loaded,
renamed, deleted and edited.
For more details, see the Passes display.

17.5 Saving & Loading Automation Data

Every time you finish a pass, you create a new pass which is stored within the active mix memory. At any time,
you can create a new mix and store any number of passes within it.
Note that all this data remains in temporary memory, until you either update (or save) a production. The system
then stores all the mixes in memory, and the passes within them, into the production on the user data flash
card. See What's Stored in a Production.
In addition, the system stores which mix is active, and which pass is the Play pass for each mix. This means
that when you load back a production, you will always get back to the last mix and pass you were working on.
So:
· to save your automation data, either update or save a production.
· to load a mix stored within the same production, simply load a mix and turn on Automation.
· to load a mix from a different production, load the production.
You can use a single production to store multiple mixes for, say, all the songs on an album.
Within each mix (song), create different passes to manage your mix variations - for example, vocals higher,
rhythm section lower, etc.
Individual mixes or productions can be imported and exported to a USB interface, mxGUI computer or network
drive. This allows you to archive or transfer automation data between systems. See File Import/Export for
details.

17.6 Updating Fader Moves

So far we have been working in FILL END which means that whenever you rewind and write an new update, any
moves which follow are overwritten. In order to fine tune the mix, you should change to STEP OUT mode, use the
fader R/W buttons to step out on the fly, and/or enable TOUCH.
17.6.1 Step Out

In STEP OUT mode, any parameter in write reverts to the play pass once you step out of write. This allows you
to update a move, step out of write and keep all the moves which follow from the previous Play pass.
1. Select STEP OUT mode to change from ‘fill to end’ to ‘step out’ automation:
2. Press Play and touch the faders you want to update.

The R/W buttons on the updated faders turn red to show that they are in write.
Now play back the automatio and you should see your new fader moves followed by moves from the previous
Play pass.

17.6.2 Using the Fader R/W Buttons

To make mixing more efficient you can use the fader R/W buttons to step in and out of write while in play. This
allows you to step in and out of write several times during a single pass.
1. First select WRITE R/W:
2. To step in to write, you can now either touch the fader or press its R/W button.
The R/W button turns red to show that the fader is in write.
Note that when WRITE R/W is not enabled, the R/W button disarms the fader.
3. To step out of write, press the fader R/W button again.

The fader jumps back to the Play pass position, and its R/W button turns green to indicate that the fader is now
reading the Play pass.
4. Continue stepping in and out of write on as many faders as you wish, and throughout the pass.
All the updates you have made are recorded in the new Play pass.
You can combine STEP OUT and WRITE R/W with other modes such as OUT IF CROSS or NEXT
CHANGE. Or use GLIDE to glide back to the Play Pass when you step out of write.
You can also step in and out of write globally (for all automated parameters) using the START/STOP WRITE
buttons. Or, for a cluster of channels, using the CLUST button.
17.6.3 Touch
If you would like the faders to step out of write when you release them, then turn on TOUCH (on VAP 1) (on the
STEPOUT MODE panel):
1. Step into write by touching the fader.
The fader R/W button turns red to show that the fader is in write.
2. Keep touching the fader and when you wish to step out of write, release the fader.
The fader jumps back to its previous pass position and its R/W button turns green to indicate that the fader is
now reading back the Play pass.
You can combine TOUCH with GLIDE if you wish the faders to glide back to the Play pass on release.
TOUCH applies to any variable control so you can use it on touch sensitive rotary controls such as panning,
aux sends, etc.
To offset existing fader moves, use TRIM automation.

17.7 Writing Automation on Controls and Switches

In addition to faders, you can write automation for any other channel control - for example, mutes, panning, EQ,
even functions such as signal processing order and bus routing.
Return to the SEL AUTO mode, but this time enable automation for say the fader, mute and pan.
Faders and rotary controls are touch sensitive which allows them to step into write whenever you touch a fader
or control. Switches step into write whenever you change the state of the switch or force a step in using the
WRITE R/W mode.
You can check which parameters are in read or write on an individual channel, by assigning the channel to the
Central Control Section and pressing SEL ARM (on VAP 1).
The SEL button on each audio module now lights as follows:
· SEL button lit (green) = the complete audio module is in read.

· SEL button lit (orange) = at least one parameter within a module is in write. For example, the EQ1 Gain.
· SEL button lit (red) = the complete audio module is in write. For example, the 4-band EQ section.
· SEL button off = the complete audio module is disarmed (read only).
The topics which follow describe two examples: an automated mute and dynamic pan move.

17.7.1 Writing Switch Automation

Switches step into write whenever you change the state of the switch or force a step in using the WRITE R/W
mode. Assuming that you have enabled automation for the desired module (e.g. MUTE), you should be ready to
go.
You will not be able to write dynamic automation if the switch has been disarmed or is running in static
mode.
1. With automation enabled, go into play and press the MUTE button either on the fader strip or Central
Control Section to write your changes.
2. To check that you are writing automation, assign the channel to the Central Control Section, and press
SEL ARM (on VAP 1):
The mute SEL button turns orange when in write:
3. Finish the pass, either by pressing FINISH PASS or locating backwards, and play back the automation.
The mute SEL button turns green when in replay.

17.7.2 Updating Switch Automation

You can update switch automation by rewinding and overwriting the switch change. However, to remove a switch
change you will need to step in and out of write while in play.
1. Assign the channel you want to update to the Central Control Section.
2. Select WRITE R/W and SEL ARM:
The SEL buttons beside each Central Control Section module now allow you to step in and step out of write for
that module. (i.e. they behave like the fader R/W buttons described earlier).
3. Rewind before the switch change you want to remove.
4. Step in to write by pressing the SEL button beside the switch on the Central Control Section - for
example:
The switch goes into write in its current state – i.e. mute off. The SEL button turns red to show that the
complete MUTE section is in write.
5. Locate or play past the end of the unwanted mute.
6. To step out of write, press the SEL button again.
The SEL button turns green to indicate it is now in replay and the mute button reverts to the data from the Play
pass.
The updates you have made are recorded in the new Play pass.
Another great way to update switch automation is to combine STEP OUT with NEXT CHANGE.

17.7.3 Writing Rotary Control Automation

Rotary controls, like faders, are touch sensitive and go into write when you touch them or force a step in using
the WRITE R/W mode. Assuming that you have enabled automation for the desired module (e.g. PANNING),
you should be ready to go.
You will not be able to write dynamic automation if the control has been disarmed or is running in static
mode.
1. With automation on, go into play and move the left/right pan control either from a free control or the
Central Control Section to write your changes.
2. To check that you are writing automation, assign the channel to the Central Control Section, and press
SEL ARM (on VAP 1).
The panning SEL button turns orange when an individual control is in write:
3. Finish the pass, either by pressing FINISH PASS or locating backwards, and play back the automation.
The panning SEL button turns green when the module is in replay.

17.7.4 Updating Rotary Control Automation

You can update the pan move by rewinding and overwriting the move. However, if the move starts too early you
will need to step in and out of write while in play.
1. Assign the channel you want to update to the Central Control Section.
2. Select WRITE R/W and SEL ARM:
The SEL buttons beside each Central Control Section module now allow you to step in and step out of write for
the complete module.
3. Rewind before the start of the pan move you want to update.
4. Step in to write by pressing the SEL button beside the pan module on the Central Control Section:
The pan module goes into write in its current state – i.e. left/right pan at its starting position. The SEL button
turns red to show that the complete module is in write.
5. Now go into play and move the left/right pan control to rewrite your move at the correct timecode.
6. To step out of write, press the SEL button again.
The SEL button turns green to indicate that the pan module is now in replay and the left/right pan control reverts
to the data from the Play pass.
The updates you have made are recorded in the new Play pass.
Another great way to update rotary control automation is to combine STEP OUT with OUT IF CROSS.
Or, if you would like the controls to step out of write when you release them, then turn on TOUCH.

17.7.5 Updating Automation on Individual Controls

When using WRITE R/W and SEL ARM, you have the option to step in either on the complete audio module, or
on an individual control as follows:
1. Select WRITE R/W and SEL ARM.
2. Assign the channel to the Central Control Section.
3. With automation on, go into play.
4. Do one of the following:
· Move the EQ1 Gain rotary control to step in to write on the one control - the EQ SEL button turns
orange indicating that only a part of the module is in write.
· Press the EQ SEL button to force the complete module into write in its current state - the EQ SEL
button turns red indicating that ALL controls and switches within the EQ module are in write.
5. Make your changes and step out either by pressing the EQ SEL button or finishing the pass in the
usual manner.

17.8 Automation Modes

The way in which automation is written is governed by three primary modes:
· Dynamic or Static automation
· The STEP OUT mode
· Absolute or Trim
17.8.1 Dynamic or Static Automation

The SEL DYN function selects which modules within each channel write dynamic or static automation.
For example, you can emulate an analog console’s automation system by writing dynamic fader and mute
changes, while keeping all EQ, Compression, etc. at one static setting for the entire mix.
To reduce the amount of automation data being processed, it is best to only select dynamic automation for
parameters you wish to automate against timecode. However, you might wish to use static automation mode for
parameters which vary statically between different passes, as this will mean that they reset when you recall the
alternate pass.
You can select dynamic or static automation for any number of parameters on any number of channels. The first
time modules are selected for automation, they default to dynamic automation.
Ø To change the mode:
1. Press SEL DYN:
2. Make your selections in a similar manner to SEL AUTO, see Selecting Channels/Modules for
Automation.
Note that the Central Control Section select buttons light as follows:
· SEL button lit = static automation mode.
· SEL button off = dynamic automation mode.
Remember to use MLT, to apply selections to multiple channels, and refresh the fader SEL buttons if you are
updating existing selections.
17.8.2 Step Out Mode

This mode affects what happens when you step out of write. There is a choice of several modes, some of which
can be combined to achieve different results.
It is the mode selected when you finish the pass which is applied. For example, if you are in STEP OUT
while playing through the chorus but then decide you would like to write the new values to the beginning of
the mix, you can change to FILL START and then press FINISH PASS to fill to the start.

FILL START and FILL END
· FILL END = any values in write are written to the end of the mix when you FINISH the pass.
(Recommended when writing the first pass, or working through a mix chronologically.)
· FILL START = any values in write and written back to the start of the mix.
· FILL END + FILL START = any values in write are written as a static value for the whole mix.
You can also write static values between specific timecode points, by using COMMAND FILL.
STEP OUT
STEP OUT = any values in write revert back to the Play pass when you step out of write. (Recommended for
updating an existing mix.)

GLIDE
When GLIDE is enabled, any variable parameters in write will glide back to the Play pass when you step out of
write.
The glide time is set by the Glide-out time at the top of the Passes display.
GLIDE can be combined with TOUCH so that controls will step out of write on release and glide back to the
Play pass.
OUT IF CROSS
When OUT IF CROSS is enabled, any variable parameters in write will automatically step out when they cross
the Play pass.
The mode be combined with STEP OUT, FILL END or FILL START and is recommended for updating variable
parameters such as fader levels.
For example, to update a fader level before an existing move: rewind and write the new fader level and leave the
fader in write; as soon as the Play pass crosses the current level, the fader automatically steps out of write and
starts playing back the Play pass.
Note that the ABV and BLW indicators in the fader label displays indicate the direction of the Play pass. This
shows which way to move the fader to reach the automatic step out point.

NEXT CHANGE
When NEXT CHANGE is enabled, any switched parameters in write will automatically step out when a
parameter change occurs in the Play pass.
This mode can be combined with STEP OUT, FILL END or FILL START and is recommended for updating
switched parameters such as mutes.
For example, if you have written some mute automation and now wish to update a earlier section of the mix:
rewind and write the new mute changes and leave the mute in write; as soon as the next mute change occurs in
the Play pass, the control automatically steps out of write and starts playing back the Play pass.
TOUCH
When TOUCH is enabled, any controls in write will step out of write on release.
TOUCH applies to any variable control so you can use it on touch sensitive rotary controls such as panning and
aux sends as well as faders!
TOUCH can be combined with GLIDE if you wish the values to glide back to the Play pass on release.

17.8.3 Absolute and Trim

The ABS and TRIM buttons determine how automation data is written:
So far all our automation data has been written as Absolute data. In other words, when you put a control into
write you are overwriting its absolute value.
Trim mode can be used to offset existing values. For example, you may have written some good fader moves for
the chorus, and now you’d like to trim the moves up or down in level as you mix.
Trim works by offsetting the absolute data by a trim value. When you finish the pass, either by rolling back in
time or pressing FINISH PASS, the trim data is automatically combined with the original Play pass to create a
new absolute Play pass. The diagrams below show the affect of an update (ANDERUNG) to the Play pass
(READPASS) when written in absolute, and when written in trim:
Note that Trim can be used to offset dB parameters such as fader level and EQ gain, or ranges such as Pan
L/R. Other parameters, such as EQ frequency, cannot be trimmed and will always update in absolute.
Also note that Trim can be selected either globally across the console or selectively for specific controls or
channels.

Global Trim
The simplest way to use Trim is to activate Trim as a global automation mode.
This selection is made from the 'Manual Mode' buttons:
1. Select TRIM to activate trim.

2. Select ABS to return to absolute.
Note that if both buttons are off (unlit), then some controls are selected for trim while others remain in absolute.
See Selective Trim for details.
Note also that certain parameters, such as frequency, cannot be trimmed, and will always update in absolute
regardless of the ABS/TRIM mode
Trim Modes
Once TRIM is enabled, you have the choice of two different Trim modes: Trim On the Fly or Trim Relative. Both
modes can be used for any trimmable parameter, but to explain the modes, let's trim a fader.
Note that, in each case, trim is applied according to the Step Out Mode, so check the status of these buttons
before performing your update:
For example:
· To trim a control to the end of the mix, select FILL END.
· To trim a section of the mix, you could use STEP OUT (steps out of write when you finish the pass), or
TOUCH (steps out of write when you let go of the control).

>> Trim On the Fly
Trim On the Fly is great if you wish to keep a sense of the underlying Play pass from the physical fader
positions, as the faders replay the Play pass, and only stop moving when you touch them.
1. Select TRIM and ON THE FLY (lit):
2. Select the Step Out Mode, for example, TOUCH.

3. While automation is playing back, touch the fader to update its position.
The fader stops moving allowing you to change its position.
Any level changes are written as a trim offset; the amount of trim is shown in the Fader Label Display,
temporarily replacing the Play pass level.
4. Let go of the fader to step out of write.
As soon as you let go, the fader returns to replay. Fader moves from the current Play pass are replayed and the
Fader Label Display returns to the Play pass value.
By enabling GLIDE you can have your fader automatically glide back to the Play pass when you let go.
As an alternative to TOUCH you could use STEP OUT with WRITE R/W. Move the fader to step into write
and apply your trim offset. Let go of the fader and moves replay from the Play pass. The fader remains in
write until you finish the pass. This method of working means that you don’t have to keep touching the fader
for the duration of the trim update.
>> Trim Relative
Trim Relative is great if you wish to use the physical position of the fader to show the amount of trim offset.
1. Select TRIM and deselect ON THE FLY (unlit).
As soon as you enter Trim Relative mode, all faders selected for trim move to a default position (0dB).
2. Select the Ste Out Mode, for example, STEP OUT.
3. Press PLAY to replay the Play Pass.
In Trim Relative, the faders do not move so use the Fader Label Displays to view any changes in level applied by
the Play pass.
4. Touch the fader to step into write.
Any level changes are written as a trim offset; the amount of trim is shown in the Fader Label Display,
temporarily replacing the Play pass level.
5. Because you selected the STEP OUT mode, you can let go of the fader and it remains in write (trim).
Note that as soon as you let go, the Fader Label Display returns to the automation values from the Play pass.
The fader position represents the trim offset (from 0dB).
6. When you want to step out of write, finish the pass.
The fader returns to replay.

Selective Trim
To update some controls or channels in Trim and others in Absolute, then:
· Define a channel User Button to select Trim or Absolute on a channel-by-channel basis. (This function
must be programmed from the Custom Functions display, see Fader User Buttons, Channel
Functions.)
· Use SEL TRIM as described below.
Note that automation must be enabled (AUTO ON lit), and any selections you make are temporary. So, if you
turn automation off and back on, all parameters are reset to ABS.
Ø To select which parameters will write in trim:
1. Press SEL TRIM:
Automation.
Note that not all controls can be trimmed. The Central Control Section select buttons light as follows:
· SEL button lit = trim.
· SEL button off = absolute.
You can also use the Cluster function to select trim for a cluster of channels.
If you have selected a mixture of Abs and Trim statuses, then this is indicated on the 'Manual Mode' panel where
you will see both ABS and TRIM buttons are off (unlit):
To reset the selective trim states, press either the global ABS or TRIM button.

17.9 Command Functions
The 'Command' functions can be used to step in or out of write across multiple channels, or to set an automatic
step in/step out between two timecodes (Punch In/Punch Out).
Note that the 'Command' functions only affect which elements of the console step in or out of write. The way in
which automation data is written is still governed by the automation mode. For example, if FILL END is the step
out mode then the START WRITE command can be used as follows:
1. Press Play on your machine so that timecode is rolling.
2. Press START WRITE and all parameters enabled for automation step into write at their current
positions.
3. Then do one of the following:
· Locate backwards to finish the pass - the FILL END step out mode is applied. In other words, the values
in write will be written to the end of the mix.
· Alternatively, instead of finishing the pass, press STOP WRITE - all your parameters will step out back
into replay. In other words, you have achieved a step in and step out, without having to change
automation mode!
· If you combine the above with GLIDE, then rather than an instant step out, variable parameters will glide
back to their replay positions.
17.9.1 Global Step In/Step Out

1. Select START WRITE to step into write across the console.
All parameters and modules which have been selected for automation step into write.
2. Press STOP WRITE to step out of write across the console.
Any parameters in write step out back to the Play pass.
Use STOP WRITE to step out on all parameters at a section change such as the end of a chorus.
Combine STOP WRITE with GLIDE to glide back to the Play pass values.
17.9.2 Cluster Step In/Step Out

You can use the cluster function to step in or out of write across multiple channels.
The cluster works like a group but just for automation parameters. First define which channels you wish to
cluster. Then when you step into write on say the EQ on one channel, all EQ sections within the cluster also
step into write.

Ø To define the cluster:

1. Select CLUST:
The button flashes, and all the fader SEL buttons across the console flash, in green.
2. Add channels to the cluster by pressing their fader SEL buttons - the fader SEL buttons turn red:
3. Deselect the CLUST button to complete this part of the operation - the cluster is now defined.
Note that the cluster remains active until you repeat the steps above and remove all channels from the cluster.
Ø To step in and out of write using the Cluster

1. Assign any channel within the cluster to the Central Control Section, by pressing its fader SEL button.
2. Step into write on the EQ module using the SEL button:
All EQ modules within the cluster step into write at their current values.
Note that parameters will only step into write if they have been selected for automation and are armed.
Ø Using the Cluster for other Functions

The cluster can also be used to arm or disarm modules, or select Trim automation, across the clustered
channels.
Define the channel cluster. Then with one of the clustered channels 'in access', use either SEL ARM or SEL
TRIM and make your module selections - the selections are applied to all channels within the cluster.

17.9.3 Join
The JOIN and JOIN AUTO buttons also allow you to step into write across a selection of parameters. However,
the parameters which are ‘joined’ are automatically defined for you and are the parameters which were in write
when you finished your last pass.
These functions are especially useful when working on a section of the mix, such as the Chorus of a song,
where you are constantly rewinding to make updates.
Auto Join
1. Select JOIN AUTO:
2. Locate to the beginning of the Chorus and press Play.

3. During the Chorus write some fader and control moves.
You will now have a selection of parameters in write as indicated by the red SEL buttons on the Central Control
Section (if the channel is in access).
4. Locate back to the beginning of the Chorus and press play to play back the pass.
Your moves replay and at the timecode where you located backwards (or finished your last pass), all the
parameters which were in write in step 3 automatically step into write at their current value (this is called an auto
join).
So, by working in JOIN AUTO, you can be constantly rewinding to make updates without having to pay attention
to the step out point or to which parameters you updated.
Command Join
This function is similar to Auto Join but allows you to join controls manually. This can be useful for overwriting a
move you didn’t like. For example:
1. Locate to the beginning of the Chorus and press Play.
2. During the Chorus write some fader and control moves.
You will now have a selection of parameters in write. However, let’s say that you liked the first series of moves
but not the latter.
3. Locate back to the beginning of the Chorus and press play.
4. Watch your moves replay and at the point where you wish to step back into write, press JOIN:
All the parameters which were in write in step 2 now step into write (join) at their current value. If you keep
playing you will now overwrite your unwanted moves.

17.9.4 Punch In/Punch Out Automation

The Punch In and Punch Out times can be used for two different applications:
· To automatically punch in and out of write, so that you do not accidentally update automation outside of
a specified timecode window.
· To apply parameter values to a region of the mix. For example, to write values for the whole of a Chorus
or scene.
In either case, first you need to set the punch in and out times as follows:
1. Open the Passes display on the Central GUI.
The Punch In and Punch Out times are shown at the top of the display:
2. Play or locate your timecode to the required punch in time.

3. And, press SET (it will flash) followed by IN:
The current timecode position is entered in the Punch in time box on the Passes display.
4. Now play or locate your machine to the required punch out time, and press SET followed by OUT.
The current timecode position is entered in the Punch out time box on the Passes display.
6. Deselect the flashing SET button to complete this part of the operation.
Use SET and IN/OUT while in play to enter Punch In and Punch Out times 'on the fly'.
Click in Punch In or Punch Out time boxes to enter a timecode manually from the console keyboard.
Automatic Punch In and Out

To use the punch in and out times to automatically step in and out of write.
1. Make sure that the SET button is off:
2. Turn on both the IN and OUT buttons to make the punch in and punch out times active. (Or, select the
IN and OUT buttons independently if you wish to only step in or only step out.)
The buttons turn blue when active.
3. Now rewind before the punch in timecode and press Play.
At the Punch in time, all parameters and modules which have been selected for automation step into write at
their current values.
4. You can now write new moves into the automation.
When you pass through the Punch out time, all parameters and modules step out of write back to the Play
pass.
5. When you have finished mixing that section, remember to deselect the IN and OUT buttons to
deactivate the automatic punch in/punch out mode.

Fill Region
To apply parameter values to a region of the mix. For example, to write values for the whole of a Chorus or
scene:
1. Set the Punch In and Punch Out times, as described earlier, to define the start and end of the region.
2. Now play through the section of the mix and adjust any parameters to the values you wish to write for
the region.
You will now have a selection of parameters in write.
3. Before you rewind or finish the pass, press the FILL button:
Any parameters in write are written at their current value between the Punch In and the Punch Out times:

17.10 Protecting Automation Data

Having written automation, you may wish to play back your mix data but protect it from being overwritten. There
are a number of options available:
· PLAY SAFE – all channels read automation data from the Play pass but cannot write new data. If you
adjust a parameter you will NOT hear any change in audio.
· BYPASS – identical to ‘Play Safe’, except that if you adjust a parameter you WILL hear the change in
audio. If you like the new parameter value, you can step the control into write using the DIRECT IN button.
· SEL ARM – can be used to protect individual parameters. Armed controls are armed for reading and
writing automation data. Disarmed controls will read automation but cannot write new data.
17.10.1 Play Safe

In this mode, all channels read automation data from the Play pass but cannot write new data.
In addition, if you adjust a parameter, you will NOT hear any change in the audio. 'Play Safe' applies globally to
all channels and parameters, and is a great mode to use when laying back your mix.
1. Select PLAY SAFE:
Once selected, all channels enabled for automation will read data from the Play pass but not write new data if
touched or changed.
2. If you adjust a parameter, you will NOT hear any change in the audio. When you let go of the control,
the parameter reverts to its Play pass position

17.10.2 Bypass
This mode is identical to ‘Play Safe’, except that if you adjust a parameter you WILL hear the change in audio.
'Bypass' applies globally to all channels and parameters, and is a great mode to use when auditioning your mix.
1. Select BYP:
Once selected, all channels enabled for automation will read data from the Play pass but not write new data.
2. If you adjust a parameter, you will hear the change. You then have two options:
· If you Stop, Rewind and press Play, the parameter will revert to its Play pass position.
· If you like the new parameter value, you can step into write at the new value using the DIRECT IN
button:
3. Press the DIRECT IN button:
Any parameters which have been altered from the Play pass position step into write at the current value. If you
now finish the pass, automation is written according to your choice of Step Out mode.
The DIRECT IN button is only active when running in Bypass mode.

17.10.3 Arm and Disarm

The SEL ARM function allows you to protect automation data on individual modules within each channel. Armed
modules are armed for reading and writing automation data. Disarmed modules will read automation but cannot
write new data.
You can arm or disarm any number of parameters on any number of channels. The first time modules are
selected for automation, they default to armed.
Ø To change the arm/disarm status:
1. Press SEL ARM:
Automation.
The Central Control Section select buttons light as follows:
· SEL button lit (green) = module is armed (read and write).
· SEL button off = module is disarmed (read only).
You can also use the Cluster function to arm or disarm modules for a cluster of channels.

17.11 Recalling a Snapshot

You can recall snapshots while running the automation system.
The system behaves as if every control was touched and therefore allows you to step in and out of write as if you
had manually updated the controls.
The snapshot recall will respond to Snapshot Isolate in the usual way.
Depending on the size of the mix, and the number of changes actioned by the snapshot, there may be a
slight delay when recalling the snapshot.

17.12 The Mixes Display

Mixes are managed from the Mixes display.
1. Open the Mixes display on the Central GUI - the list shows all the mixes in the current memory:
The name of the Active Mix is shown at the top of the display. It is the passes from this mix which appear in
the Pass Tree, and its Play pass which loads when you enable automation.
The columns beside each mix name show the date and time stamp, the number of passes within the Pass Tree,
whether the mix is protected (padlock icon) and the size of the mix. You can drag and drop columns to change
their order.
At the bottom of the display, the Mix Memo box can be used to add notes to a particular mix.
The on-screen buttons and right-click options provide access to Load, New, Protect and Delete operations.
These functions are also available on the SCREEN CONTROL panel soft keys.

17.12.1 Loading a Mix

Loading a mix recalls all the passes stored within the mix to the Pass Tree, including the Play pass. Therefore,
if automation is enabled, you will see your automated parameters reset. This provides quick access to any mix
stored in the Mixes list.
Note that when you load a mix, any passes created within the previous mix are held in temporary memory. This
allows you to quickly change between mixes (and passes) without losing data.
However, note that if you load a different production, the memory is cleared and a new set of mixes is loaded
into the Mixes list.
Therefore, always update (or save) a production, before loading a different production, to safeguard your
automation data.
Ø To load a mix:
1. Select a mix from the Mixes list.
2. Right-click and select Load, or press the LOAD soft key to complete the operation.
The loaded mix becomes the Active Mix shown at the top of the display. If automation is enabled, then you will
see your automated parameters immediately reset (to the values stored in the Play pass).
3. Alternatively, enable automation, using the AUTO ON button.
4. You can now play back and update your mix.
Note that the system stores the current Play pass for each mix. This means that when you load a different mix,
you will always get back to the last pass you were working on.
17.12.2 Renaming a Mix

1. Click on the mix name.


17.12.3 Adding a Memo

You can use the two Mix memo lines to add memo information. For example, you may wish to remind yourself
about the details of the mix.
1. Select the mix and then select a line in the Mix memo field - a black cursor appears.
2. You can now type to enter your information from the console keyboard:
You can enter as many characters as you wish in each line; the list will automatically resize to fit.
If you cannot enter any memo text, check that the mix is not protected.
Right-click on a mix memo to Copy and Paste the text to another snapshot.
You can also drag and drop the Memo columns to change their position on the display.

Protect
A protected mix cannot be deleted. And you cannot create a new Record pass within a protected mix. You can
use this safeguard any important mixes which you do not want to accidentally overwrite or delete.
2. Right-click and select Protect, or press the PROTECT soft key.
The padlock icon indicates that the mix is now protected:
Delete
Delete removes the mix from the internal memory.
2. Right-click and select Delete, or press the DELETE soft key, to complete the operation.
Note that you cannot delete a protected mix.

17.13 The Passes Display

Passes are managed from the Passes display.
1. Open the Passes display on the Central GUI:
At the top of the display are various fields for:

· Play, Record and Selected pass - display the current Play and Record passes (for writing new
automation) and Selected pass (for editing automation). The Locate buttons automatically reveal the
pass, in the Pass Tree, if it has been hidden by closing a branch.
· Punch-in and Punch-out times - define the punch-in/out timecode window.
· Glide-in and Glide-out times - define the glide times.
· Pre-roll window - defines the pre-roll tolerance for machines which pre-roll when going into Play.
· Midnight - defines the timecode offset.
The Pass Tree displays all the finished passes in memory.
Each time you revert to an earlier pass and then make updates, you start a new branch within the tree. Click on
the arrows beside each branch to open or close. Or, click on Expand all at the bottom of the display to open up
all branches of the Pass tree.
To avoid mixes become too large, a maximum of 10 passes are stored within each branch of the Pass tree;
after the tenth pass, the first pass is deleted to make space for new data, and so on. To keep a specific pass
indefinitely you should protect it; it will then be retained as one of the 10 passes with the branch.
The columns beside each pass name show its date and time stamp and whether the pass is protected (padlock
icon). You can also rename or delete a pass; the Status field marks the current Play and Record pass with
icons.
All passes are stored inside the Active Mix when you update or save a production. Or, if you load a different
mix or production, then the Pass Tree updates accordingly.
You can use the Pass Tree to change the Play pass at a any time. For example, to A/B between two different
versions of automation for a chorus or scene. See Reverting to an Earlier Pass.
You can also edit mix passes in order to combine, delete, copy, shift, insert or paste sections of automation
data.

17.13.1 Renaming a Pass

1. Click on the pass name.

Protect
A protected pass cannot be deleted manually, or automatically by the system (when it reaches the 10 pass per
branch limit).
1. Select a pass from the Pass Tree.
2. Right-click and select Protect, or press the PROTECT soft key.
A padlock icon indicates that the pass is now protected.
Delete
Delete removes the pass from the internal memory.
1. Select a pass from the Pass tree.
2. Right-click and select Delete, or press the DELETE soft key, to complete the operation.
Note that you cannot delete a protected pass or the current Play pass.

17.13.3 Setting an Offset Timecode

The Midnight field at the top of the Passes display is used to offset the internal timecode of the automation
system. For example, if your mix starts at an odd timecode value and you wish to view it as starting at
00:00:00:00.
1. First, set the Central GUI headline to show Timecode display and Offset Timecode by clicking on the
headline:
2. Now click in the Midnight field, at the top of the Passes display, to enter the offset timecode:
3. Use the console keyboard to enter the timecode which you wish to correspond to midnight
(00:00:00:00).
For example, you could locate to the beginning of your mix (e.g. 21:00:20:15) and enter this value as midnight.
4. Press Enter and you will see the start of your mix as 00:00:00:00 in the Central GUI time display.
5. To clear an offset, click in the Midnight field and enter 00:00:00:00.
17.13.4 Setting Pre-roll

Any small rewind in timecode causes the automation system to finish the pass. Often this is undesirable, as it
prevents you from putting controls into write while in Stop, and then writing these values forwards on entering
Play.
To avoid this problem:
1. Use the console keyboard to enter a value in ms into the Pre-roll window – for example, 50ms.
The automation system now requires a rewind of more than 50ms to finish a pass, and therefore tolerates an
external machine’s pre-roll when entering Play.
2. Test your entry by putting some controls into write while in Stop and pressing Play.
The controls should remain in write when you go into Play. If not, adjust the Pre-roll window to a longer time
accordingly.
Note that the Pre-roll window affects how a pass can be finished; you must rewind by more than the Pre-roll
window time in order to finish a pass.

17.13.5 Glide Time

The Glide-in time and Glide-out time fields are used in conjunction with a number of functions:
· Glide-in time - used when performing mix pass edits.
· Glide-out time - used when performing mix pass edits, and when stepping out of automation using
GLIDE.
To adjust the glide times:
1. Either click within the Glide-in/out time box and type in a value from the console keyboard.
2. Or use the up/down arrows to adjust the time in 100 ms steps.
Both values can be adjusted from 0 to 60000ms (60 seconds).

17.14 Mix Pass Editing

The Passes display provides a number of functions for mix pass editing including combine, delete, copy, shift,
insert and paste.
The Combine function combines the automation data from the Selected pass into the Play pass, while all the
other Edit operations are applied to the current Play pass.
17.14.1 Combine
Combines the automation data from the Selected pass into the Play pass, between the Punch in and Punch
out times.
1. First set the punch in/out times.
2. Define the Play pass by selecting it and pressing the PLAY soft key, or right-clicking and selecting
Play. This will be the pass which data is added into - e.g. Good Vocals.
3. Then select the pass you wish to combine data from - e.g. Chorus 2 Better Vocals.
4. Press the COMBINE soft key, or right-click and select Combine with Play pass:
A new pass is created. In our example, data from Chorus 2 Better Vocals will be added to Good Vocals
between the punch in and out times:

17.14.2 Edit Operations

All other edits are applied to the current Play Pass and are performed as follows:
1. Make the pass you wish to edit the current Play pass - select it and press the PLAY soft key, or right-
click and select Play.
2. Then, right-click on the Play Pass and select either Edit -> Pass or Edit -> Access:
· Edit -> Pass – edits the complete mix pass (all channels).
· Edit -> Access – edits only the channel in access. This option will leave automation data on other
channels intact.
A range of sub operations are revealed (the same options are available for Edit -> Pass and Edit -> Access):
If any of the options are greyed out, then check the following:
· To perform an edit, timecode automation must be enabled so make sure AUTO ON is selected.
· If a Record Pass is active, then you cannot perform an edit. Finish the pass and then select the edit.
· Most edits require a valid timecode “window” which is defined by the Punch in and Punch out times at
the top of the Passes display. The “window” must be greater than zero for Delete, Cut, Copy, Clear
and Shift. See Punch in and out times.
3. Select an operation from the drop-down menu – for example, Delete.
The edit is performed and a new Play Pass is created.
4. To undo the edit, revert to the previous Play Pass.
You can apply glide times to each edit by entering a value in the Glide-in and Glide-out time fields; the
result is specific to each edit. But take care to avoid glide times longer than the Punch in to Punch out
timecode window, otherwise you may experience some strange results!
Note that it is possible to copy data from a complete mix pass (via Edit -> Pass) and insert or paste it into
the channel in access (via Edit -> Access). However, the reverse is not possible.

17.14.3 Delete
This edit performs a “delete and ripple”. You might use it to remove the automation for a section of the mix. For
example, if a chorus has been deleted from the song.
Automation between the Punch in and Punch out timecode values is deleted, and all data after the Punch out
time ripples up to the Punch in time:
The Glide-out time is applied at the Punch in point; Glide-in time has no affect on this edit:

17.14.4 Cut
This edit cuts out a section of the pass and copies it to the clipboard. Its affect on the current Play Pass is
identical to a Delete. However, you would use this edit if you wish to paste or insert the clipboard data to another
location. For example, to move the position of a chorus in the song.
Automation between the Punch in and Punch out timecode values is deleted and copied to the clipboard
(Zwischenablage); all data after the Punch out time ripples up to the Punch in time:

The affect of Glide-in and Glide-out times is identical to a Delete.
17.14.5 Copy
This is a non-destructive edit which copies a section of the mix to the clipboard. It has no affect on the Play
Pass. You would use this edit if you wish to paste or insert the clipboard data to another location. For example,
to copy a chorus to another location.
Automation between the Punch in and Punch out timecode values is copied to the clipboard (Zwischenablage):
The Glide-in and Glide-out times have no affect on this edit.

17.14.6 Insert
Having cut or copied data to the automation clipboard, it can be inserted into the Play Pass. You might use this
edit to insert automation for a Chorus when you wish to keep the existing structure of the song intact. In other
words, the song gets longer by one Chorus!
This edit inserts the clipboard data at the Punch in time. It is different to a Paste in that the existing Play Pass
automation ripples down and is tagged onto the end of the insert. Note that the Punch out time has no affect on
this edit.

The Glide-in time is applied at the Punch in point; the Glide-out time is applied at the end of inserted
clipboard:

17.14.7 Paste
Having cut or copied data to the automation clipboard, it can be pasted into the Play Pass. You might use this
edit to replace the automation for a Chorus with a newer pass. In other words, the clipboard replaces the
existing Play Pass.
This edit pastes the clipboard data at the Punch in time. It is different to an Insert in that the existing Play Pass
automation is replaced. Note that the Punch out time has no affect on this edit.

The Glide-in time is applied at the Punch in point; the Glide-out time is applied at the end of pasted
clipboard:

17.14.8 Clear
This edit clears a section of the mix. You might use it if the order of a song changes and you want to write new
automation data in the cleared section. It is different to a Shift in that the existing Play Pass automation is
replaced.
Automation data between the Punch in and Punch out times is cleared by extending the values from the
Punch in time through to the Punch out time. The overall length of the mix remains intact:
The Glide-in time is applied at the Punch in point; the Glide-out time is applied at the Punch in point:

17.14.9 Shift
This edit shifts or moves a section of the mix. You might use it if you want to keep all your existing automation
but write new data for an Instrumental which has been added to the song.
Automation data between the Punch in and Punch out times is shifted to the Punch Out time. Values at the
Punch in time are then extended to the Punch out time to fill in the cleared section:
The Glide-out time is applied at the Punch in point; Glide-in time has no affect on this edit:

17.14.1 Advanced Editing

0
When performing mix pass edits, only the controls selected and armed for automation are copied, pasted,
inserted, etc. This allows you to copy data for all channels and controls, and then selectively insert, paste, etc.
For example, to copy and paste just the automation data for the vocal channels during a Chorus:
1. Copy the Chorus data from the Play Pass.
Automation data for all channels and controls in replay is copied to the clipboard.
2. BEFORE performing the Paste, deselect any channels or controls which you do not want to include in
the paste by disarming them – in our example, disarm all channels except the main and backing vocals.
3. Now perform the Paste.
The Paste is applied only to the armed channels.
4. Then re-enable arm for all channels (back to replay).
5. Press Play to play back your edited mix pass!

17.15 VAP Summary

The Virtual Automation Panels (VAP 1 and VAP 2) provide access to the following functions. Both panels are
available on the right of the Central GUI:
Global Control (VAP 1 and 2)

· AUTO ON – turns the automation on or off. Automation replays from the Play pass in the Active Mix.
· FINISH PASS – finishes the pass without having to stop and rewind.
· CANCEL – cancels the Record pass. Use this button to discard moves you have just written.
· PLAY SAFE – parameters read automation data from the Play pass but cannot write new data. In
addition, if you adjust a parameter value, you will NOT hear any change in the audio.
· JOIN AUTO – use this button if you are going to review and update a section of the mix.
· BYP – identical to ‘Play Safe’; parameters read automation data from the Play pass but cannot write
new data. However, if you adjust a parameter, you WILL hear the change in the audio.
Automation Mode (VAP 1)
· SEL AUTO – selects modules to be enabled or disabled for automation, using the Central Control
Section SEL buttons.
· SEL DYN – selects modules to write in dynamic or static automation mode, using the Central Control
Section SEL buttons.
· SEL ISO – reserved for future implementation.
· SEL ARM – selects modules to be armed (read & write) or disarmed (read only), using the Central
Control Section SEL buttons.
· WRITE R/W – turns the fader strip R/W user buttons and Central Control Section SEL buttons into step
in and step out of write controls.
Command (VAP 2)
· START WRITE – press this button to step all parameters into write.
· FILL (Fill Region) – use this button to write a value between the Punch In and Punch out times.
· JOIN – use this button if you are going to be reviewing and updating a section of the mix.
· STOP WRITE – press this button to step all parameters out of write.
Punch (VAP 2)
Used to set the punch in and out times, or activate automatic punch in/out.
· SET – press to set the punch in or out times.
· IN – press to enable automatic step into write at the punch in time. (If SET is active, press to set the
punch in time.)
· OUT – press to enable automatic step out of write at the punch out time. (If SET is active, press to set
the punch out time.)
Manual Mode (VAP 2)
· ABS – selects Absolute automation mode.
· TRIM – selects Trim automation mode..
· ON THE FLY – selects Trim relative (unlit) or Trim on the fly (lit).
· FINISH PASS – press to finish a mix pass manually.

17.16 Machine Control

handled from the optional MACHINE REMOTE CONTROL user panel. On the mc²56, this panel must be
mounted externally from the console.
The panel provides remote control of one of three external machines. Sony 9pin (A) and Midi Machine Control
(C) ports are supported; one port can be active at a time. When active, the console’s automation system slaves
to timecode from the active port.
Your system must be specified with the Recording Com Kit (958/80) to provide Sony 9pin, LTC and/or MIDI
connections to an external playback device. Please consult your system specification for details.
17.16.1 Transport Control

1. To control one of the three machines, select a port enable button – A, B or C – and use the RW, PLAY,
FW and STOP transport controls.
The first line of the display shows the active port (A to C) and the type of machine (e.g. DA-88). The second line
shows the current timecode position of the machine (on the left), and timecode entered in the temporary buffer
(on the right).
The temporary buffer is used when storing and recalling marks or setting up a loop.
If there is no connection between the console and the machine, then the display shows NO MACHINE. If there
is no tape in the machine, then the display shows NO TAPE.
2. To change the jog wheel between jog and shuttle modes, press down on the jog wheel.
3. To punch in and out of record while a machine is in play:
· Press RECORD to punch in (while in play).
· Press PLAY to punch out (while in record).

17.16.2 Locating
You can locate the machine to a particular timecode either by manually typing in a timecode position, or
recalling a stored mark.
To manually locate to a timecode:
1. Type the timecode position using the 0 to 9 buttons. The timecode should be entered in the following
format:
HH:MM:SS:FF
You must enter all fields, including frames, for the timecode value to be accepted.
The timecode appears in the temporary buffer on the right of the display.
You can use the left and right arrow buttons to navigate through the timecode characters. If you make a
mistake, use the CLEAR button as follows:
· A short press (for less than 3 seconds) will delete one character.
· A long press (for more than 3 seconds) will delete the entire timecode value.
2. Now press LOCATE - the machine locates to the temporary buffer timecode position; once the locate
point has been reached, the machine goes into Play.
If you make a mistake and want to stop the machine locating, press CLEAR.

17.16.3 Storing and Recalling Marks

Marks can be used to store and recall up to 10 timecode positions so that you can use them as locate points.
The 10 mark buttons can also be assigned to locators from the Machine Locators display; this display
provides an unlimited number of locators and a memo field to name each locate point.
Ø To store a mark:
1. Pres STORE:
The current timecode position is stored into the temporary buffer and the buttons – 0 to 9 – start to flash in
green.
Note that any buttons which are not flashing and are red already have a timecode stored.
2. Press one of the 0 to 9 buttons to select a location - the timecode from the temporary buffer is stored
into the selected location.
Alternatively, to store a particular timecode, for example, 01:00:00:
1. Press the STORE button.
2. Type in the timecode position using the 0 to 9 buttons - the timecode in the temporary buffer updates.
3. Then press one of the 0 to 9 buttons to select a location.
Ø To recall a mark:
1. Press MARK RECALL - any of the 0 to 9 buttons which contain a mark start to flash.
2. Press the mark you wish to recall - 0 to 9.
The stored timecode is recalled into the temporary buffer. It can now be used with the LOCATE or START/END
functions.
Ø To clear a mark so that the memory becomes inactive:
1. Press CLEAR - any of the 0 to 9 buttons which contain a mark start to flash.
2. Press the mark or marks you wish to clear - 0 to 9.

17.16.4 Setting Up a Loop (Cycle)

You can set up a loop so that the machine will cycle between a start and end timecode.
1. First, enter the timecode you wish to use as the start point into the temporary buffer.
You can do this by typing in a timecode position, recalling a mark or by pressing the STORE button to enter the
current timecode position.
2. Press START to store temporary buffer timecode as the start point for the loop.
3. Repeat steps 1 and 2 but this time press END to store the loop end point.
4. Press LOOP to activate the loop.
The machine will rewind to the START timecode, go into Play and when it reaches the END timecode repeat the
loop.
5. Turn off LOOP to stop the cycle.

17.17 Machine Locators

The Machine Locators display provides a way of storing and recalling timecode positions.
1. Open the Machine Locators display on the Central GUI:
You can store an unlimited number of locators, each with its own Timecode stamp and Memo field.
If your console is fitted with the optional Machine Control user panel, then the 10 mark buttons on this panel can
be assigned to locators - the assignment is indicated in the Machine (machine number) and Mark (button
number) fields, and in the Show Machine Assignments area at the bottom of the display. See Assigning
Locators to the MRC panel.

17.17.1 Storing and Naming Locators

1. Select the on-screen New button, or press the Create New Locator user button (programmed from the
Custom Functions display). You can store locators while timecode is running at any speed: in Stop, Play,
Fast forward, etc.
The current timecode position is saved into the next available locator ID - in our example, ID 1.
2. Type into the Memo field (up to 256 characters) to name the locator and press Enter.
Note that the Memo field is automatically active after selecting New. This allows you to immediately type your
text entry:
3. Repeat these steps to store more locators - for example:
The first 10 locators (IDs 1 to 10) can be recalled from the Goto Locator user buttons programmed from the
17.17.2 Recalling a Locator

1. Double-click on an entry from the list, or select an entry and then click the on-screen Locate button.
The stored timecode position is recalled - e.g. Verse 2:
You can program up to 10 Goto Locator user buttons from the Custom Functions display to recall locators
from a single button press.

17.17.3 Deleting a Locator

1. Select an entry and then click the on-screen Delete button.
2. Confirm the delete by selecting OK:
17.17.4 Assigning Locators to the MRC Panel

If your console is fitted with the optional Machine Control user panel, then the 10 mark buttons on this panel can
be assigned to any locator entry in the list.
1. To make an assignment, right-click on the locator and select one of the drop-down options - first select
the machine (in our example, 1 or 3), followed by the physical Mark button (from 1 to 10):
Once you have made your selection, the Machine and Mark fields, on the right of the display, update.
2. For an overview of assignments, select the on-screen Show Machine Assignments button, and select
a machine (e.g. Machine 1) - green buttons are assigned; grey buttons are available.

3. To remove an assignment, right-click on the locator and select None:

18. Signal Routing & Settings

This chapter covers signal routing and settings.
Topics include:
· Signal Routing: Overview
· The Signal List Display
· The mx Routing Display
· The Signal Settings Display

18.1 Signal Routing: Overview

The mc²56 includes an integrated digital routing matrix. Any source can be routed to any input or monitor
channel, and any output bus or channel send routed to any destination. In addition, you can route sources
directly to destinations, for example to feed a Mic/Line input to an AES output.
Multiple systems can also be networked in order to share IO resources. For example, to share the same
microphone input between two consoles.
All routes are stored and recalled in productions and snapshots, reducing the amount of manual patching within
the installation and saving hours of set up time!
Signal routing can be performed from either the Signal List or mx Routing displays. The Signal List presents lists
of Sources and Destinations, whereas the mx Routing display provides a crosspoint overview. In addition, the
Signal List is used to edit labels and define channel formats (mono, stereo, surround); the mx Routing display
is used to create partial snapshots for recalling selective routes.

18.2 The Signal List Display

1. Open the Signal List display in the usual manner:
The display shows connections from Sources (on the left) to Destinations (on the right). In order to keep the list
manageable, sources and destinations are divided into Directories and Subdirectories.
Open a Directory or Subdirectory by double-clicking on the directory name, or using the arrows beside the
name. You can use the SCREEN CONTROL navigation buttons and rotary control to focus on different areas of
the display and scroll up/down the Directory, Subdirectory and Sources or Destinations lists.Each area can
be resized to improve its visibility.
If a source or destination is connected, then you will see a red and white cross in the "connection" column. In
addition, if the source and destination are both in view, then a line appears to show the connection. In our
example, we can see that the first three input channels (INP 1 to INP 3) are routed from microphones (Mic 01 to
Mic 03), while other input channels are routed from Tone 1k.
The Connect and Disconnect buttons or soft keys are used to make and unmake routes between the selected
source and destination. If you enable Step mode, then you can quickly step down the list to quickly make a
series of connections.
The Label column is used to edit the user label for sources or destinations. Easy edit mode will carry text
forwards when editing a range of signals.
A number of other functions are available by right-clicking on a source or destination or using the SCREEN
CONTROL soft keys. They include defining the channel format (mono, stereo or surround); reverse interrogation
of routing; isolating or protecting individual signals; and placing the selected DSP channel in access.
When running mxGUI offline, all signals appear as "not available".

18.2.1 Signal List Columns
The columns beside each signal provide the following information:

· Connection – a red and white cross appears when a source or destination is connected. If a destination
is protected, then you will also see a padlock icon.
· Surround – you will see color coded channel definitions if a source or destination is surround. (The
greyed out definitions show which blocks of channels can be configured for surround).
· Stereo – interlocking red and green circles appear when a source or destination is stereo.
· Unavailable – a warning symbol appears beside signals which are not available.
· Name – this is the system name for the signal (defined by the AdminHD configuration).
· Label – this is the user label for the signal. You can rename signal labels from this column.
· I – indicates if a signal is Isolated from snapshot recall.
· T - indicates a Tiny (reduced processing) channel.
· % - indicates ‘Shared’ or ‘Imported’ sources within a networked installation.

18.2.2 Directories & Subdirectories
Every mc 2/Nova supports a number of common Directories which are supported by all systems. Note that
these Directories cannot be renamed or reorganised by AdminHD, and always appear at the top of each list.
External signals such as mic/line, AES, MADI, etc. vary depending on the input and output cards and type fitted
to your system. Therefore, AdminHD is used to place these signals within custom-named Directories and
Subdirectories, and give them a system Name and default user Label. For more details on editing the
AdminHD configuration, please refer to your Technical Manual.
From the Central GUI, you cannot change the Directory, Subdirectory or signal Name. You can edit user
Labels, and save and recall them using snapshots or productions.

Common Source Directories
The source Directories, supported by all systems, are as follows. Note that the number of sums, groups, etc.
depends on your choice of DSP configuration:
· Bus Out
o DOUT Sum - sum bus outputs.
o DOUT Grp - group bus outputs.
o DOUT Aux - aux bus outputs.
o AFL/PFL - AFL and PFL bus outputs.
· Direct Out
o DOUT Inp - input channel direct outputs.
o DOUT Mon - monitor channel direct outputs.
· Insert Send
o Send Inp - input channel insert sends.
o Send Mon - monitor channel insert sends.
o Send Sum - sum insert sends.
o Send Grp - group insert sends.
o Send Aux - aux insert sends.
· Generator - outputs from the built-in tone generator (two sine wave, one pink noise and one white
noise).
· Downmix (optional) - this directory appears if a Downmix matrix has been configured by AdminHD. It
provides access to the downmix matrix source signals.
· Summing (optional) - this directory appears if any summing matrices have been configured by
AdminHD. This resource can be used for Downmixing (see above), Monitoring (see below) or other
customer-specific functions.
· mxDSP Signals (optional) - this directory appears if a DSP module has been configured for mxDSP (by
AdminHD and the module's firmware). It provides access to the mxDSP source signals.
· Monitoring - outputs from the monitor matrices. Usually, these signals are factory-configured to interact
with the console's monitoring, and therefore should not be adjusted under normal circumstances.
· Loopbacks - outputs from the virtual loopbacks.

Common Destination Directories
The destination Directories, supported by all systems, are as follows. Note that the number of inputs, monitors,
etc. depends on your choice of DSP configuration:
· InputMon A + B
o A Inp - input channels (A inputs).
o B Inp - input channels (B inputs).
o A Mon - monitor channels (A inputs).
o B Mon - monitor channels (B inputs).
o Command 1-8 - the 8 talkback bus sources (used by talkback user buttons configured from the
Custom Functions display.)
o DynKey 1-8 - the 8 dynamics key inputs (used by the dynamics processing, if you enable the
External Key.)
· Insert Return
o Ret Inp - input channel insert returns.
o Ret Mon - monitor channel insert returns.
o Ret Sum - sum insert returns.
o Ret Grp - group insert returns.
o Ret Aux - aux insert returns.
· Downmix (optional) - this directory appears if a Downmix matrix has been configured by AdminHD. It
provides access to the downmix matrix destination signals.
· Summing (optional) - this directory appears if any summing matrices have been configured by
AdminHD. This resource can be used for Downmixing (see above), Monitoring (see below) or other
customer-specific functions.
· mx DSP Signals (optional) - this directory appears if a DSP module has been configured for mxDSP
(by AdminHD and the module's firmware). It provides access to the mxDSP destination signals.
· Monitoring - sources to the monitor matrices. Usually, these signals are factory-configured to interact
with the console's monitoring, and therefore should not be adjusted under normal circumstances.
· Loopbacks - inputs to the virtual loopbacks.

18.2.3 Routing a Source to a Destination

To make a route - for example, to route a microphone source to an input channel:
1. Select the source – for example, the source directory called DALLIS; subdirectory called CARD 1
LINE; and the source named Mic 01.
2. Select the destination – for example, the destination directory called Input/Mon A + B; subdirectory
called A Inp 1-28; and destination called INP 1A.
Note that input and monitor channels support an A/B input switch. By selecting INP 1A as the destination, you
will route to the A input of input channel 1.
3. Then press the on-screen CONNECT button, or soft key, to make the connection - the Signal List
updates with a line between the source and destination:
If the input channel is already assigned to a fader strip, and INHERIT SOURCE is selected (from the centre
section LABEL buttons), then you will see the source label in the fader strip's label display.

18.2.4 Routing Consecutive Sources to Destinations (Step Mode)
To route consecutive sources to consecutive destinations, turn on Step mode to speed up the connection
process.
1. Select the first source – for example, Mic 01 – and the first destination – for example, INP 1A. Your
selected source and destination are highlighted in black.
2. BEFORE you press CONNECT, enable the on-screen Step mode, or select the STEP soft key.
3. Now press CONNECT. The first route is made and the source and destination selections automatically
step down to the next entries in the list:
4. Continue pressing CONNECT until all of your sources are connected to your destinations:
If the list of sources is shorter than the list of destinations, then when you reach the last source in the list, Step
mode automatically scrolls back up to the first source in the list. This allows you to continue making routes
from the sources to the remaining destinations, for example, to route microphones 1-16 to input channels 1-16,
17-32, etc.
Step mode can also be used with an offset between the starting source and destination: for example, to route
Microphones 1-16 to Input Channels 17-32, repeat the above operation but set your first destination channel to
be INP 17 rather than INP 1.

18.2.5 Disconnect
To remove a route:
1. Select the destination (e.g. INP 2A).
2. And press the on-screen DISCONNECT button, or soft key to complete the operation.
The line between the source and destination disappears:
Turn on Step mode, select the first destination, and then keep pressing DISCONNECT to disconnect a
range of destinations quickly and easily.
Note that if you route a source to a connected destination, then the previous source assignment is replaced; you
don’t have to disconnect the destination to assign a new source.

18.2.6 More Signal Routing Examples

The same steps can be used to connect any source to any destination. For example:
Ø To route a Sum bus to an output:

Select Bus Out -> DOUT Sum 1 -> Sum 1 as the source, and your external output as the destination:
Ø To route a microphone signal directly to an AES output:

Select the mic/line input as the source, and your AES output as the destination. This makes a direct route
through the matrix, bypassing the console's channel DSP.

18.2.7 A/ B Input Sources

For any input or monitor DSP channel, you can assign two sources (A and B) to provide a main and backup
source for the channel.
A/B input switching is available from the fader strip, or the Input Control section. Note that the Channel A/B
Input Switch Enable option in the System Settings must be turned on to support this feature.
The A and B input sources are assigned from the Signal List display:
· Select A Inp or A Mon to assign a source to the A input of a channel.

· Select B Inp or B Mon to assign a source to the B input of a channel.

18.2.8 Loopbacks
Version 5.4 software introduces 1016 internal loopbacks. These are virtual loopbacks which require no external
physical connection.
They can be used for a variety of applications - for example, if the same source must feed multiple destinations.
In our example below, the stereo program output (SUM 1 & 2) must be routed to four stereo AES destinations.
Instead of routing the SUMs directly to each pair of outputs, the SUMs feed Loopbacks 1 & 2, which then in turn
feed the four AES outputs. This makes it easy to alter the source at a later date, as only the routing to
Loopbacks 1 & 2 needs any alteration:
Step 1 - Assign Source to Loopbacks:
Step 2 - Assign Loopbacks to Destinations:

18.2.9 Reverse Interrogation of Signal Routing

Reverse interrogation provides a quick way of viewing all the sources feeding a particular destination, or all
destinations routed from a particular source.
Ø To view all the destinations fed from a source:

1. Select the source you wish to interrogate on the left of the display – e.g. Tone1.
2. Then right-click and select Show Destinations of source, or press the DoS (Destinations of Source)
soft key:
A list of all current destinations for the selected source appears in the Destinations list:
Note that if the source is routed to an input or monitor channel, then for each channel assignment you will see
three routes: Source to Input; Source to Input A; Source to Input B.

Ø To find the source which feeds a destination, reverse the procedure:

1. Select the destination you wish to interrogate on the right of the display.
2. Then right-click and select Show Source of destination, or press the SoD (Source of Destination) soft
key:
The source assigned to the selected destination appears in the Sources list.
Find Folder
If you are unsure which directory or subdirectory this source (or destination) belongs to, then:
1. Right-click on the destination (or source), and select Find folder.
The Directory and Subdirectory update to reveal the correct folder for the selected destination:

18.2.10 Creating Stereo or Surround Channels/Busses

While making routes from the Signal List display, you can also configure whether your channels and busses
are mono, stereo or surround.
Ø To create a stereo input channel:

2. Press the STEREO soft key, or right-click and select the Stereo option:
This links the selected channel to its adjacent DSP path. For example, INP 7 and INP 8.
You can link any odd/even pair of input or monitor channels using this method. Alternatively, select a Bus Out
from the Sources list to create a stereo bus master.
Ø To create a surround sum:

2. Press the SURROUND soft key, or right-click and select the Surround option:

18.2.11 Stereo Signals

You can link external signals as Stereo. This affects the behaviour of the signal’s IO DSP, but signal routing is
still handled independently.
For example, if you link two microphone signals, they can be routed to destinations independently, but their IO
DSP operates in stereo.
1. Select the odd numbered source you wish to link.
2. Then right-click and select Stereo:
The red and green circles in the Stereo column reflect the status .

The user Label for each source and destination can be edited from the Signal List display. It is stored and
recalled by both snapshots and productions:
The source and destination Name is defined by the AdminHD configuration, and cannot be edited from the
Central GUI. This provides a fixed Name, relevant to the installation, which remains consistent for all users.
For input (and monitor return) channels, you can use the Source Label field to edit the INHERIT SOURCE
labels, and the Destination Label field to edit the CHANNEL USER labels. You can also label Sums, Groups
and Auxes in a similar manner.
Ø To edit a label:
1. Click on the label field - either once to overwrite (the text highlights), or twice to modify the existing
2. Enter a new name using the console keyboard.
3. Press ENTER to confirm the new name. Or, if you make a mistake or want to exit without making any
changes, press ESC.

Easy Edit Mode

You can use Easy Edit mode to speed up the labeling process. This mode carries forward your text, so that you
can quickly enter the same label for multiple signals. Or, if the label ends with a number, then the number will
increment.
1. BEFORE editing your first source or destination label, turn on Easy Edit at the bottom of the Signal
List display.
2. Then select and edit your first source or destination label
in the usual manner - e.g. Mic 1.
3. Press ENTER to confirm the new name - the system
now steps down to the next signal in the list, and automatically
carries forward the text label.
If the text ends with a number, then the number increments.
If the label does not end with a number, then the same text is
carried into the next label field.
4. When you have entered the last label, press ESC to exit the labelling mode.
You can temporarily enable Easy Edit using the console keyboard SHIFT button as follows:
· Select the first signal label and enter a new label in the usual manner.
· Press and hold SHIFT and then press ENTER - the system steps down to the next signal in the
list, and automatically carries forward the text label.
· Keep holding SHIFT and pressing ENTER until you have labeled all the required fields.
· Press ESC to exit the labeling mode.

18.2.13 Not Available Signals

If a warning flag is present within the unavailable column, then a signal is currently unavailable.
When running mxGUI offline, all signals appear as unavailable.
The warning flags can be useful for fault finding and reassurance. For example, in an outside broadcast vehicle,
you can have a number of remote DALLIS or Compact IO stageboxes. During the setup for the broadcast, you
can make routes from microphone sources which connect to these stageboxes, even if the stagebox is not yet
connected.
The warning flag indicates that the signal is currently unavailable. However, you can continue to label the signal
and make routes to/from it as normal:
When the Stagebox is connected to the system the column updates accordingly and the warning flag
disappears.

18.2.14 Isolated Signals

The I column indicates if a signal is isolated from a snapshot recall. For example, you may wish to protect
important signals, such as main sum distribution or monitor feeds, from accidental reset.
On sources, only the source parameters are isolated. On destinations, the destination parameters and any
routes made to the destination are isolated. Therefore, to isolate matrix crosspoints, select the destination.
1. Right-click on the source or destination and select the Isolated option:
The I column updates to identify all isolated signals:
Note that the isolate function does not prevent routes from being stored when a snapshot is saved or updated;
Isolate only applies when settings are loaded back from a snapshot.
Snapshot isolates are stored and recalled by productions.
Individual signals can be isolated or protected, at a lower level, using a Custom Function - see Snap Iso
List. Or by the factory configuration (using a .tcl file).

18.2.15 Protected Signals

To apply more comprehensive protection to a matrix destination, then it can be protected so that nothing can
alter its connection.
Once protected, nothing can alter the connection to the destination – not the Signal List or mx Routing
displays, not snapshots, productions, mxGUI or remote MNOPL. This is ideal for critical signals, such as mains
distribution.
Note that only destinations can be protected.
The state of protected signals is not saved or loaded by productions, snapshots or automation. Therefore, any
changes are permanent, and affect all users, unless you deselect the Protected option.
Individual signals can be isolated or protected, at a lower level, using a Custom Function - see Snap Iso
List. Or by the factory configuration (using a .tcl file).
Ø To protect a destination signal:

1. Select the destination you wish to protect.
2. Right-click and select the Protected option.
Protected destinations are displayed with a padlock icon in the connection column:
3. To change the route to a protected destination, you must first turn off the Protected option.

18.2.16 Set Access & Access Surround/VCA Master

The following method can be used to quickly place the selected channel in access:
1. Right-click on the (source or) destination channel and choose Set Access - the channel in access
updates:
Note that for surround channels, you can select either the component channel or its Surround VCA Master:
· Set Access - selects the component channel (e.g. SUM 1).
· Access Surround / VCA Master - selects the surround VCA Master (e.g. SUR S 1).
The Set Access option only appears if you right-click on a DSP channel; you cannot place an input or
output signal into access.
The Access Surround / VCA Master option only appears if you right-click on a component of a surround
DSP channel; if the channel is not part of a surround group, then you will not see this option.

18.2.17 Follow Console Access

This option forces the Signal List to follow the "channel in access". For example:
1. Make sure that the Follow console access option is enabled.
2. Then press a fader SEL button on a fader strip controlling an input channel. The Destinations side of
the display automatically updates to show the selected channel - in our example, INP 11:
3. Similarly, if you press a fader SEL button on a fader strip controlling an output (e.g. AUX 25) - the
Sources side of the list automatically reveals the Aux bus master:
4. To interrogate the routing assignments further, right-click and select "Destinations of Source" (or
"Source of Destination"). See Reverse Interrogation.

18.2.18 Networking I/O Resources

The mc²56 is just one member of the mc 2/Nova family of products which share the same hardware and software.
The Nova73 and DALLIS system is available in its own right as a stand alone routing matrix. Multiple systems
can be networked to provide sharing of sources and destinations:
In the example above, mics are physically connected, via a DALLIS, to each system. Signals are transferred
between systems via ‘Netlinks’, providing the ability to share any mic input.
Each ‘Netlink’ is an audio connection which can be MADI, RAVENNA, AES or analog audio, and signals are
dynamically allocated as each operator makes routes from the Signal List display.
Any number of sources can be distributed depending on the physical limitations of your network. Please consult
your system specification for details.
On any system within the network, you can view which sources are distributed from the % column on the
Signal List display:
· indicates that a source is connected locally to this console, and is ‘Shared’ (made available) to
other consoles within the network.
· indicates that a source is ‘Imported’. In other words, it is not connected locally to this console.
All Lawo products use a consistent software release numbering system to indicate compatibility. In each
case, the first three digits of the software versions must match.
So, for example, a mc 266 console running version 5.10.0.2 can be networked to another mc 2/Nova system
running 5.10.0.x. You can check the software version of your mc 2 system from the Global Options in the
Note that a warning icon will appear in the Status Bar if the networked connection fails.

Sharing Sources
On the system which is distributing the signals – in our example, console A - you can select which sources are
shared from the Signal List display.
1. Select the source you wish to share (e.g. Mic1).
2. Right-click and select the Shared option, or press the SHARE soft key:
An icon appears in the % column to indicate that the source is now shared.
3. Press SHARE again to unshare the source.
You cannot unshare a source if it has been routed as an imported source within another console. For
example, if console B has made a route using the Mic 1 signal, then console A cannot unshare the Mic 1
source until console B’s route is removed. This protects one console from removing routes which are in use
by another within the network.
If you wish to share a number of sources, then enable Step mode to step through and SHARE a number of
sources.
Once the source has been shared from console A, then other consoles within the network can access this
source from their Signal List display. An icon appears in the % column to indicate that the source is
imported.
Console B will only be able to access the source if its AdminHD configuration has been programmed to do
so – i.e. a location for the imported source must have been created within Directory and Subdirectory.
Please consult your technical department for further details.
Once console B can ‘see’ the imported source, then making a route or changing parameters is done in exactly
the same way as if the source were local to the console.
All consoles within the network have access to the source parameters, and the last console to make a change
wins. In our example, consoles A and B both have access to mic pre-amp control for mics 1 and 2. Similarly for
a shared digital destination, both consoles can change parameters like SRC, etc.
This philosophy extends to snapshots. So if both console A and B are using the Mic 1 signal, parameter
settings like mic gain, etc. can be reset from snapshots from either console. To control which console resets
the mic parameters, use the IO Global Snapshot Isolate option to prevent recall of IO settings. Alternatively, you
can employ a third party system, such as VSM, to manage control priorities.

18.3 The mx Routing Display

This display provides an alternative view of the signal routing.
1. Open the mx Routing display in the usual manner:
This display provides a crosspoint overview of signal routing, with sources running down the left hand side, and
destinations running across the bottom. The names of the source and destination directories are shown at the
top of the display – in our example, all Sources and all Destinations.
If a source or destination is connected, then it is highlighted in red. If the source and destination are both in view,
you will see a red and white cross on the grid to show the crosspoint connection. If a destination is protected,
you will see a padlock icon.
The mx Routing display can view or change signal routing, and access many of the same options as the Signal
List. Any changes are reflected in the Signal List display, and vice versa.
This section concentrates on operations which cannot be performed from other displays. They are:
· Signal routing - via the crosspoint matrix.
· Search signal - to locate a signal by name or label.
· Preparing signal routing - to prepare a set of connections and then action them simultaneously.
· Partial snapshots - to store and recall selected routing crosspoints.

Right-click Functions
If you right-click on a signal, then the following functions become available. Note that most of these are
"duplicate" functions, so please follow the links below for more details:
Right-click on Source signal Right-click on Destination signal
· Show Source/Destination Parameters - opens a pop-up window where you can adjust parameters for
the selected signal. These options are identical to those found on the Signal Settings display.
· Show mxDSP Settings - opens a pop-up window where you can adjust mxDSP parameters. These
options are identical to those found on the mxDSP Settings display.
· Show Dest of Source/Source of Dest - provides reverse interrogation of signal routing, and works in a
similar manner to the Signal List display.
· Find Folder - reveals the signal's folder, and works in a similar manner to the Signal List display.
· Search Signal - covered later in this section. Note that this operation is only available from the mx
Routing display.
· Protected - protects the selected destination, and works in a similar manner to the Signal List display.
· Go to Downmix - if the selected signal is an input or output to a downmix matrix, then this option
automatically opens the Downmix display.

18.3.1 Signal Routing from the mx Routing Display

To make a route from the mx Routing display:
1. Position the cursor to select a source and a destination - the crosspoint is highlighted in green:
2. And press the left mouse key to make (or unmake) the connection - the route is made as indicated by a
red and white cross.
3. You can choose to display only connected signals by selecting the Hide Unconnected Signals
checkbox.

4. You can choose to view a particular source or destination Directory, by clicking on the drop-down
Sources (or Destinations) list - the available Directories and Subdirectories are identical to those found in the
Signal List:
Use the on-screen next and previous directory buttons to quickly navigate to recent directory selections:

18.3.2 Search Signal

This function is only available from the mx Routing display (it is not available from the Signal List) and allows
you to search for a signal by name or label. For example, you may suspect that a CD player is connected to the
system but do not know its directory:
1. Right-click anywhere within the matrix grid, and select Search Signal to open the Signal find pop-up
window:
2. Type in the name or user label of the source (or destination) you wish to locate – in our example, CD.
3. Then select find signals.
The system searches the system name and user label for all matching text strings – in our example two
sources named CD Left and CD Right have been found:
4. Now select one of the results and right-click:

· Use Show Destinations of Source (DoS) to view all connections made from the source.
· Or, Show Folder in Matrix to open the source directory.

18.3.3 Preparing Signal Routing (the Take Button)

The mx Routing display allows you to prepare a set of connections and then action them simultaneously – for
example, to route 8 returns from a digital effects unit to 8 channels all from one button press.
1. BEFORE you make or unmake any connections, select the Prepare Routing checkbox on the left of
the display.
This puts the display into ‘prepare’ mode.
2. Now make (or unmake) the connections – in our example, AES returns to INP channels 11 to 18.
At this stage, the connections have only been prepared and are not yet active; therefore they are displayed with
a different icon:
3. When you have completed the prepared routes, select the Take button at the top right of the display.

All prepared connections (and disconnections) are actioned, and the icons change state to reflect the routes
made:
4. You can now prepare another set of connections and action them from the Take button.
5. When you are finished, remember to deselect the Prepare Routing checkbox to return thedisplay to
its normal mode of operation.

18.3.4 Partial Snapshots

A partial snapshot is designed to store selected routing crosspoints. For example, you could use a partial
snapshot to route tone to all transmission feeds for a line check without affecting other aspects of the mix.
A partial snapshot also stores and recalls signal parameters such as mic pre-amp gain and SRC on/off for
the selected sources and destinations.
Partial snapshots are prepared from the mx Routing display, and then saved and loaded from the Snapshot
List display.
1. Open the mx Routing display.
2. Use the circles beside each source and destination to select which will be stored within the partial
snapshot - when a source or destination is selected, its circle turns blue.
· If you select a destination, the partial snapshot stores the route made to the destination and the
destination’s IO parameters.
· If you select a source, the partial snapshot stores only the source IO parameters.
Therefore, to store crosspoints in a partial snapshot, always select the destinations. In our example, we have
selected four AES destinations:
Note that the half blue circle beside DEST DIR indicates that some signals within the current directory are
selected. To select all sources or all destinations within a directory, click on this circle to urn it fully blue.
Alternatively, select Clear All to clear all partial snapshot selections made throughout the entire routing matrix.
Use this when you wish to clear down any active selections in preparation for a new partial snapshot.

3. Now open the Snapshot List display and select Save Partial at the bottom of the display - the system
saves the routes made to the selected destinations in a new partial snapshot:
Note that the type of snapshot is marked in the Type column to distinguish partial snapshots from full
snapshots.
4. Return to the mx Routing display and make the new routes to your selected destinations – in our
example, Tone to the transmission feeds:

5. And save another partial snapshot from the Snapshot List display:
6. At any time you can now load the partial snapshots to recall routes made only to the transmission feed
destinations.
Note that it is the blue circle selections when the partial snapshot is saved which defines which routes and IO
settings are stored. This allows you to save partial snapshots for different subsets of signals.
Note that you can use signal Isolate or SNAP ISO to isolate a source or destination from the partial snapshot
recall.
Partial snapshots are treated in exactly the same way as full snapshots, so you can load, update, protect or
delete them from the Snapshot List display.
7. To update an existing partial snapshot, be sure to select Update Partial:
8. Remember to save or update the production in order to save snapshots permanently to the user data
flashcard.

18.4 The Signal Settings Display

The Signal Settings display has two functions: to monitor the status of system hardware, and to set
parameters for individual input and output signals.
1. Open the Signal Settings display in the usual manner:
The two “trees” on the left of the display show the location of a signal within the Signal List (top) and its
physical location in the System (bottom). Whenever a signal is selected at the top, the System tree follows,
and vice versa.
You can open or close branches of the Signal List or System tree by clicking on the arrows or double-clicking
on a directory/component name.
You can resize the different areas by clicking and dragging on the separator bars - for example, during normal
operation you might hide the System tree until it is needed. If information within an area is hidden, then left/right
or up/down scroll bars will automatically appear.
As you select signals, a graphical representation appears in the middle of the display – in our example, we can
see the DALLIS where our mic signal is connected.
If all is well with the system hardware, then the components are colored grey. However, if there is a problem, the
component will be highlighted in red, and you will see a red/white cross next to the component name in the
system tree.
When running mxGUI offline, all components appear as if they are in error.

When you select an individual signal, a number of parameter tabs appear at the bottom of the display – in our
example, General, Conference, Mic/Line, Input DSP and Device:
Note that the parameter tabs depend on the type of signal selected.
2. Select a tab to access IO parameters for the selected signal.
3. Press the COLLAPSE soft key to collapse System tree in order to get a quick overview of system
components.

18.4.1 Follow list selection

You can link the Signal List and Signal Settings displays so that when you select a signal from the Signal List
display, and switch to System Settings, the selected signal follows. To do this:
1. Open the Signal List display and select a source – e.g. Mic 01:
2. Make sure that the Follow list selection option is checked at the bottom of the display.
3. Then switch back to the Signal Settings display.
The System tree should have automatically opened to reveal your selected source:

18.4.2 Diagnosing System Errors
In the event of a component failure, a hazard warning flag appears in the title bar of the Central GUI. Hover over
the warning triangle to view the last ten alarm messages. Messages in red indicate active alarms; messages in
yellow are resolved.
To interrogate further:
1. Open the Signal Settings display.
This display monitors all of the components defined in the AdminHD configuration. In the event of a problem, a
red/white cross appears in the System tree.
2. Follow the red warning flags and open each branch of the tree to find the problem – in our example, a
DALLIS card.
3. Open the DALLIS card further, and you will see grey/white crosses beside Signal In 1, Signal In 2,
etc. These show that the AES signals are no longer available:
3. Check and replace the card if necessary.

Once all components are connected and working correctly, the red/white crosses disappear from the System
Settings display and the hazard warning flag in the title bar is cleared.

18.4.3 System Tree Structure

The System tree is structured as follows:
1. At the top level - System - you can view general information about the system. Many of these fields are
duplicates of System Settings options.
The IP address primary field displays the IP address of the main control system.
The IP address secondary field displays the IP address of the redundant control system (if fitted).
2. Open the System to see all the Cores contained within your system network – e.g. Core 1.
3. Open Core 1 to see all the Modules fitted to the core, and its power supplies – PSU 1 and PSU 2:

4. And open a Module to view its ports and then any DALLIS or Compact IO units connected to those
ports:

18.4.4 IO Parameters
Each time you select an individual signal within the Signal Settings display, you can adjust its IO parameters
from the bottom of the display.
1. Open up the system tree until you find the signal you wish to adjust – in our example, Mic 01.
A number of parameter tabs appear at the bottom of the display.
2. Select a tab to access the IO parameters for the selected signal:
The parameters vary depending on the type of signal and whether you have selected an input or output.
You can find details for all parameters by referring to the IO card data sheets.
Here we will cover the most common parameters.

General Parameters
These parameters appear for most signals:
· Signal name - the system name defined by AdminHD. This is identical to the Name field in the Signal
List display.
· User label - the user label defined by the Label field in the Signal List display.
· Signal Stereo - links odd/even signals as stereo. This is identical to the Stereo option in the Signal
List display.
· Signal Isolate - isolates a signal from snapshot recall. This is identical to the Isolate option in the
Signal List display.
· Inherited Label (output signals only) - if the selected output is routed from a source, then this field
displays the inherited user label, as defined by the Label field in the Signal List display.
Conference Parameters (Input Signals Only)

These parameters appear when an input signal is selected:
They define options for the source's mix minus (N-1):

· Mix minus Self Monitoring - as a default, this parameter is disabled (unchecked). Enable this
parameter if you wish to add the selected signal back onto the mix minus feed. For example, if the
Talent wants to hear their own microphone.
· Mix Minus Bus - use this field to assign an auxiliary send or track bus as the mix minus send for the
selected input signal. This result is the same way as assigning a mix minus bus from the Channel
display touch-screen. However, from this field you can assign any aux (1 to 32) or any track bus (1 to
96).

Mic/Line Parameters
These parameters appear when an input signal from a mic/line card is selected:
They duplicate the mic/line parameters available from the INPUT Control section:
· Line select - selects mic or line level.
· Phantom power - enables 48V phantom power.
· Low cut - enables the high pass filter.
· Gain - adjusts the mic/line input gain.
· Pad - enables the 20dB pad.
· Stereo gain & Stereo balance - if a signal is designated as a stereo source, then you can use these
fields to adjust the gain and balance of both left and right signals.
To enter a gain value (in dB), either click on the existing entry and type in a value from the keyboard, or click on
the up/down arrows beside the field to increment or decrement the value in 1dB steps.
AES/EBU Inputs
These parameters appear when a digital input signal is selected:
· Sample Rate Converter On - enables sample rate conversion.

Note that not all digital inputs support sample rate conversion so this option may not be available for all signals.
To make a digital path suitable for Dolby E operation, you should turn off the IO DSP for both the input and
output, and disable any sample rate conversion.

AES/EBU Outputs
These parameters appear when a digital output signal is selected:
For an AES/EBU output signal you can adjust the Sample Rate and Wordlength.
Note that both options affect the status of the Sample Rate Converter, and therefore this option is for
display purposes only.
To disable sample rate conversion, to make the output path suitable for Dolby E operation, set the Sample
Rate and Wordlength according to the Digital Output Settings Appendix.

>> Sample Rate & Use System Sample Rate
The default state is that digital outputs are referenced to the console’s system clock – in other words, the Use
System Sample Rate option is checked, and the Sample Rate field is set accordingly.
The system's internal sample rate is set by the Sample Rate option in the System Settings display.
On digital outputs with sample rate conversion (SRC), you can alter the clock selection. For example, to send a
44.1kHz feed to a CDR. Note that not all digital outputs support sample rate conversion so this option is not
available for all signals.
Ø To change the sample rate of the selected output:
1. Select Sample Rate and choose a drop-down menu option:
· follow – sets the output sample rate to follow the input sample rate from which it is routed.
· 44.1 – 44.1kHz.
· 48 – 48kHz.
On systems running at higher sample rates, you can also select:
· 88.2 – 88.2kHz.
· 96 – 96kHz.
Selecting a different sample rate automatically unchecks the Use System Sample Rate option, and checks the
SRC status flag:
2. To reset the digital output, so that it is referenced to system clock, reselect Use System Sample
Rate.
>> Word Length
The word length for each digital output defaults to 24-bit unless you select otherwise.
Note that dither is automatically applied to signals reduced to 20- or 16-bits. In addition, your wordlength
selection can change the status of output sample rate conversion. See the Digital Output Settings Appendix
for details.
Ø To change the wordlength of the selected output:

1. Select Wordlength and choose a drop-down menu option:
· 24 bit
· 20 bit
· 16 bit

I/O DSP
These parameters are available for all types of input and output signal, and control a small amount of DSP which
exists on the IO card:
To make a digital path suitable for Dolby E operation, you should turn off the IO DSP for both the input and
output, and disable any sample rate conversion.
· IO DSP - enables or disables the IO DSP. This option must be turned on (checked) for Volume and
Phase to be active. Note that, for fixed gain analog and digital inputs, IO DSP is enabled/disabled from
the LINE/ON button on the INPUT Control section.
· Volume - this field allows you to set an offset level for the selected input or output signal. It is
particularly useful if you are routing a bus to multiple destinations that require slightly different line up
levels, as you can use the Volume to adjust each individual output level.
Click to enter a value from the keyboard, or click on the up/down arrows to increment or decrement the level in
0.5dB steps. The Volume can be adjusted from -128dB to +15dB.
Note that, for fixed gain analog and digital inputs, Volume is adjusted from the GAIN control on the INPUT
Control section.
· Phase - check this option to reverse the phase of the signal. Note that, for fixed gain analog and digital
inputs, Phase is adjusted from the Ø button on the INPUT Control section.
Device Parameters
· HLSD - this field displays the Lawo system address which is used to identify the signal within the
system. It is a unique address which cannot be modified by the user.
You may need to copy and paste the HLSD when programming a Custom Function involving signals, see
Entering a HLSD Address.

Tone Generator Control (Internal Tone only)

All mc 2/Nova systems fitted with a Router Module MKII support four internal generator sources: two sine wave,
one pink noise and one white noise.
This feature is supported from V4.12 software onwards. If you have updated your software to V4.12, then
you must update the gui_config.tcl file using AdminHD and cold start the system to add the generator
sources to a directory within the Signal List display. You can then make routes from each of the four
generator sources in the usual manner.
The first internal generator source (sine 1) can be switched to any Input or Monitor channel using the INPUT
panel's TONE button.
When an internal generator signal is selected, the Signal Generator tab appears in the IO parameter area of
the Signal Settings display:
· Type - select the type of test signal. Options include sine wave, pink noise and white noise.
· Frequency - for the two sine wave generator sources, you can adjust the frequency.
Click on the up/down arrows to step through the following predefined options: 20, 49.9, 100, 200, 400, 440,
1000, 2000, 2998, 3999, 4987, 6997 Hz and 10.0, 15.0, 20.0 kHz.
Alternatively, you can type in any frequency within the parameter area.
· Level - this field adjusts the level of the generator signal.
You can either click on the existing entry and type in a value from the keyboard, or click on the up/down arrows
beside the field to increment or decrement the value in 1dB steps.
The level can be adjusted from 0dB to -128 dB.
SDI Parameters
SDI parameters vary depending on the card type (3G or non 3G). Please refer to the following Appendices for
further details:
· SDI Parameters (3G SDI Card)
· SDI Parameters (non 3G SDI Cards)

19. mxDSP
19. mxDSP
This chapter describes the operation of mxDSP.
Topics include:
· mxDSP: Overview
· Routing Signals to/from the mxDSP Module
· The mxDSP Settings Display

19. mxDSP
19.1 mxDSP: Overview

mxDSP provides a pool of DSP resource which can be applied to signal paths within the routing matrix (instead
of DSP channels within the mixing console). It can be used for a variety of applications - for example, to apply
fixed DSP settings to line arrays.
Note that this feature is optional. At least one mxDSP module must be configured, using AdminHD, and new
software loaded to the board, before the mxDSP features become available. For details, please refer to your
Technical Manual.
Physically, each mxDSP module is identical to a normal channel DSP board and occupies one slot within the
Nova73. However, rather than DSP channels, which can be assigned to the console surface, the mxDSP
provides DSP “chains” which can be viewed and controlled from the mxDSP Settings display.
Several configuration options are supported, providing up to 192 DSP chains plus a 64 x 64 mixing matrix per
module. The DSP chains are configured from various elements including level, mute, delay, EQ, etc. The number
of DSP chains, and their signal flow, is determined by the AdminHD configuration:
The Config-ID, which determines the mxDSP mode, can be changed using AdminHD while running online.

19. mxDSP
19.2 Routing Signals to/from the mxDSP Module

Each DSP Chain or Summing Matrix in/out can be routed from any source, and to one or more destinations
using either the Signal List or mx Routing displays.
The mxDSP Signals appear within their own Directory. So, to route a source to an mxDSP destination (using
the Signal List display):
1. Select your source in the usual manner.
2. Then select the destination:
· Select mxDSP Signals from the Directory list.
· Select the DSP Chain type from the Subdirectories – e.g. EQ Lim 1.
· Select the DSP Chain from the Destinations list – e.g. EQ_L 1.
3. Press CONNECT to make the route:
4. Then select mxDSP Settings display, and you will see the Label of the assigned source beside the
DSP Chain.

19. mxDSP
19.3 The mxDSP Settings Display

This display provides screen-based control of mxDSP parameters. Note that if there are no mxDSP modules
configured within the system, then the display will appear empty.
1. Open the mxDSP Settings display in the usual manner:
mxDSP Settings display (example)
On the left of the display you will see the:

· DSP Chain Type – this lists all the DSP chain types offered by the card. The types are predefined by
the card configuration (defined by AdminHD). Types in grey are not supported by the current
configuration.
· DSP Chain – this lists the individual DSP chains. Here you can name and label each chain and view its
source and mono/stereo configuration.
Note that you cannot change the Stereo configuration of a DSP Chain from the mxDSP Settings display. This
operation must be performed from the Signal List display.
To control routing to and from the DSP chains, use either the Signal List or mx Routing displays, see Routing
mxDSP Signals.

19. mxDSP
19.3.1 Controlling DSP Parameters

1. Select a DSP Chain from the list to view its signal flow.
2. Then click on one of the signal flow blocks – e.g. Par-EQ – to display the current parameters:
3. Adjust parameter values using any of the usual methods.

You can adjust parameter values for any DSP block within any DSP chain.

19. mxDSP
19.3.2 The 64x64 Summing Matrix

Depending on the AdminHD configuration, each mxDSP module can support a 64 x 64 summing matrix.
1. Scroll through the entries in the DSP Chain Type list and select Sum Matrix.
The display updates to show settings for the selected summing matrix – in our example, Matrix 1:
For each of the 64 summing matrix inputs and outputs, you can adjust the following settings:
· Input level, phase and mute.
· Output level, phase and mute.
· Crosspoint level and on/off status.
Note that the summing matrix defaults to all levels at 0dB, all phase, mutes and crosspoints off.
On the left of the display, the Sum Matrices area lists all matrices configured within the system. For example, if
you have several mxDSP modules, configured with a summing matrix, then you will see Matrix 1, Matrix 2, etc.
The Views list can be used to filter the number of signals in view.

19. mxDSP
19.3.3 Controlling the Matrix Settings

The main area of the display shows the crosspoint on/off status and levels for the signals in view:
In our example, inputs 1 to 64 run down the left hand side, and outputs 1 to 64 across the bottom.
1. Use the scroll bars to access all 64 signals.
2. Select Inherit Label (bottom left) to view the source and destination labels, from the Signal List, rather
than the default labels shown above.
In the main grid, each box shows the matrix crosspoint level in dB. If a crosspoint is active, then its box has a
heavy green outline.
The yellow outlines provide a reference to show which input, output and crosspoint will be affected by the DSP
buttons on the left of the display (Input Phase, Input Mute, etc.)
The circles beside each input and output signal are used to create views.

19. mxDSP
To Adjust a Matrix Crosspoint

1. Click on the crosspoint you wish to adjust - the yellow outline updates.
2. Adjust the level using any of the usual methods. For example, use the rotary control on the SCREEN
CONTROL panel or click on the up and down arrows.
The crosspoint level can be adjusted from -128dB to +15dB.
3. Select XPoint On to turn the crosspoint on or off. When active, the crosspoint box has a heavy green
outline.
4. Select XPoint Phase to reverse the phase of the crosspoint. When active, the button turns blue.

19. mxDSP
To Adjust a Matrix Input

1. Click on any crosspoint within the input row you wish to adjust – for example, input 3.
2. Use the level box below the Inputs list to adjust the input level.
The input level can be adjusted from -128dB to +15dB.
3. Select Input Phase to reverse the phase of the summing matrix input.
4. Select Input Mute to mute the input.
The input level box turns red if the input is muted.

19. mxDSP
To Adjust a Matrix Output

1. Click on any crosspoint within the output column you wish to adjust – for example, output 5.
2. Use the level box at the bottom of the column to adjust the output level.
Output level can be adjusted from -128dB to +15dB.
3. Select Output Phase to reverse the phase of the summing matrix output.
4. Select Output Mute to mute the output.
The output level box turns red if the output is muted.

19. mxDSP
Views
To reduce the number of signals in view to a more manageable number you can use Views.
1. Select the circles beside each input and output signal you wish to include within the matrix View.
When a signal is selected, its circle turns blue.
2. Now select Save at the bottom of the Views area - the Views list updates accordingly:
3. To apply the View, select the checkbox beside Filter.

When the Filter checkbox is active, the crosspoint grid only shows signals stored within the selected View:
4. To return to all signals, deselect the Filter checkbox.

19. mxDSP
You can store as many Views as you wish, and perform the following operations by right-clicking on a View:
· Update – select a different set of signals and click on Update to update an existing View.
· Delete – deletes the selected View.
· Rename – renames the selected View.
· Reload – reloads the selected View.
Note that the half blue circle beside Inputs and Outputs indicates that some but not all signals are selected:
· To select all signals, click on this circle to make it fully blue.
· To deselect all signals, click it again to make it fully white.

19. mxDSP
19.3.4 Stereo Configuration

An odd/even pair of DSP Chains can be configured for stereo operation.
Note that surround configuration is not supported.
This operation is performed from the Signal List display:
1. Select the DSP chain you wish to make stereo and right-click:
2. Select the Stereo option.

Green/red circles appear beside the DSP chains to indicate that they are now linked for stereo.
3. Return to the mxDSP Settings display and you will see the stereo status indicated beside the DSP
Chain and within the main Settings area:
19.3.5 Saving and Loading mxDSP Settings

The settings for each mxDSP module are stored within snapshots and productions, so remember to save or
update a production to save any changes.
You can isolate all mxDSP signals so that they will not be affected by a snapshot load using the mxDSP Global
Snapshot Isolate option.

20. System Configuration

This chapter deals with the system configuration displays.
Topics include:
· System Settings
· Custom Functions
· The Custom Functions List
· Command Triggers
· The Extra Buttons Display

20.1 System Settings

The System Settings display configures all the system options which can be modified by the user. These
options are stored and recalled with productions, but not snapshots.
1. Open the System Settings display in the usual manner:
On the left you will see a list of topics: Global, Console, Level, etc.
2. Using the trackball or navigation controls select a topic – for example, Global.
The right hand side of the display updates to show a list of options within the selected topic.
3. Depending on the option it can be modified as follows:
· Checkbox on/off (e.g. Isolate) - use the trackball to select the checkbox beside the option. A cross
appears when the option is enabled – for example, Isolate is ON.
· Drop-down selections (e.g. Surround format) – using the trackball select an option from the drop-
down list.
· Numeric Entries (e.g. Backup Snapshot Maximum) – some options require a number to be entered.
You can click on the existing entry and type in a value from the keyboard; or click on the up/down
arrows beside the number to increment or decrement its value; or select the option, press the SET soft
key and then use the SCREEN CONTROL panel rotary control to increment or decrement the value.
If you hover the cursor above each option name, you will see a ‘Tool Tip’. This provides a helpful description
of each option.

20.1.1 Global -> System
Product Release and Control Software Versions

These fields are for display purposes only, and tell you the software versions running on your system. Note that
there are two different releases, both important when reporting software versions to a service engineer:
· Product Release Version – this is the release version of your product software.
· Product Control Software Version – this is the release version of the control system software.
· Control Software System Variant – this is the system variant applied to the mc 2 release. (From
Version 5.4 onwards, a single update file is used to update software on all mc 2 consoles; the system
variant ensures that the correct features are applied to your console!)
Data Memory Load
This field is for display purposes only, and indicates the amount of used data storage space (%).
IP Address Primary
This field is for display purposes only, and indicates the IP address of the main control system.
Prepare Cold Start
This option sets whether the system will cold or warm start on the next power-on:
· Prepare Coldstart (on) - the system will cold start. This means that no user data is loaded. Use this
option if you wish to clear all user settings from the system.
· Prepare Coldstart (off) - the system will warm start. This means that the console is restored with same
settings as before the power off.
Note that following a restart this option is always reset to off. This ensures that by default, warm start data is
loaded at the end of every power-on or restart.
Redundancy Takeover
Use this option to force a manual takeover to the redundant Router Module if one is fitted.
Safe Mode
This option enables or disables control from the Lawo Remote App:
· Safe Mode (on) – access from the Lawo Remote App is denied. Use this mode to prevent unauthorised
control of the console.
· Safe Mode (off) – the console can be controlled by the Lawo Remote App.
Keyboard Layout
Use the drop-down menu to choose the console keyboard layout: either US English or German.

20.1.2 Global -> Status
Isolate
This option enables or disables the SNAP ISO (Snapshot Isolate) buttons across the console:
· Isolate (on) – you can select SNAP ISO (Snapshot Isolate) buttons to isolate channels from a
snapshot or automation load.
· Isolate (off) – prohibits selection of SNAP ISO buttons across the console; any existing SNAP ISO
selections will be cleared. Use this mode to ensure that all stored parameters are recalled to all
channels from any snapshot or automation load.
Mute
This option enables or disables the fader strip MUTE buttons across the console:
· Mute (on) – you can select MUTE buttons to mute/cut a channel.
· Mute (off) – prohibits selection of MUTE buttons across the console; any existing MUTE selections will
be cleared. Use this mode to prevent accidental muting of channels during a live production.
Track Self Assign
This option determines whether a monitor channel can be assigned to its associated track bus. For example,
whether monitor channel 8 can be assigned to track bus 8:
· Track Self Assign (on) – allows monitor channel x to be assigned to track bus x. This mode is
designed for non-multitrack applications where you wish to route to track busses from any channel.
· Track Self Assign (off) – prohibits the assignment of monitor channel x to track bus x; any existing
assignments to associated track busses will be cleared. Use this mode when working with a multitrack
machine to prevent monitor channel x routing to track bus x and generating feedback.
Channel Mute
This option determines where in the signal flow a channel is muted when the MUTE button is selected:
· Channel Mute (on) - the MUTE button mutes the channel after the input mixer. In this mode all channel
outputs including pre-fader sends are muted. Note that PFL is NOT muted to enable pre-fader listen.
· Channel Mute (off) - the MUTE button mutes the channel after the fader. In this mode only post fader
outputs are muted, pre fader sends remain active.
All AFV On/Off
This option sets AFV (Audio Follow Video) to either on or off across all channels:
· All AFV on (on) – AFV is switched on across all channels.
· All AFV off (on) – AFV is switched off across all channels.

Tiny Channels for Conference

This option determines whether tiny input channels can feed onto mix minus (N-1) sends:
· Tiny Channels for Conference (on) – tiny input channels can feed mix minus sends.
· Tiny Channels for Conference (off) – tiny input channels cannot feed mix minus sends.
When using a Recording Channel DSP configuration, and creating a mix minus from tiny channels, you MUST
use auxiliary busses for mix minus sends (as track bus conference facilities are not supported from tiny DSP
channels).
Ignore External Parameter Changes When Sensed
Enable this option if you wish to prevent parameter changes while a console front panel control is being sensed.
For example, to prevent an external override from a remote device (via Remote MNOPL, Ember+, etc.)
Delta Panpot to Aux Sends
This option determines whether aux send panning follows channel fader panning, across the console, for stereo
aux sends:
· Delta Panpot to Aux Sends (on) – aux panning follows channel fader panning.
· Delta Panpot to Aux Sends (off) – aux panning can be set independently from channel fader panning.
Cue Aux Send/Return
This option determines the behaviour of auxiliary sends 17 to 32 when assigned from monitor channels.
· Cue Aux Send/Return (on) – aux sends 17 to 32 can be switched between send and return. This mode
is ideal for cue feeds when overdubbing.
· Cue Aux Send/Return (off) – aux sends 17 to 32 return to normal aux send operation and can be
switched post fader, pre fader or pre EQ.
Channel A/B Input Switch Enable
This option enables (or disables) the A/B input switching globally across the console:
· Channel A/B Input Switch Enable (on) – A/B input switching is enabled across all channels.
· Channel A/B Input Switch Enable (off) – A/B input switching is disabled across all channels. You can
use this to prevent users switching to unconnected inputs by accident. When you turn the option off, all
inputs are switched automatically to their A input.
Note that this option is disabled following a cold start.
For backwards compatibility, the option is switched on automatically if a production created prior to V5.10.0 is
loaded.
Crossfade Curve Type
NEW IN 5.16 - ADD DESCRIPTION AND LINKING TO CORRECT TOPICS

20.1.3 Global -> Surround
Surround Format
This option defines the global surround format used for surround channels, panning laws and monitoring.
Use the drop-down menu to select an option:
· 4.0 – L, R, C, S for Dolby ProLogic.
· 5.1 – L, R, C, LFE, Ls, Rs for Dolby Digital and DTS.
· 6.1 – L, R, C, LFE, Ls, Rs, Cs for Dolby Digital EX and DTS ES.
· SDDS 7.1 – L, R, Lc, Rc, C, LFE, Ls, Rs for SDDS 7.1.
· DTS-HD – L, R, C, LFE, Lm, Rm, Ls, Rs for DTS-HD 7.1.
Upmix/Spatialize Enable
Use this option to enable or disable the AMBIT upmix and spatialize module for 5.1 surround channels.
Channel 1 to 8
These options determine which components of a surround channel feed the mix minus bus when configured.
Select the channels if you wish them to feed the mix minus bus. For example, you might select only Channel 1
(left) and Channel 3 (centre).
The default configuration is all flags selected (as above).

20.1.4 Global -> Backup
These options define the system's backup snapshots.
Backup Snapshot Maximum

Sets the number of backup snapshots which will be automatically stored before the first backup snapshot is
overwritten. The number can be adjusted from 0 to 1000. Enter 0 to turn off the backup snapshots function.
Backup Snapshot Interval
Sets the time interval between backup snapshots, and can be adjusted from 60 seconds to 24 hours (86400s).
20.1.5 Global -> Date/Time

You can use these options to set the internal date and time.
Set Internal Clock
Type in the time you wish to set and then press Enter - a confirmation pop-up appears. Select OK to confirm -
the new time is set.
The time can be displayed on the Central GUI by adjusting the headline in the title bar.
Your system can be configured for NTP synchronization, so that the internal clock is synchronized to an
external NTP server (connected to the Lawo network). In this instance, the NTP server time takes priority.
From Version 5.4 onwards, NTP synchronization has been improved with support for different time zones
and daylight saving. Note that this option must be factory-configured within the TCL files.
Set Internal Date

Type in the date in the format: Month/Day/Year (e.g. 25/01/2010) and then press Enter - a confirmation pop-up
appears. Select OK to confirm and the date is set.
The date stamp is used when saving user data such as Productions and Snapshots.

20.1.6 Console -> Access
Flip Access Channel on Repeated Strip Selection

This option affects what happens when you press a fader SEL button twice in quick succession (a double-
press). For example, if INP 1 is in access and you double-press the fader SEL button on INP 5:
· Flip Access Channel (on) – the system registers both presses and so selects INP 5 and then
unselects INP 5 returning to the previously selected channel - INP 1. This is the default behaviour.
· Flip Access Channel (off) – the system ignores the double-press and so does NOT revert to the
previously selected channel. In our example, the channel in access becomes INP 5.
Reveal Panel Assign Mode
This option determines the behaviour of the Reveal Panel.
· Reveal Panel Assign Mode (on) - the reveal panel is cleared and performs no function unless the
channel in access is a surround VCA.
· Reveal Panel Assign Mode (off) - the last selected surround VCA remains assigned to the reveal
faders even if you select a different channel type.
20.1.7 Console -> Potentiometer
Invert Pot Fine/Coarse Tuning

This option inverts the behaviour of all rotary controls on the console surface:
· Invert Pot Tuning (on) – turn a control for coarse adjustments; push down and turn for fine tuning.
· Invert Pot Tuning (off) – turn a control for fine tuning; push down and turn for coarse adjustments.
20.1.8 Console -> Brightness

Display Brightness
This option sets the brightness of the main TFT displays - i.e. the Channel Displays and Central GUI. The
brightness can be set from 0 to 32 = high.
Surface Brightness
This option sets the brightness of all LEDs, bulbs and text displays across the console surface. The brightness
can be set from 0 = low to 31 = high. Note that there is a fixed relationship between the Surface Brightness
value and Button Glow Brightness (as described below).
Button Glow Brightness
When enabled, some fader strip buttons and displays (in their off state) are dimly lit according to the channel
color code. This makes it easy to identify which channels are assigned to fader strips, especially useful in low-
light conditions. The fader strip buttons affected are A/B input switching, Free Control on/off buttons, the four
channel user buttons, AFL and PFL.

To enable button-glow, set the Button Glow Brightness to any value > 0. We recommend 20 as a good starting
number.
Note that there is a fixed relationship between the Button Glow Brightness and Surface Brightness value.
Therefore, if you adjust the Surface Brightness setting it will affect Button Glow Brightness.
To disable button-glow, set the Button Glow Brightness to 0.
Bulb Test
This option lights all LEDs, bulbs and text displays across the console surface in order to check for defects:
· Bulb Test (on) - enters the test mode. All LEDs, bulbs and displays will illuminate across the console.
Note that all dual colored bulbs should be orange. If not, then this indicates that either the red or green
bulb is faulty.
· Bulb Test (off) - exits the test mode.
20.1.9 Console -> Illumination
Desk Illumination
This option sets the brightness of the console desk lights. The brightness can be set from 0 = off to 15 = high.
Floor Light Red, Green, Blue, White

These options apply to the mc 296 only and set the color and brightness of the "floor" lighting (i.e. the bulbs
mounted in the underside of the control surface).
20.1.10 Console -> Surface TFT
This option applies to the mc 256 MKIII and 96 only.

Click on the Surface TFT Reset button to reset the mini TFT displays used in the surface. You may need to do
this if the graphics within a display freeze or look odd. This can happen if the display loses its connection to the
control system.

20.1.11 Console -> Bay
Select Isolate
This option determines whether fader select (SEL) buttons within isolated fader bays update the channel in
access:
· Select Isolate (on) – the SEL buttons within isolated bays do NOT update the channel in access. Use
this mode when you want isolated bays to work independently from the rest of the console. For
example, when one engineer is working on an isolated fader bay and another with the rest of the
console.
· Select Isolate (off) – the SEL buttons within isolated fader bays do update the channel in access. This
mode is ideal for single operator use where you wish the channel in access to follow selections within
isolated fader bays.
ISO AFL2/PFL2
This option is used to route AFL and PFL selections made within isolated fader bays onto a second AFL and
PFL bus:
· ISO AFL2/PFL2 (on) – enables the second AFL/PFL output; any AFL and PFL selections made from an
isolated fader bay route to the AFL2 and PFL2 outputs. AFL and PFL selections from the rest of the
console route to AFL1 and PFL1.
· ISO AFL2/PFL2 (off) – disables the second AFL/PFL output; all AFL and PFL selections, including
those within isolated fader bays, route to AFL1 and PFL1.
You can find the AFL2 and PFL2 bus outputs in the Signal List display, under the Bus Out.
In the default monitoring configuration, you should have options to switch AFL2 and PFL2 to the control room
monitors or headphones. See AFL & PFL.

20.1.12 Console -> Reveal
These five options determine where the VCA slave faders appear when the REVEAL function is active.
The first three options determine the location and number of fader strips to be used, and whether faders are
revealed from left to right or right to left:
· Reveal bay index – enter the first channel or main fader bay you wish to use.
· Reveal bay count – select the total number of fader bays you wish to use. For example, 1 will allocate
8 fader strips, 2 will allocate 16 fader strips, etc. If you enter 0, then no fader bays are allocated, and the
REVEAL button will perform no function.
Using more than 8 faders can be very useful if you are using REVEAL with normal VCA grouping. For
example, by setting the Reveal bay count to 2 you will be able to reveal 16 slaves.
· Reveal bay assign mode – this option determines whether slaves appear from left to right (L->R) or
right to left (R->L) across the defined fader bay(s).
The last two options determine which fader strip bank(s) and layer are used to implement the reveal function:
· Reveal bank number – selects the fader strip bank used to store revealed slaves.
· Reveal layer number - selects the fader strip layer used to store revealed slaves.
Whenever you put a surround VCA or normal VCA master into access, its slaves are automatically
assigned to the designated "Reveal bank and layer"; the REVEAL button then simply flips these fader strips
to the current surface. Therefore, select a bank and layer of fader strips which you do not need for your
normal operation.

20.1.13 Level Options
This topic can be used to change the system's reference level, headroom or overload threshold. The levels affect
the maximum analog level from your system according to the following equation:
· Maximum analog Level = Reference Level + Headroom
The system supports a maximum analog level = +24dB, and a minimum analog level = +12dBu.
WARNING: changing the Reference Level or Headroom will move the internal 0dB operating point for the
system, and thereby change the behaviour of level-dependent settings such as dynamics processing and
metering. Therefore, it is NOT advisable to alter these levels once dynamics processing has been set.
For systems fitted with fixed level analog IO cards:

· The Headroom and Reference Level cannot be altered independently. For example, with a +15dBu
fixed analog IO card and +9dB Headroom, the Reference Level must be +6dBu.
· The maximum analog level of the whole system is defined by the DALLIS card with the lowest GDA
(General Device Address) - this is the card with the lowest address fitted to the DALLIS frame
connected to the lowest port number of the first Nova73. (If a different fixed level analog card is fitted
elsewhere within the system, then a warning appears in the log file; however, the card with the lowest
GDA still wins.)
Reference Level
Sets the reference level of your analog interfaces in dBu. Reference level can be set from 0dBu to +24dBu,
depending on the Headroom.
Headroom
Sets the operating headroom to the external world; this is the difference between the analog reference level and
digital full scale (0dBFS). Headroom can be set from 0dB to +20dB depending on the Reference level.
Note that the internal Headroom is more then 380dB which means, if you route from input to group to group to
sum, you can overdrive the level more then 380dB before clipping!
Overload Threshold
Sets the overload threshold of your system relative to digital full scale. It can be set from -6dBFS to -0.5dBFS or
switched off.
Note that OVR is only indicated if you meter signals input to or output from the routing matrix. Internally, the
system headroom exceeds 380dB!

The diagram below shows the normal operating levels for DIN scale operation in Germany:
However, if you intend to work with the dBFS digital meter scale option, or an external AES meter, then you
should set the Reference Level equal to your maximum analog level (e.g. +15dBu) and Headroom to 0dB as
shown below:
This ensures that the dBFS metering on the Channel display matches any external AES metering you may
have. But be aware that the internal 0dB operating level now equals 0dBFS. This means that you are responsible
for your own headroom. For example, if you still want a headroom of +9dB, then you will need to set your limiter
threshold points to -9dB, etc.

20.1.14 Bargraph Options
This topic sets the peak metering options:

Full Channel Mode
This option defines the peak meter characteristics across the console. Choose from the following options:
· PPM – Peak metering; 10ms attack time and 1.5s release.
· True Peak – True peak metering with 2 x oversampling, 0ms attack time and 1.5s release.
· fast – fast response peak metering; 1ms attack time and 1.5s release.
· VU – RMS metering; 300ms attack and 300ms release.
For ITU compliant operation, you should choose True Peak.
Scale Mode
This option defines the peak meter scale across the console. Choose from the following options:
· DIN PPM – conforming to IEC 268-10.
· UK PPM – conforming to IEC 268-10 IIA.
· Nordic – conforming to IEC 268-10 I.
· dBFS – dB Full Scale digital meter scale (shown opposite).
When using the dBFS meter scale, it is recommended that you return to the Level options and set the
Reference Level equal to your maximum analog Level and the Headroom to 0dB. This ensures that the dBFS
metering across the console matches any external AES metering that you may have.
Peakhold Options
These options defines the behaviour of the peak hold indicator which monitors and marks the peak level reached
on each meter across the console:
· Peakhold Mode - can be set to:
o Auto – peak hold automatically clears after the Peakhold Time value (see below).
o Manual – peak hold remains set until you select Reset/Clear.
o Off – the peak hold indicator is disabled.
· Peakhold Reset - clears the peak hold indicators and reset peak level monitoring.
· Peakhold Time - sets the peak hold time used in the Auto peak hold mode (see above). Set the value
in seconds.
· Peakhold color - sets the color of the peak hold indicator.

Safe Area, Operation Level, Line Up Level

These options color code the peak meter bargraphs, and can be used to help manage your
headroom:
· Safe Area - this option sets the point where the meters change from red to orange.
For example, you could set this to -6dB to mark 6dB’s of headroom.
· Operation Level - this option sets the point where the meters change from orange
to yellow in the middle of the meter scale. For example, you might set this to -12.0dB
so that when signals peak within the orange area (-12dB to -6dB) you know that they
are at a good operating level for the type of programme material.
· Line Up Level - this option sets the position of the green ‘Line up level’ mark.
In each case, the levels are adjusted relative to the 0dB meter point.

20.1.15 Loudness -> Presets
The Active Preset automatically recalls the correct loudness metering settings to comply with either the EBU
R128 or ATSC A/85 & ARIB implementation standards.
The preset determines how loudness is displayed - in LU/LUFS for EBU R128, or LK/LKFS for ATSC/ARIB
compliance. Note that LUFS is identical to LKFS defined by the ITU standard (BS 1770).
The preset also resets the following Loudness Parameters:
· Target Level
· Loudness Metering Scale
· Gating Enabled
· Relative Gating Threshold
Note that if you change any of these options, then you are deviating from the EBU or ATSC/ARIB
recommendations; to indicate this, the Active Preset changes to Custom.
Note that you can change the Loudness Metering Scale to the extended scale (e.g. from EBU +9 to EBU +18)
without affecting compliance.
EBU R128 Metering Scales
20.1.16 Loudness -> Parameters

Default Module Suspend Set
This option defines the default DSP module, or modules, which will be disabled (suspended) when loudness
metering is activated. Use the drop-down menu to make a selection. The default selection can be modified on a
channel by channel basis from the Channel Config display.

Activate in all Channels

Select this option to turn on loudness metering for all channels which support it. See Activating Loudness
Metering for details.
Target Level
This option adjusts the target level for program loudness, and is recalled by the Active Preset.
The EBU R128 recommends a target level of -23 LUFS +/- 1 LU. The target level is equivalent to 0 LU on the EBU
loudness metering scale.
The ATSC A/85 & ARIB standards recommend a target level of -24 LKFS +/- 2 LK.
Note that LUFS is identical to LKFS defined by the ITU standard (BS 1770).
Note that the Target Level can be adjusted from -31 to -14 LUFS/LKFS. However, any changes will deviate from
the EBU or ATSC/ARIB recommendations.
Measurement Mode for Input/Summing Channels
The next two options adjust the measurement mode for the loudness meter bargraphs. You can select:
· Momentary (M) – integration time operates over a 400ms sliding window.
· Short Term (S) – integration time operates over a 3 second sliding window.
The loudness bargraphs include either an M or S representing the integration time. You can adjust this option
separately for input channels and summing channels.
Include LFE in Surround Metering
Check this option if you wish to include the LFE channel in surround channel loudness measurements.
Default Bargraph Type for Inp/Summing Channels
The next two options adjust the default bargraph type for input and summing channels:
· Default Bargraph Type for Input Channels sets the option for all input and monitor channels.
· Default Bargraph Type for Summing Channels sets the option for all summing channels (groups,
sums and auxes).
In each case, you can choose from:
· Combi – peak and loudness metering side by side.
· Peak – peak metering only.
· Loudness – loudness metering only.
Loudness Metering Scale
This option define the scale for the loudness meter bargraphs. Note that a default scale is recalled by the Active
Preset.
The scale options comply either with the EBU R128 or ATSC A/85 / ARIB recommendations:
· EBU +9 – the EBU standard scale.
· EBU +18 – the EBU extended scale (covering twice the dynamic range).
· ITU-R BS.1771 – the ITU standard scale (-21 LU to +9 LU).
· Extended ITU-R BS.1771 – the extended ITU standard scale (-42 LU to +18 LU).
Loudness Metering Scale Display
This option determines how the loudness meter bargraph scale values are displayed. You can select:
· Absolute – scale values are displayed as absolute values in LUFS/LKFS.
· Relative – scale values are displayed relative to the Target Level.

Integrated Loudness Channel Isolate

This option affects channels using the integrated loudness measurement.
Check the option to automatically isolate a channel once an integrated measurement is started. The option turns
on SNAP ISO on the channel’s fader strip so that any snapshot recalls will not affect the channel.
If this option is not checked, then a snapshot saved when the LOUD DSP module was turned off, will reset the
channel’s signal flow and therefore destroy any active integrated loudness measurement.
Integrated Loudness Metering Scale Display
This option determines how the integrated loudness value is displayed. You can select:
· Absolute – value is displayed as an absolute value in LUFS/LKFS.
· Relative – value is displayed relative to the Target Level.
Protect Sum Meter Pickup
When this option is checked, you cannot alter the position of the loudness meter pickup point (the LOUD DSP
module) for summing channels (Groups, Auxes or Sums).
Gating Enabled
When this option is checked, two-step gating is enabled for integrated loudness measurements.
Note that this option is recalled by the Active Preset. Any change will deviate from the EBU or ATSC
recommendations.
Relative Gating Threshold
This option sets the relative gating threshold to either -8 or -10 LU/LK. Gating is only applied if the Gating
Enabled option above is checked.
Note that this option is recalled by the Active Preset. Any change will deviate from the EBU or ATSC/ARIB
recommendations.

20.1.17 Listening -> Solo
Key Mode
Defines whether Listen buttons are latching or momentary; the option affects AFL (or Solo-in-Place) and PFL
buttons:
· Key Mode (Latching) – buttons latch on or off when pressed.
· Key Mode (Momentary) – buttons are only active while pressed.
Listen Latch Mode
Defines whether AFL monitoring actioned from the LISTEN buttons is momentary (sensing) or latching:
· Select Sense for momentary AFL. The output of the LISTEN module feeds the AFL bus as long as you
touch the control. Once the control is released, AFL is cancelled.
· Select Latch for latching AFL. AFL latches on and remains on even if you release the control. AFL is
cancelled when you touch a control within another module or deselect the LISTEN button.
20.1.18 Listening -> AFL

AFL Add
Defines whether AFL selections are additive or exclusive:
· EXCL – only one AFL is active at any time; selecting a new AFL cancels the previous selection.
· ADD – allows multiple AFL buttons to be combined, thereby enabling a group of channels to be monitored
in context.
AFL follows Access
Controls the behaviour of AFL when you update the channel in access. It works best with exclusive AFL.
· AFL follows access (on) – AFL selections follow the channel in access.
· AFL follows access (off) – updating the channel in access does not automatically select AFL.
Access Follows AFL
Determines whether the channel in access automatically follows AFL selections:
· Access follows AFL (on) – selecting a channel AFL automatically updates the channel in access.
· Access follows AFL (off) – the channel in access is not updated by AFL selections.

AFL/SIP Clear
Select these buttons to clear all active AFL1 or AFL2 selections. Note that Clear A/PFL may also be available
from the console’s monitoring section.
20.1.19 Listening -> PFL

PFL Fader Mode
Controls how PFL responds to fader open and fader closed:
· off – the fader position does not affect PFL selections.
· on – choose this option to cancel PFL when a fader opens.
· return – choose this option to activate PFL when a fader closes.
PFL can also be actioned from the fader backstop, see the Fader Backstop options.
PFL Add
Defines whether PFL selections are additive or exclusive:
· EXCL – only one PFL can be active at any time; selecting a new PFL cancels the previous selection.
· ADD – allows multiple PFL buttons to be combined, thereby enabling a group of channels to be monitored
in context.
PFL follows Access
Controls the behaviour of PFL when you update the channel in access. It works best with exclusive PFL:
· PFL follows access (on) – PFL selections follow the channel in access.
· PFL follows access (off) – updating the channel in access does not automatically select PFL.
Access follows PFL

Determines whether the channel in access automatically follows PFL selections:
· Access follows PFL (on) – selecting a channel PFL automatically updates the channel ‘in access’.
· Access follows PFL (off) – the channel in access is not updated by PFL selections.
PFL Clear
Select these buttons to clear all active PFL1 or PFL2 selections. Note that Clear A/PFL may also be available
from the console’s monitoring section.
20.1.20 Listening -> SIP (Solo-in-Place)

SIP Mode
This option enables or disables destructive Solo-in-Place. Solo-in-Place works by muting any channels not in
Solo, so that they no longer feed the bus outputs. This is very useful for post production. However, you should
NOT use Solo-in-Place when working on a live broadcast, to avoid accidentally interrupting the main program mix.
· OFF – all AFLs act as non-destructive AFL.
· MON – all AFLs act as non-destructive AFL except on monitor channels where the AFL button provides
Solo-in-Place for multitrack returns.
· INP+MON – all AFLs act as destructive Solo-in-Place.
AFL1/SIP Clear
Select this button to clear all active Solo-in-Place (or AFL) selections.
Note that Clear A/PFL may also be available from the console’s monitoring section.
Use the Solo Safe option, in the Channel Configuration display, to prevent individual channels being muted
when a Solo is active.

20.1.21 GUI Options
This topic sets Graphical User Interface options.

Module Popup Window Timeout
This option sets the timeout for the pop-up parameter window (which appears on the Channel Display when you
touch a Central Control Section control - e.g. EQ Gain, Compressor Threshold, etc).
Left & Right Step Through Page Stack (mc236 only)
This option changes the behaviour of the Left and Right navigation buttons on the SCREEN CONTROL panel.
When enabled, the buttons select the Next or Previous page on the Central GUI. When disabled, the buttons
change which part of the current display is in focus.
Display Central Metering
This option activates the mini main fader metering display for the main fader strips. Note that this option is not
supported by the mc 266.
Calibrate Touchscreens
Select this button to start the touch-screen calibration; then follow the on-screen instructions. Note that this
option is not supported by the mc 296 as user calibration of the touch-screens is not necessary.

20.1.22 Channel Display -> Bay
These options change the number of assignments shown on the Channel display:
· Bay Groupbus Count - the number of Group busses displayed.
· Bay Trackbus Count - the number of Track busses displayed.
· Bay Aux Count - the number of Aux busses displayed.
· Bay Sumbus Count - the number of Sum busses displayed.
· Bay VCA Count - the number of "nested" VCA masters displayed.
For each entry, enter the number of busses; the Channel Display resizes accordingly:
Channel Display Channel Display: more busses
Note that if multiple meter rows are enabled, then the maximum number of assignments is limited by the
physical size of the display.
Note that this option affects the number of assignments displayed, and not the total number of busses or VCAs
available (bus numbers are defined by your DSP configuration).

20.1.23 Channel Display -> Main

These options change the number of assignments shown on the Main Faders display:
· Main Groupbus Count - the number of Group busses displayed.
· Main Trackbus Count - the number of Track busses displayed.
· Main Aux Count - the number of Aux busses displayed.
· Main Sumbus Count - the number of Sum busses displayed.
· Main VCA Count - the number of "nested" VCA masters displayed.
The options work in a similar manner to the Bay bus count.
20.1.24 Channel Display -> Multirow Metering
The next set of options configure the additional metering rows on the Channel display. See Multi-row Metering
Configuration for details.
20.1.25 Channel Display -> Strip Layout

These options configure what appears on the Channel display. They allow you to remove elements if they are not
needed, so that operators can focus on the most important functions.
The factory default is that all elements are selected. Deselect a checkbox to hide an element.
For more details on each element, please see the Channel display.
20.1.26 Custom Options

This topic is reserved for future implementation.

20.1.27 Wordclock Options
This topic defines the system's sample rate and sync reference.
Sample Rate
The Max Sample Rate field is for display purposes only, and shows the highest sample rate available. Note that
the option to run at higher (96kHz or 88.2kHz) or lower (48kHz or 44.1kHz) sample rates is defined by the
AdminHD configuration and cannot be modified from the console.
Higher sample rates use twice as much DSP resource and also reduce the router's summing capacity.
Therefore, your system should only be running at higher sample rates if 96kHz or 88.2kHz operation is
required.
The Sample Rate option will change the operating frequency of the system. Depending on the Max Sample
Rate defined by AdminHD, you can choose:
· 48kHz or 44.1kHz - if the Max Sample Rate = 48kHz.
· 96kHz, 88.2kHz, 48kHz or 44.1kHz - if the Max Sample Rate = 96kHz.
WARNING: It is NOT recommended to change the sample rate unless you are using an external Wordclock
sync reference. In this case, then the frequency of the sync source MUST match the internal Sample Rate.
You should mute your loudspeakers when changing the Sample Rate.
If your system includes RAVENNA Net devices, such as Lawo's A__line, then the sample rate of these
devices must be changed manually using the RAVENNA Web GUI.
Sync Source
The Active Source field is for display purposes only, and shows the active synchronization source:
Multichannel, Input 1, Input 2 or Internal.
Information about the Frequency, Input Type and Status of each external sync source is shown in the lower
part of the display; if a signal is not present or invalid, then you will see N/A.
The active sync source is selected automatically as follows: Multichannel - Input 1 - Input 2 - Internal. In each
case, the status of the sync source and the Ignore ... check boxes are taken into account.
For example, with a valid sync signal connected to all inputs and no Ignore ... check boxes selected, the system
will lock to the Multichannel sync source (pre-defined by AdminHD). If multichannel sync is lost or the signal is
invalid, then the system automatically switches to Input 1. Similarly, if sync is lost on this port, then the system
switches to Input 2. Finally, if sync is lost on all external ports, then the system switches to Internal. An
automatic return mode means that the system will switch back to Input 2, 1 or Multichannel once a valid signal
is detected.
To ignore an external sync source, enable its Ignore ... check box. For example, to skip the multichannel sync
source in the sequence, enable the Ignore Multichannel Input check box.

If the Error if Internal Sync check box is enabled, then the global alarm will be triggered when the system
switches to internal sync. Note that this option can also be configured using AdminHD (under Core -> Data).
For more details about the system's sync options, please refer to your Technical Manual.
20.1.28 Timecode Options
This topic selects the timecode source and frame rate when running timecode automation:
Source
Sets the timecode source. You can choose from:
· MTC – the automation system will slave to the external Midi timecode (MTC) input.
· Internal – the automation system will slave to internal timecode.
· LTC – the automation system will slave to the external Linear timecode (LTC) input.
· Machine – the automation system will slave to the active Sony 9-pin machine.
Format
When running on internal timecode, this option sets the frame rate.
Note that the frame rate also sets the delay time for channel delay when adjusting delay in frames. For example,
if you select 25 fps, then delay time for 1 frame will be 40ms (1/25s).
· 24 fps - 24 frames per second - Film.
· 25 fps - 25 frames per second - EBU (PAL or SECAM)
· 30d fps - 30 drop frame timecode - NTSC color TV.
· 30 fps - 30 frames per second – monochrome TV.
If you have selected an external timecode source, this field displays the incoming frame rate.
Set System Clock
Select this button to set the timecode to the local system time.
20.1.29 Fader/Joystick Options

This topic provides options to customise the feel of your faders and joystick. For example, you may wish to work
with a 0dB level fader notch, increase or decrease the brake resistance of the faders and/or work with a PFL
Overpress. You can also create notches and brake resistance for the surround joystick to allow you to feel
specific room positions as you pan.
Note that these options apply globally to all console faders and/or joysticks.

Fader/Joystick -> Both
Fader Calibrate
Select Fader Calibrate to calibrate all faders - each fader across the console opens and closes to calibrate.
Speed
This option adjusts the speed of all console faders when they respond to automated control, for example
snapshot reset or timecode automation. You can select:
· fast - fast fader speed.
· normal - normal fader speed.
· slow - slow fader speed.
Fader Options
The following options set notches and brake resistance for the console’s faders:
· Fader Notch (on) - activates a fader notch at a certain position (e.g. 0dB).
· Fader Brake (on) - activates fader brake resistance.
· Fader Rubber (on) - activates the fader brake force if the fader moves away from the notch position.
· Fader Brake force – sets the amount of resistance which will be applied when Fader brake is active. 1 =
smooth; 3 = stiff.
· Fader Notch Width – sets the width of the notch when Fader notch is active. 1 = narrow; 20 = wide.
· Fader Notch Depth – sets the depth of the notch when Fader notch is active. 1 = flat; 5 = deep.
· Fader Notch Position – sets the position of the notch when Fader notch is active. The position can be
set from -128dB (fader closed) to +15dB (fader open).
You can select multiple options, for example, to activate a fader notch and brake resistance.
Fader Backstop
The fader backstop switch can be used to select PFL monitoring when a fader is pulled back against its endstop.
Or, to trigger an external event such as a fader start:
· Off - disables the backstop switch.
· On - enables the backstop switch. Use this option if you wish to trigger a fader start, or other external
event, by pulling back on a fader.
· On + PFL - enables PFL monitoring from the backstop, otherwise known as backstop PFL monitoring.

Show Fadersense
This option enables or disables the show Fader/encoder sense mode on the Channel display:
· Show Fadersense (on) – touch a fader or encoder and the channel highlights on the Channel display.
The color of the outline matches the color coding for the channel type, selected from the Channel Config
display.
· Show Fadersense (off) – nothing changes on the Channel display when you touch a fader or encoder.
Relative Slave Faders
When this option is enabled (default), the slave faders of a VCA group are non-moving, as in an analog VCA. This
allows you to see and update slave positions even if the VCA master is closed. Uncheck the option to turn on the
fader motors for VCA slaves; move a VCA master and the slaves will follow. Note that this option only affects VCA
grouping. Surround VCAs, Links and the Couple group always use moving faders.
Reset colors (default)
This option resets all DSP channels to their default color codes, see Channel color Coding.
Joystick Options
The following options set notches and brake resistance parameters for the console’s joystick:
· Joystick Notch (on) - activates a joystick notch at a certain position (e.g. Front Centre).
· Joystick Brake (on) - activates joystick brake resistance.
· Joystick Rubber (on) - activates the joystick brake force if the joystick moves away from the notch
position.
· Joystick Brake Force – sets the amount of resistance which will be applied when Joystick brake is
active. 1 = smooth; 3 = stiff.
· Joystick Notch Width – sets the width of the notch when Joystick notch is active. 1 = narrow; 20 = wide.
· Joystick Notch Depth – sets the depth of the notch when Joystick notch is active. 1 = flat; 5 = deep.
· Joystick Notch X Position – sets the x-axis position of the notch when Joystick notch is active. The
position can be set from -20 (Left) to +20 (Right).
· Joystick Notch Y Position – sets the y-axis position of the notch when Joystick notch is active. The
position can be set from -20 (Rear) to +20 (Front).
· Set Joystick Notch Pos. To Current – this option allows you to set the joystick notch position from the
current position of the control. Place the joystick control at the desired position then select this button.
Joystick Motor
This option can be used to enable or disable the motors on the console’s joystick.
· Joystick Motor (on) - enables the joystick motor.
· Joystick Motor (off) - disables the joystick motor.

20.1.30 Externals
This topic sets the following option for the Waves SoundGrid Plug-in Server.
Disable Console Rack Navigation Link
By default, the option is set to off. If a Waves Rack is connected to or from a channel (as an insert or FX Return),
then when you press the channel's fader SEL button on the console, the associated Rack opens automatically in
the Plug-in display window. This makes checking and adjusting plug-in parameters on different channels very
fast.
Turn the option on to disable the automatic Rack navigation feature.
Please refer to the separate “Waves Plug-in Server for mc 2 User Guide” for full details.

20.2 Custom Functions

This display provides access to factory-configured custom functions, such as the mapping of user buttons, so
that users can reconfigure the console without assistance from Lawo.
The functions configured from this display are stored as part of the system configuration, which means that any
changes will affect all users. In addition, there are many powerful features. It is recommended that users have a
good understanding of the system, are familiar with the programming of user buttons, and understand how to
connect to the console via ftp or telnet. For information on these procedures, please refer to the "mc²56 MKIII
Technical Manual".
Note that the Custom Functions display can be hidden from the console GUI to protect the current
configuration. If this is the case, you can still access the display from an mxGUI computer. Please contact
Lawo support for advice on how to show or hide the Custom Functions display on your console.
1. Open the Custom Functions display in the usual manner.
The Functions column on the left lists the different types of function which can be configured. A brief description
appears when you hover over each title.
2. Select a function to interrogate any existing assignments.
Each time you select a different function, the Assignments column updates – in our example, we have two
Machine Control user button assignments named Play and Stop.
3. Select an Assignment to interrogate its Details:
20.2.1 Operating Principles

Triggering a Custom Function
Most functions listed on the Custom Functions display are actioned from a user button. However, some
functions are designed for other purposes. For example, Snap Iso List configures a list of sources or destinations
which you do not wish to be reset by snapshots.
When looking at the Functions list, use the naming as a guide:
· "Central User Button, xxx" - master functions such as machine control Play, Stop.
· "Fader User Button, xxx" - channel-related functions such as Snapshot Isolate, Aux on/off.
· Anything else is a special case!

User Button Panel Types

Fader User Buttons CENTRAL USER BUTTONS
When assigning Fader User Button functions, they can be mapped to any available user button on the fader
strip. The function then becomes available globally across the console (e.g. Fader User Button 3 = SNAP ISO).
When assigning Central User Button functions, you have a choice of several panel types including the
CENTRAL USER BUTTONS shown above. See Central User Button Numbering for all available user button
locations.
Programming Custom Functions

All custom functions are programmed in a similar manner, so this section deals with how to create, edit and
delete an assignment. For a complete list of functions see The Custom Functions list.
WARNING: Before changing the function of a user button, make sure that there is nothing assigned to it.
Otherwise, the button will perform multiple functions!
In particular, take care with the Monitoring touch-screen panel. The pages cannot be accessed from a
custom function, therefore the button location MUST be free across ALL pages.
Also be aware that factory-configured user functions do NOT appear in the Custom Functions display. If you
wish to reprogram these, then you should contact Lawo to remove the factory configuration first. Otherwise,
you may have buttons performing more than one function.
Note that as soon as you create or edit a custom function assignment, a Custom Template file (for the
assignment) is stored in the system's configuration data. Custom functions are stored as part of the
configuration, and not in productions, and therefore any changes will affect all users of the system.

20.2.2 Creating a New Assignment

For example, to map a Central User Button to a machine control command such as Play:
1. Right-click on the function from the Functions list and select New Assignment:
A pop-up window appears listing the assignment details:
2. Edit each field as follows:

· Function Name and Description: these fields are for information only and cannot be edited. They
describe what the function does.
· Assignment Name: enter a name for the assignment.
You must enter a unique name for each custom function you create.
· Description: enter a user description for your assignment (optional).

· Userbutton Type: select the panel location for the button assignment - e.g. User Button Screen
Control Panel.
· Panel Index: select the panel number for the assignment, see User Button Numbering.
· Userbutton Index: select the button number for the assignment, see User Button Numbering.

In our example, we have selected button 3 on User Panel 1:
· Userbutton Scribble: if the selected user button has an accompanying scribble strip display, then you
can enter the text to be displayed in this field. Up to 8 characters. Text is only displayed IF the button
has a scribble strip - for example, on the Lawo Remote App.
· Machine Command: select the function to be assigned, for example - Record.
3. Once you are happy with everything select OK.
The assignment is made and you will see its name appear in the Assignments list:
4. Repeat these steps to configure other custom functions.

20.2.3 Editing & Deleting Assignments
Note that as soon as you edit or delete an assignment, the changes update the Custom Template file (for
the assignment). Custom functions are stored as part of the configuration, and not in productions, and
therefore any changes will affect all users of the system.
Ø To edit an existing assignment:

1. Select the Function and Assignment you wish to edit,
2. Right-click and select Edit Assignment:
The Edit Assignment pop-up window appears showing the current details of the assignment.
3. Edit the fields as before and select OK to confirm the changes.
Ø To delete an existing assignment:
1. Select the Function and Assignment you wish to delete.
2. Right-click and select Delete Assignment.
3. Confirm by selecting OK.
The assignment is deleted.

20.2.4 Entering a HLSD Address

Some functions require you to enter the Lawo system address (HLSD address) for a signal. You can copy and
paste this address from the Signal Settings display, or from the mx Routing display as follows:
1. Open the mx Routing display and locate the signal.
2. Right-click and select Show Source Parameters (or Show Destination Parameters):
The Signal Parameters pop-up window appears:
3. Select the Device tab.

4. Select the HLSD address field, right-click and select Copy to copy the address:

5. Now return to the Custom Functions display.

6. Create a new function assignment, or edit an existing assignment – for example, a Static Connect:
7. Right-click on the HLSD field and select Paste to paste the copied address.
20.2.5 Importing and Exporting Custom Functions

When you create a custom function, the assignment is stored as a Custom Template file within the console's
configuration data.
These files cannot be accessed from the console GUI. However, they can be transferred to an mxGUI computer
via the File Transfer display. This provides a way of importing and exporting functions between systems, or
creating a backup for your installation.

20.3 The Custom Functions List

The next series of topics describe each of the custom functions, in alphabetical order:
Click on Name at the top of the Functions list to sort by name order.
20.3.1 AFV to GPIO (and Logic) Mapping
This function triggers a single Audio Follow Video event from up to 8 AND combined GPIOs. The GPIO events
can be In, Out, Relays or Optocoupler. Create multiple assignments if you wish to trigger several AFV events
with AND combined GPIO logic.
You can create multiple instances of this template.
20.3.2 AFV to GPIO Mapping
This function triggers Audio Follow Video events from up to 28 GPIOs. You can create an OR combined GPIO
by entering the same AFV event for all 28 GPIOs. Alternatively, you can mix OR combined GPIOs with a direct
AFV Event assignment.

20.3.3 Bird Beater Aux
This function allows you to create a "bird beater" aux - an aux send which automatically mutes when the
channel fader opens and is "on air". This feature is similar to the Direct-Out Mute by Fader option, but affects an
aux instead of the channel's direct output.
Note that you can OR the function so that the aux send mutes if at least one fader opens. Up to 8 input
channels and 8 group channels can be included in the OR.
1. Use the Bird beater AUX field to select the aux bus you wish to use (from 1 to 32).
2. Use the INP or GRP Channel No. fields to define the input or group channel(s) which will trigger the
"bird beater" aux - you should enter the mono DSP channel number. So, for example, if channels are stereo,
enter the left channel number (1, 3, 5, 7, etc.).
Note that GRP channels are supported from Version 5.0 software onwards.

20.3.4 Central User Button, A/B Input Switch
This function defines two central user buttons to switch selected input channels between their A and B sources.
You will need one button to switch the selected range to input A; another to switch to input B. Up to four
channel ranges can be defined.
Note that if B Inputs are not assigned, then the status LED of the “All B” button will not light. The button will still
switch to Input B on Inputs where a source is assigned.
Note that the Channel A/B Input Switch Enable option in the System Settings must be turned on to support
A/B input switching.
See also Global A/B switching.

20.3.5 Central User Button, Access Channel Functions
Maps a central user button to functions which will act on the channel in access. Functions include:
· Meter pickup point selection
· Delay mode, Image style and Pan flat
· Direct Out options
· Solo Safe on/off
· AFV (Audio Follow Video) on/off
· Link metering on/off
20.3.6 Central User Button, Automation Functions
Map a central user button to timecode automation functions.

20.3.7 Central User Button, Copy channel levels to Aux levels
This function defines two central user buttons which can be used to copy and paste mix levels. For example, to
copy your channel levels to an aux, or copy one aux send mix to another.
Configuration
First, use the Custom Functions display to define the COPY and PASTE buttons. These can be any two
central user buttons. During the configuration stage, you can choose whether the copy will include Input, Monitor
and/or Group channels. This will then be applied to all copy and paste operations.
Operation
Once the COPY and PASTE user buttons are defined:
1. Place the mix you wish to copy onto your faders. For example, to copy the main
channel levels, do nothing. To copy an aux send mix, use the FADER CONTROL panel to
assign an aux mix to the faders.
2. Press the COPY user button to copy the current fader levels - the button turns
green to indicate that there are stored parameters.
3. Now select the aux you wish to copy to using the FADER CONTROL panel - the
faders update to show the selected aux mix.
4. Press PASTE to paste the stored fader mix - the fader positions update.
The copy and paste is now complete. You can paste the same mix to several auxes by
repeating steps 3 and 4.
Note that the COPY button will remain green (to indicate that there is still a mix stored) unless you press COPY
again (until its green LED goes out).
Once you have finished all copy and paste operations, remember to deselect the FADER CONTROL AUX button
to return the faders to channel mix levels.

20.3.8 Central User Button, Global A/B Input, Send/Return Monitor, On/Off AFV
This function allows you to switch a number of operations globally from a central user button. You can assign:
· Global A/B Input Switching – use this function to switch all input channels between A and B sources (if
assigned).
Note that if B Inputs are not assigned, then the status LED of the “All B” button will not light. The button will still
switch to Input B on Inputs where a source is assigned. See also selective A/B switching.
· Global Send/Return Switching on monitor channels – handy for multitrack recording sessions.
· Global AFV On/Off Switching – handy if cameras are rehearsing (to switch AFV off).
You can create multiple instances of this template if you wish to have functions on different User Button Panels.
20.3.9 Central User Button, GPI Outputs
Maps a central user button to external relays (GPI Outputs). For each user button define the:
· GPO HLSD – this is the Lawo system address of the GPO which will be triggered.
· GPO Mode – latching, momentary, pulse, etc.
· GPO Time – for a pulsed relay.

20.3.10 Central User Button, GUI-Page Select
Maps a central user button to GUI page switching. Note that the page switching can apply to the console's
Central GUI (GUI 0), or an external display (GUI 1 or GUI 2) if available.
1. Define the Userbutton Index, Scribble and Color in the usual manner.
2. Use the GUI Page drop-down menu to select the main page selection - e.g. Signal List.
3. Use the GUI Number to define the target display:
· GUI 0 (int) = the console's Central GUI
· GUI 1 (ext 1) = an external GUI (if available on your system).
· GUI 2 (ext 2) = a second external GUI (if available on your system).
4. Use the GUI Subpage drop-down menu to select the sub page index - 0 = subpage 1; 1 = sub page 2;
and so on.
In the example below, the Signal List display (which is the first Signal List subpage) will be switched to an
external GUI (GUI 1):

20.3.11 Central User Button, Loudness Metering
Maps a central user button to the Loudness Metering options available from the System Settings display.

20.3.12 Central User Button, Loudness Start/Pause/Reset
Maps a central user button to start, or reset, the integrated loudness measurement on up to 8 specific summing
channels, see Integrated Loudness Measurement.
Note that you these functions can also be mapped to fader strip user buttons, using the Fader User Button,
Channel Functions template.

20.3.13 Central User Button, Machine Control
Maps a central user button to machine control commands.
20.3.14 Central User Button, Machine Locators
Maps a central user button to machine locator commands (cue points). The drop-down options include:
· Create New Locator - stores the current timecode position into a new locator (identical to New on the
Machine Locators display).
· Go to Locator 1 to 10 - recalls a stored locator from ID 1 to 10.

20.3.15 Central User Button, MIDI Command
Maps a central user button to MIDI commands. For each user button define the:
· MIDI Interface:
o DESK – MIDI is connected to the MIDI IN/OUT sockets on the rear of the console.
o LAN 1 to 16 – MIDI is transmitted via the Lawo network; select the network client from 1 to 16.
· MIDI On/Off Commands – enter the hexadecimal address for the MIDI Command. For example:
o 0xc0 0x07 = Program Change to MIDI ch 1; Patch Number 8.
From Version 5.6.0, MIDI strings can be up to 64 characters long.

20.3.16 Central User Button, Module Iso Functions
Maps a central user button to the following Module ISO functions:

· Select Isolate - press this button to the use the Central Control Section and fader SEL buttons to make
selections within the Contents matrix.
· Clear Current - clears all current Contents matrix selections.
· Selective Enable - enables (or disables) the SELECTIVE Global Activation button.
The first two functions allow to quickly edit the Current Global selections within the Contents matrix.
Selective Enable makes it easy to enable and disable the activation of Iso Sets from linked snapshots.

20.3.17 Central User Button, MultiRack SG Control
From Version 5.6.0, these functions map central user buttons to commands within the Waves MultiRack
SoundGrid Host (optional). The functions can be used to further integrate the operation of the external Waves
plug-in server with the console.
Six functions are supported:
· Previous Rack & Next Rack - scroll through the available Racks (in any view).
· Previous Plugin & Next Plugin - within the selected Rack, scroll left and right through the inserted
Plug-ins (in any view).
· Toggle View - switches the MultiRack operating window between Main and Rack view. (Note that if
MultiRack is in Overview, then on its first press the button switches to Main view.)
· Hot Rack - this function carries an index which can represent any Rack number. When the button is
pressed, the corresponding Rack is opened, allowing you to view and adjust its plug-ins. Up to eight
functions of this type can be created. For each one, assign the index number using the Navigate
Hotrack Index field.
For more details, please refer to the "Waves Plug-in Server for mc 2 User Guide".

20.3.18 Central User Button, Multi Row Metering
This function maps a central user button to switch the second Metering Row options available from the System
Settings display, see Multi-row Metering. This allows you to toggle between two metering setups.
To enable user button switching, set the Modify 2nd Row field to Yes. (If this field is set to No, then the
metering row is always assigned to the options defined in the System Settings display.)
Each user button has an "On" and "Off" state - so, in our example, when the user button is "Off", the 2nd row
always meter channels assigned to the alternate Layer of the active Bank (Desk + Back); when the user button
is "On", the 2nd row switches to meter channels assigned to the Bank 4, Layer 1 (Bank 4 + First).
Select None from the 2nd Row Bank options to disable the second metering row.

20.3.19 Central User Button, Remote Desktop Switch
This function allows any of the console’s TFT displays to be switched to a remote desktop in order to view and
control other applications – for example, a playback system or DAW. You can use any central user button to
action the function.
From Version 5.10.0, the functionality has been expanded to support VNC Remote connections. To use this
type of connection, set the "Use VNC connection" field to Yes. If the field is left as No, then the function
supports the Windows RDP protocol.
Ø On the Remote Server:

Connect the remote desktop server to the Lawo control system network.
The server should have a fixed IP address (fixed IP from DHCP server, or static IP address) within the same
range as that of the control system, for example 192.168.102.xxx. You can check the IP address of your
control system from the System Settings display, see IP Address Primary.
Create a new user and password for the remote desktop login. We advise creating a new user account, as the
password is displayed and stored in clear text on the mc 2 mixing console. The user must be a member of the
"Remote Desktop Users" Group.
Ø On the Console:
For each remote desktop you wish to connect to, define the:
· Channeldisplay / GUI – select the console display which will display the remote desktop. You can
choose any Channel display or Central GUI.
· Server IP address – enter the IP address of the server (as configured above).
Note that the control system must have an IP route to the remote server. If the server is not in the same
subnet range, then an appropriate gateway must be configured. Please consult your network administrator for
assistance. The default Subnet Mask is 255.255.255.0.
· Username – enter the remote server's Username.

· Password – enter the remote server's Password.

· Userbutton Type, Panel Index, etc. – assign the user button which will switch to and from the remote
desktop.
20.3.20 Central User Button, Routing Connect
This function allows you to perform signal routing from a central user button. Up to 28 connects/disconnects can
be assigned to one button. Routes can be made to/from any source or destination including DSP channels.
Copy the source and destination HLSD from the mx Routing display, see Entering a HLSD Address.
To create a disconnect, type DISCONNECT into the field for the Source HLSD.
To secure the operation, define an Enable Userbutton. Once defined, you will need to hold down Enable while
pressing the Connect user button in order to action the connects/disconnects.
Note that the Enable and Routing Connect user buttons are not multi-touch capable, therefore do not
assign them to a touch-screen.
20.3.21 Central User Button, Routing Toggle Connect

This function is similar to the Central User Button, Routing Connect function. But it provides source on and
source off states so that routes can toggle. Up to 16 connects/disconnects can be assigned to one user button.

20.3.22 Central User Button, Snap/Sequence
Maps a central user button to snapshot/cuelist commands.

20.3.23 Central User Button, Snapshot Load
This function allows you to load a specific snapshot from a single user button press. The snapshot can come
from any folder within the active production.
You can make the operation more secure by defining an Unlock user button. This means that the operator must
press and hold the Unlock button while pressing the Snapshot Load in order to recall the snapshot. You can
use any central user button to action the functions.
Note that the Unlock and Snapshot Load user buttons are not multi-touch capable, therefore do not assign
them to a touch-screen.
For each function, define the:

· Snapshot Folder – the name of the Folder where the snapshot is stored.
· Snapshot – the name of the Snapshot you wish to load.
· Userbutton Type, Panel Index, etc. – the user button which will action the Snapshot Load.
· Unlock Userbutton Type, Panel Index, etc. – the user button which will action the Unlock function.
If the Unlock user button is empty, then the Snapshot Load will action on a single press of the first user
button.

20.3.24 Central User Button, System Settings Page Functions

Maps a central user button to system options, allowing them to be changed ‘on the fly’.
Most of the options in this list come from the System Settings display:
Those which do not are:

· Snap Filter – mimic the Global Snapshot ISO buttons.
· LINK, Lock and Bank Layer Mode: Main Bay – mimic the front panel buttons of the same name.
· I/O DSP on Strip – changes the INPUT MIXER mode from SOURCE to INMIX.

20.3.25 Central User Button, Talkback to Access Channel
Maps a central user button to talkback switching.

This function is idential to the Fader User Button, Talkback to Channel, except that talkback is applied to the
channel in access.
Note that, from Version 5.8 onwards, you can also program a central user button to talk to a specific Aux, Sum
or Group channel. See Central User Button, Talkback to DSP Channel.

20.3.26 Central User Button, Talkback to DSP Channel
From Version 5.8 software, this function maps a central user button to talkback switching - for example, to talk
to a specific Aux, Group or Sum channel.
When active, talkback is routed from the talkback source onto one of 8 talkback busses. (These busses appear
in the Signal List display under the Input/Mon A + B -> Command Bus Source Directory. Note that when using
a 96 channel broadcast channel DSP configuraton, only one talkback bus is available).
The talkback bus then feeds the specified DSP channel: any Aux, Group or Sum.
You can also decide whether to dim the console monitoring when the talkback user button is active.
1. Define the Userbutton Index, Scribble and Color in the usual manner.
2. Enter the HLSD address for the talkback source into the Talkback In HLSD field. The easiest way is to
copy and paste the signal HLSD from the mx Routing display, see Entering a HLSD Address.
3. Define the channel Type and Index where the talkback will be applied - this can be any Aux, Group or
Sum.
4. Use the Talkback DIM (dB) field to enter the amount of dim applied to the console’s monitoring when
the user button is active.
5. Use Talkback Bus to select one of the 8 available talkback busses. This option is useful when
programming multiple TALK buttons, as you can have each user button working with a different talkback bus.

20.3.27 Channel Parameter to GPI Outputs
Maps a channel parameter to a GPI output.

The custom function defines the channel parameter, type and number, and then the HLSD, Mode and Time for
the GPI. Note that the GPI is triggered from the channel, and therefore will follow if the channel is assigned to a
different fader strip.
Channel parameters include:
· Fader Backstop – active when you pull back on the fader. Note that Fader Backstop must be turned
On in the System Settings display.
· Fader start – active whenever the fader is opened.
· Userbuttons 1 to n – active when the fader strip user buttons are turned on.
Note that fader start GPIs can also be programmed using the Fader Start, Source related or Fader Start,
Channel related custom functions (allowing multiple channels or sources to be assigned to each relay).

20.3.28 Channel Parameter to Matrix Connect
Maps a channel parameter to signal routing. For example, you could choose to disconnect certain routes, such
as a studio loudspeaker, when a channel fader is opened. Routes can be made to/from any source or
destination including DSP channels.
Channel parameters include:
· Fader Backstop – active when you pull back on the fader. Note that Fader Backstop must be turned
On in the System Settings display.
· Fader start – active whenever the fader is opened.
· Userbuttons 1 to n – active when the fader strip user buttons are turned on.
· Aux 29 to 32 On/Off – active when the channel Aux on/off button is turned on.
Up to 8 connects/disconnects can be assigned to one custom function.

20.3.29 Channel Parameter to MIDI Mapping
Maps a channel parameter to a MIDI Command. The channel parameters are identical to those available for
Channel Parameter to GPI outputs function.
For the MIDI command, define the:
· MIDI Interface:
o DESK – MIDI is connected to the MIDI IN/OUT sockets on the rear of the console.
o LAN 1 to 16 – MIDI is transmitted via the Lawo network; select the network client from 1 to 16.
· MIDI On/Off Commands – enter the hexadecimal address for the MIDI Command. For example:
From Version 5.6.0, MIDI strings can be up to 64 characters long.

20.3.30 Default coldstart DSP variation and GPCs
This function sets the DSP Configuration which will be loaded after a cold start.
Enter the number of DSP boards fitted, and the Variation No. which you wish to load.
Note that the Variation No. is NOT the Index number displayed on the DSP Configuration display.
To calculate the Variation No., open the DSP Configuration display, and sort the Configuration Presets
list by the number of Inputs, in descending order. Now count down from the top of the list to find the
Variation number.
Also note that there is no feedback from the system if the chosen variation is not available. If the DSP
configuration preset cannot be loaded, then you see that there is no active DSP configuration preset once the
system restarts.
The No of GPCs field has no function in the current release of software, and is reserved for future
implementation.
Although you can create multiple instances of this template, it is not recommended - the last one initialised
wins.

20.3.31 DSP Parameter to GPC Mapping
This function offers a new way to control and automate DSP parameters by assigning a DSP channel parameter
to a General Purpose Channel (GPC) control.
The GPC Control can be the Main fader or one of the GPC Auxes.
The DSP Channel Type can be any Input, Monitor, Group, Sum, Aux or Surround VCA channel.
The DSP Channel Parameter can be: Image Width or Position; Panning Left-Right or Front-Back; Slope;
Hyperpanning: Turn, Front and Back Width, Depth; EQ Gain for Bands 01, 02, 03, 04; Digiamp; Insert Send;
Direct Out, Delay or any Aux send level.
Each GPC control is assigned to a single DSP parameter, so if you wish to control more than one parameter at
a time, then do this by linking the GPCs. 256 GPCs are available.
By combining this function with the AFV to GPIO template, you can change DSP parameters from an Audio
Follow Video event.
For example, to adjust delay for wireless cameras automatically:

1. Create an AFV to GPIO custom function where all GPIOs from the wireless cameras OR combine to
trigger one AFV event.
2. Then use a DSP Parameter to GPC Mapping custom function to assign the Delay parameter of the
audio Group (mixing the wireless cameras) to a GPC.
3. Assign the AFV event to the General Purpose Channel.
Warning
Do NOT link GPCs which control the same DSP parameter in a contradictory manner, as the system may
react badly!

20.3.32 Fader Start, Channel related
Maps DSP channels to an external relay (GPI output) in order to create a fader start. Once the DSP channel is
assigned to a physical fader, the fader triggers the start. Up to 4 DSP channels can be assigned to each relay.
For each of the 4 channels, define the:
· Channel Type – input, monitor, group, sum, aux, surround VCA or GPC (General Purpose Channel).
· Channel Index – the channel number.
Scroll down the New Assignment window to define options for the relay output:
· Relay HLSD – this is the Lawo system address of the relay which will be triggered.
· Relay mode – static, pulse, etc.
· Relay Time – can be set for a pulsed relay.
· Consider Cut – has two states:
o Yes – if the channel mute is active, then the fader start will not trigger when the fader is opened.
o No – the fader start always triggers when the fader opens regardless of the channel mute status.
Note that the fader start is assigned to the DSP channel and not a physical fader. Therefore, if INP 1 is
reassigned to a different fader strip, the fader start follows.

20.3.33 Fader Start, Source related
Maps source signals to an external relay (GPI output) in order to create a fader start. Once the source is routed
to a DSP channel, and the channel assigned to a physical fader, the fader triggers the start.
Up to 4 sources can be assigned to each relay:
· Source HLSD – the Lawo system address of each source.
· (Start) Relay HLSD – the Lawo system address of the start relay which will be triggered.
· Stop Relay HLSD – the Lawo system address of the stop relay which will be triggered.
· Relay mode – static, pulse, etc.
· Relay Time – can be set for a pulsed relay.
· Consider Cut – has two states:
o Yes – if the channel mute is active, then the fader start will not trigger when the fader is opened.
o No – the fader start always triggers when the fader opens regardless of the channel mute status.
The last three options assign a user button which can be used to trigger the relays:
· Enable Userbutton Type – the panel type.
· Enable Userbutton Index – the panel number.
· Enable Userbutton Scribble – the text displayed if the user button has an accompanying scribble strip
display.
Note that the fader start is assigned to the source. Therefore, if the source is reassigned to a different DSP
channel, the fader start follows.

20.3.34 Fader User Button, Channel Aux On/Off
Maps a fader strip user button to the channel's aux send on/off.
· Userbutton Index – the user button number (1 to 16).
· Channel parameter – e.g. Aux 1 ON/OFF.
· Channel Button Color – select the color for the user button on state: red, yellow or green.

20.3.35 Fader User Button, Channel Functions
Maps a fader strip user button to a channel function such as:

· A/B input switching
· MS Decode
· Delay on/off
· EQ on/off
· Fader R/W (particularly useful for the mc 256 which has no dedicated R/W button.)
· Trim/Absolute
· etc.
· Userbutton Index – the user button number (1 to 16).
· Channel parameter – e.g. Delay ON/OFF.
· Channel Button Color – select the color for the user button on state: red, yellow or green.

20.3.36 Fader User Button, Cord/Conf
Maps fader strip user buttons to the CONF and CORD mix minus controls.
· Userbutton Number – 1 to 16.
· Lamp Color – select the color for the user button on state: red, yellow or green.
20.3.37 Fader User Button, Send/Return
Maps fader strip user buttons to the multitrack SEND and RETURN switching for monitor channels.

20.3.38 Fader User Button, Snap Iso
Maps a fader strip user button to the snapshot isolate function (SNAP ISO):
Define the:

20.3.39 Fader User Button, Source related to GPI Outputs
From Version 5.4 onwards, this function maps a fader strip user button on dedicated sources to a specific GPI
output. When the source is assigned to a fader strip, the operator can then easily trigger the GPO.
Up to four sources can trigger a single GPO. In each case, enter the HLSD address for each source and the
GPO. Then assign the Mode and Time for the GPO.

20.3.40 Fader User Button, Talkback to Channel
Maps a fader strip user button to talkback switching.

When active, talkback is routed from the talkback source onto one of 8 talkback busses. (These busses appear
in the Signal List display under the Input/Mon A + B -> Command Bus Source Directory. Note that when using
a 96 channel broadcast channel DSP configuraton, only one talkback bus is available).
The talkback bus can then feed the channel's N-1 bus (on input or monitor channels), the Group direct output
(on group channels) or the Sum direct output (on sum channels).
You can also decide whether to dim the console monitoring when the talkback user button is active.
1. Define the Userbutton Index and Userbutton Color in the usual manner.
2. Enter the HLSD address for the talkback source into the Talkback In HLSD field. The easiest way is to
copy and paste the signal HLSD from the mx Routing display, see Entering a HLSD Address.
3. Define whether the user button will activate talkback on input/monitor channels, group channels and/or
sums:
· Talk to N-1 = Yes – on an input or monitor channel, the user button routes talkback to the mix minus
bus assigned to the channel's source. This can be any aux or track bus as defined by the mix minus
configuration.
· Talk to GRP = Yes – on a group channel, the user button routes the talkback bus to the group's direct
out.
· Talk to SUM = Yes – on a sum channel, the user button routes the talkback bus to the sum's direct
out.
For example, if you set Talk to N-1 = Yes, and Talk to GRP/Talk to SUM = No, then the user button will only
activate talkback on fader strips assigned to input or monitor channels, and route talkback to the channel's N-
1 bus.
4. Use the Talkback DIM (dB) field to enter the amount of dim applied to the console’s monitoring when
the user button is active.
5. Use Talkback Bus to select one of the 8 available talkback busses. This option is useful when
programming multiple TALK buttons, as you can have each user button working with a different talkback bus.

20.3.41 GPI Input, Routing Connect
This function allows you to perform signal routing from a GPI Input. Up to 16 connects/disconnects can be
assigned to one input.

20.3.42 GPIO Input or Output, Channel Parameter
From Version 5.6.0, this function allows you to trigger channel parameters via GPIO.
Supported channel parameters are: Fader Mute, Delay On/Off, PFL On/Off, AFL On/Off, PFL2 On/Off and
AFL2 On/Off.
Select the Channel Type and Index you wish to trigger.
The GPIO HLSD field assigns the GPIO address.
20.3.43 Isolate SDI card parameters globally
SDI parameters are never stored by snapshots, but they are stored and recalled by productions. This function
can be used to isolate all SDI parameters so that settings are not affected by a production load.
This template should only be created once. If created several times, the last initialised one wins.

20.3.44 Snap Iso List
This function allows you to isolate sources or destinations to prevent them being reset by snapshots,
productions or the Signal List display.
Up to 48 signals can be defined within each Snap Iso List assignment; you can create multiple assignments to
isolate lots of signals.
Within each assignment, the Snap-iso Type can be:
· Permanent – signals are not reset by snapshots or productions, and cannot be adjusted from the
Signal List display.
· User – signals are not reset by snapshots, but will be reset by productions and can be adjusted
manually from the Signal List display.
For each Snap Iso List assignment, enter the HLSD (Lawo system address) of the signals you wish to isolate.

20.3.45 Static Connect
This function allows you to define a Static Connect by entering the HLSD (Lawo system address) for a Source
and a Destination.
A Static Connect is a routing crosspoint which will always be active. If it is disconnected by any means, for
example by the console operator or by an external controller, the crosspoint is automatically remade. You might
use this function to prevent vital crosspoints from being accidentally reset.
Note that having defined a Static Connect, the only way to change or disconnect the crosspoint is to delete the
Static Connect from the Custom Functions display.

20.3.46 System Parameter to GPI Outputs
Maps system parameters to GPI Outputs. Select the parameter – for example, PFL active – and then enter the
HLSD, Mode and Time for the GPO.

20.3.47 T-Connect
This function allows you to define a T-Connect by entering the HLSD (Lawo system address) for a Reference
output and a Destination output.
The Destination output always follows the Reference output. So, for example, if the source to the reference
output is Sum 3, the destination output source is also Sum 3. You might use this function if you have several
transmission feeds all requiring identical routing changes.

20.3.48 Test Tone Button
From V4.24 software onwards, this function activates and specifies the source used for tone to channel
switching. Once programmed, test tone is always active:
· Tone Source - select one of the drop-down options to specify either an internal tone generator source
(Sine 1, Sine 2, White Noise, Pink Noise), or User Input.
· User Source HLSD - if User Input is selected, enter the HLSD address for the source here.
The next two fields map a fader strip user button to the tone to channel button. This can be used to provide fast,
direct access to tone switching across the console.
From V5.0 software onwards, the next four fields map a central user button to turn off all tone to channel
selections. This allows you to switch off tone to all channels, globally, from a single button push.

20.4 Command Triggers

From Version 5.10.2, Command Triggers can be used to execute a command or series of commands from a
trigger. Triggers and commands can include channel parameters, load events or remote events such as GPIOs
and MIDI messages. For example, to open or close a channel level from a GPI input. Or, issue a MIDI Note On
message from a specific channel level threshold.
Multiple triggers can be stored in each production. Note that only one set of triggers are ever stored (there is no
folder structure).
Command triggers are written onto the user data flash card when you save or update a production.
20.4.1 The Command Triggers Display

The Command Triggers display is used to program command triggers.
1. Open the display in the usual manner:
On the left you will see all the Triggers which have been defined. In our example, we have three triggers.
On the right you will see the details of the selected Trigger and its Commands. In our example, a MIDI Note
On Messsage will be executed when the Main Level of INP 1 rises above 0dB.

20.4.2 Programming a Trigger

To prepare a simple trigger:
1. Click on New to create a new "empty" trigger - an entry is added to the Triggers list (on the left of the
display):
2. Click on the drop-down Trigger menu to assign the input trigger. The system supports a wide variety of
input triggers, and so you will see the following categories:
· Load Events - such as a snapshot load.
· Remote Events - such as a GPI, incoming timecode position passed or MIDI message.
3. Select a category (e.g. Channel Parameters), an input trigger (e.g. Main Level Above) and then
define its parameters.
For example, the trigger below will become active when the Main Level of INP 1 rises above 0dB:

Next define the Commands which will be executed when the trigger becomes active:
4. Click on New to open the "Choose Command" window:
5. To assign a single command, select New Command. (Alternatively, you can use New Group to
create a group of commands, or Cache to select commands previously stored to the cache. Note that these
functions operate in an identical manner to the Cuelist group and cache functions, and therefore are not
explained separately here.)
When you select New Command, you will see the following categories:
· Load Events - such as a channel preset, snapshot, iso set, oversnap or fade snapshot.
· Global Operations - such as clearing all iso sets.
· Remote Events - such as a GPO or MIDI message.
6. Select a cateogory (e.g. Channel Parameters), a command (e.g. Set Channel Cut) and then define
its parameters.
In our example below, the Channel Cut for INP 2 will become active:

7. Repeat steps 5 and 6 if you wish to execute more commands.

8. Having prepared the input Trigger AND all your Commands, click on Update - this will write all the
assignments into the selected Trigger (on the left of the display), and you will see its Name and Description
update accordingly:
Note that you MUST perform this step to save your assignments.
9. Then either update (or save) the production:
You can now repeat steps 1 to 8 to create more triggers as you wish.
Note that you MUST perform steps 8 and 9 in order to save any changes, as Command Triggers are only
written onto the user data flashcard when you update (or save) a production.

20.4.3 Managing Commands

If you have assigned several commands to a trigger, then they can be managed as follows:
1. To remove a command, select it (from the Commands list), and click on Remove.
Note that you can select multiple commands and remove them in one operation by using the select tick boxes.
However, there is no level of confirmation, and so you should use this feature with caution!
2. To test the function of a command, select it and click on Test - the command will be executed.
3. To change the function of a command, select it and click on Edit - the Choose Command window
appears, allowing you to assign a different command.
4. To change the order of commands, select the entry you wish to move. Then click on either the Up or
Down button to move the selected command up or down the list.
Note that, depending on the type of command, the order can be important. For example, if a specific channel
parameter is placed after a load snapshot, then this may be reset by the values stored in the snapshot!
5. To delay the start of a command, enter a value into the PreRoll field (in seconds).
6. To create a group of commands, select multiple events using the select tickboxes (as shown above),
and click on Group. Note that this function works in an identical manner to the Cuelist Output Event
grouping. See Using Groups for details.

20.4.4 Managing Triggers

All the Triggers which have been created are listed on the left of the display:
Note that Triggers cannot be renamed, as the Name field show the system name (e.g. Main Level Above,
General Purpose Input Changed, etc.).
Use the buttons at the bottom of this area to:
· New - adds a new "empty" trigger.
· Update - overwrites the selected trigger with the contents of the Trigger and Commands areas.
· Delete - deletes the selected trigger.

20.5 The Extra Buttons Display

The Extra Buttons display contains touch-screen functions which you can only need from time to time.
There are several ways to access the display:
1. From the Page menu – select Pages -> Extra Buttons.
2. From the Central GUI - select X-TRA from the side panel buttons on the right of display, or select X-
TRA BUTTONS (above METERING) on the Main display:
3. From a CENTRAL USER BUTTON.
Extra Buttons display
Each function is described in detail elsewhere in this manual, so please follow the links for full details:
· Meter – selects the meter pick-up point for the channel in access.
· Delay MODE – cycles the delay mode for the channel in access between milliseconds, frames and
meters.
· Channel REC and ALL – global send/return switching for monitor channels.
· Lock ACC - protects the channel in access.
· Lock ASN - locks the STRIP ASSIGNMENT and BUS ASSIGNMENT buttons.
· Link – used to create link groups and coupling.
· Module Iso – these buttons allow you to isolate different channel modules from a snapshot recall.
· Strip Control/View FC – sets whether the Free Control displays on the fader strips show the control
functions (e.g. Aux 5), values (e.g. +4dB) or follow the touch-sense (control/value).
· Aux 1-8 – changes the aux send pickup point. Eight aux sends are displayed at a time, and follow the
front panel AUX 1..8, AUX 9..16, AUX 17..24 and AUX 25..32 buttons.
Note that, in Version 5.8 software, the Image style, Pan Flat and EQ type buttons have been removed from the
Extra Buttons page (to simplify the display). These functions can be selected from the relevant areas of the
Main Display.

21. mxGUI
21. mxGUI
This chapter describes how to install and operate mxGUI.
Topics include:
· Introduction
· Prerequisites
· Installation Procedure
· Getting Started
· Online Operation
· Offline Setup
· The File Transfer Display
· The Strip Assign Display
· The Access/Assign Window
· mxUpdater

21. mxGUI
21.1 Introduction
mxGUI (Matrix GUI) is a software program which runs on an external computer to provide offline setup or remote
operation of any mc 2 or Nova system:
· Offline Setup - productions, snapshots, cuelists, mixes and presets can be prepared and stored on the
mxGUI computer, and then transferred to the system at a later date; thus saving valuable setup time
before a show.
· Remote Operation - mxGUI can run online by connecting the mxGUI computer to the mc 2/Nova control
system (via Ethernet). This provides additional screen displays or remote operation for a second
engineer.
mxGUI works by running an emulation of the mc 2/Nova control system on a virtual Linux machine inside your
host operating system. This means that when you first start mxGUI, the computer first boots the virtual machine
(provided by VirtualBox), and then launches mxGUI.
At the launch window, you can select any mc 2 or Nova emulation; the correct SCREEN CONTROL displays for
your system will then open. This enables the creation of a complete production offline, including signal routing,
labels, fader strip assignments, processing settings, snapshots, cuelists, etc. Note that if you are running in
Nova73 or Nova37 mode, then only the relevant pages are accessible.
mxGUI Launch Window mxGUI emulating a 24-fader mc2 36
Note that the options available from the mxGUI launch window can be edited when you install the software, see
Editing the Product Options.
From the launch window you can also start Utility Programs such as mxUpdater or the CFCard Creator.
mxUpdater is described later. For details on creating CF Cards, please refer to your Technical Manual.

21. mxGUI
21.2 Prerequisites
Please check the following before installing mxGUI:
Compatibility
mxGUI can connect to any mc 2 or Nova system running Version 4.6 software or later.
It is mandatory that the system software version matches that of mxGUI to ensure proper functionality. All Lawo
products use a consistent software release numbering system to indicate compatibility. In each case, the first
three digits of the software versions must match.
So, for example, to connect to a system running 5.14.0.0, you will need to run mxGUI 5.14.0.x.
You can check your system's software version from the "Global Options" in the System Settings display,
and the mxGUI version from the ? main menu.
Host Computer System Requirements

To install and run mxGUI, your computer MUST meet or exceed the following system requirements:
Windows PC:
· Hardware: 1.5 GHz (required for VirtualBox).
· Operating System: Windows 7, 8, 8.1 or 10 (32-bit and 64-bit)
· RAM: 2GB.
· Hard Disc: minimum 200 MB free space.
· Operation: Keyboard and mouse.
· Interface: Ethernet 10/100Mbit.
MAC:
· Hardware: 1.5 GHz (required for VirtualBox).
· Operating System: MAC OS X 10.6 (Snow Leopard) or higher.
· RAM: 2GB.
· Hard Disc: minimum 200 MB free space.
· Operation: Keyboard and mouse.
· Interface: Ethernet 10/100Mbit.

21. mxGUI
21.3 Installation
To install mxGUI, you will need a pre-installed VirtualBox (version 4.3.18 or later) and the correct mxGUI-X-X-
X.ova file.
VirtualBox (from Oracle) is free to download from www.virtualbox.org. Please download and run the correct
installer for your Operating System. Then follow the on-screen instructions. During the installation process, you
can choose to create a desktop icon for the Oracle VM VirtualBox Manager - this will make it easier to open
the VirtualBox Manager later (required for configuration).
Lawo’s mxGUI is freely available from the Downloads area at www.lawo.com (after Login). From release
5.2.0.x, there is one mxGUI installation file (.ova) for all Operating Systems (Windows, Mac, etc.) The .ova file
creates a virtual machine appliance which runs within VirtualBox. From release 5.2.0.x onwards, you can
install multiple versions of mxGUI without having to delete your older version.
Note that for Version 5.14.0.x, there is a separate mxGUI release for the mc 266 MKII. This should be installed
separately using the dedicated mxGUI-5-14-0-X_mc66.ova file. You can install both the generic and mc 266
appliances on the same computer. Then choose the correct appliance to start the software.
Once you have installed VirtualBox, proceed as follows:
1. Double-click on the mxGUI-x-x-x-x.ova file - the Oracle VM VirtualBox Manager automatically
opens along with the "Import Virtual Appliance' window and its suggested settings:
2. Select Import to import the new mxGUI appliance - the process can take a few seconds:

21. mxGUI
Once complete, mxGUI-x-x-x-x is added to the list of virtual machines (on the left of the display). Click on the
machine to show the Details of its settings. If you have more than one mxGUI listed (due to an older
installation), take care to select the correct version:
3. At this stage, it is a good idea to configure the Shared Folders and the Host-only Network Adaptor if
required.
Note that if you have been running mxGUI V5.6 (or older), then you must create new Shared Folders, otherwise
the Virtual Machine will crash.
If not, you can continue as follows.

21. mxGUI
4. Right-click on the mxGUI-x-x-x-x virtual machine and select Create Shortcut on Desktop to add an
alias to your desktop (to quickly start mxGUI):
5. Now close the Oracle VM VirtualBox Manager, and start mxGUI x.x.x.x from the desktop icon.
If you need to re-open the VirtualBox Manager, then you will find it in your list of programs (or Applications).

21. mxGUI
21.3.1 Shared Folders

From release 5-2-0-0, mxGUI supports two new Shared Folders: mxgui_user_share and
mxgui_config_share.
The mxgui_user_share folder appears in both mxGUI and your host operating system. You will need this folder
if you wish to copy settings from mxGUI to your computer (e.g. onto USB, email, etc.) or vice versa. The folder
is identical to the "mxgui_shares -> shared folder" in previous mxGUI releases.
The mxgui_config_share folder stores the complete “Local Control System” for the mxGUI computer including
the system configuration (i.e. the hardware definition, Signal List, etc.) From release 5-2-0-0 onwards, you can
use this folder to share the same configuration data between different mxGUI versions. The folder is identical to
the "mxgui_shares -> config" folder in previous mxGUI releases.
In order to access the folders from within mxGUI, you must define their file paths in the Oracle VM VirtualBox
Manager.
1. If this a new mxGUI installation, then first create two folders in your Operating System, named
mxgui_config_share and mxgui_user_share - you can choose any location on your computer, but the file
paths must define the actual folder locations and not a short cut. For example:
2. Now open the Oracle VM VirtualBox Manager and select the correct mxGUI virtual machine from the
list on the left.
The mxGUI virtual machine must be powered off in order to create the folder links. If the machine is shown
as "Powered On", then close mxGUI before continuing to the next step.
3. Click on Shared folders (in the Details area) to open the Shared Folder Settings:

21. mxGUI
4. Select the + icon (add new shared folder) to define a new folder location - click in the Folder Name
field, choose Other:
5. Then select the mxgui_config_share folder which you created in step 1, and click OK twice:
6. Repeat steps 4 and 5 to define the file path for the mxgui_user_share folder - when complete you
should have two Shared Folder entries:
7. Select OK to confirm the changes.

If you now close the Oracle VM VirtualBox Manager, and start mxGUI, you will be able to access the
contents of the mxgui_user_share folder via the Productions -> File Transfer display.
In addition, all data stored by mxGUI on its "Local Control System" is saved into the mxgui_config_share
folder.
To share either folder with another version of mxGUI, repeat steps 2 to 7 to assign the same folder to the
alternate mxGUI release.

21. mxGUI
21.3.2 Host-only Network Adaptor

From release 5-2-0-0, if you wish to make an external connection to mxGUI from another application (such as
AdminHD or Telnet), then you will need to add a "host-only" network adaptor as follows:
1. Open the Oracle VM VirtualBox Manager and select the correct mxGUI virtual machine from the list
on the left.
2. Click on Network (in the Details area) to open the Network Adaptor Settings:
3. Leave the Adaptor 1 settings untouched, and select the Adaptor 2 tab - tick the Enable box, and then
choose the following option from the drop-down menus. Note that the naming varies between Windows and
OSX/Linux:
Windows: OSX or Linux:
4. Select OK to confirm the changes.

If you now close the Oracle VM VirtualBox Manager, and start mxGUI, you will be able to open a remote
connection to mxGUI using its default IP address: 192.168.56.101

21. mxGUI
21.3.3 BIOS Setup (for Windows PC)

In order for mxGUI to start correctly (when running on a host PC), virtualization must be activated in the PC's
BIOS system.
1. Consult your computer's documentation for details on how to enter the BIOS setup.
2. Then look for the Virtualization option and set it to Enabled. The screenshots below show two example
systems:
3. Remember to save any changes and then exit the BIOS.

4. Now restart the PC and then start mxGUI.
21.3.4 Editing the Product Options (.tcl)

The product options which appear in the mxGUI launch window can be edited so that users will only see options
relevant to their network - for example, only a specific mc 2 console.
The options are read from the "product_options.tcl" file located in the "mxGUI_config_share" folder. Therefore, to
reduce the options from a standard install, edit and save the file (as shown below), and then restart mxGUI. You
can use any suitable "tcl" file editor to edit the file.
Default File Location

21. mxGUI
"product_options.tcl" after a standard install
"product_options.tcl" - edited to remove all options except mc2 36
Make sure that you add the live entries after the # HEADER END. The correct syntax for each product can be
found in the "product_unified.tcl" file:

21. mxGUI
21.4 Getting Started

This section looks at opening and closing mxGUI, and its basic operating principles.

21. mxGUI
21.4.1 Starting mxGUI

mxGUI runs on a virtual Linux machine inside your host operating system. Therefore, when you first start
mxGUI, the system boots the virtual machine (provided by VirtualBox) and then launches the application:
1. Click on the mxGUI-VX-X-X.x desktop icon to start the whole procedure:
This automatically launches the Oracle VM VirtualBox and the virtual machine starts to boot. Note that the
boot-up process can take some time - the progress is indicated in the horizontal bar at the bottom of the
VirtualBox window:
During the first boot-up, VirtualBox presents some messages and options. Note that these vary depending on
your host OS, and will not appear if they have already been suppressed for future startups. The examples below
are from a computer running Windows 7:
· If the following (or similar) messages appear, then please check the option to suppress each message
on future startups, and click X to close each message. The messages are related to the interaction
between your computer's KVM interface and VirtualBox.

21. mxGUI
· When the following pop-up appears, click Do not show this message again (to suppress the pop-up
on future startups) and select Switch - mxGUI will now be viewed in Seamless mode (recommended):
Note that you can choose different VirtualBox viewing modes: Fullscreen,
Seamless, Scaled or normal. To change the mode, press Host + L (as
instructed above) and select an option from the View menu. Either Fullscreen
or Seamless view are recommended as these will scale the mxGUI operating
window to fit your display - Fullscreen uses the full screen available; Seamless
view allows you to scale the mxGUI operating window to fit alongside other
applications.
Once the virtual machine has booted, you will see the mxGUI product launch window:
Click on the arrows to open the Mixing Console or Router options, and select the system you wish to emulate
(see next page).
Alternatively, you can start one of the following Utility Programs:
· CFCard Creator - used to create backup CFCards for the mc 2/Nova control system.
· mxUpdater - used to update the system software version (available from Version 5.8.2 onwards).

21. mxGUI
When emulating a system, it is important to select the correct option for the system you wish to connect to, as
this ensures that only the features relevant to your product are available in the mxGUI displays. In the current
release, the options are:
Mixing Consoles
· mc2 36 -> 16, 24 or 40 Faders
· mc2 56 MK2
· mc2 96
· mc2 Micro Core
Routers:
· Nova37
· Nova73 HD
Note that for Version 5.14.0.x, there is a separate mxGUI release for the mc 266. Therefore, to open an emulation
for a mc266 MK2 console, you will need to install and then open this appliance as described earlier.
2. Select a system and click Start - the program loads its warm start data (the settings saved when
mxGUI was last shutdown), and is ready to use once you see the mxGUI operating window:
If mxGUI fails to start correctly on a host PC, then please check that virtualization is active. See BIOS Setup (for
Windows PC).

21. mxGUI
21.4.2 Closing mxGUI

To close mxGUI:
1. Either select Application -> Quit from the main menu bar, or click on the close icon at the top right of
the display:
Either operation quits mxGUI and exits back to the launch options. You can now re-launch mxGUI by selecting
a product target.
When running offline, the latest settings are saved to the local control system's warm start data.
2. To close the virtual machine completely, click on the close icon at the top right of the "select target"
window:
The VirtualBox window opens briefly while the virtual machine closes down. To re-start mxGUI (and the virtual
machine), click on its desktop icon.

21. mxGUI
21.4.3 Online/Offline Status

The first time you start mxGUI, it opens in offline mode. (Once configured, you can use the Reconnect option to
automatically start in online mode.) The online/offline status can be interrogated by hovering over the connection
icon at the bottom right of the display:
Offline
When offline, mxGUI is connected to the “local host”. This means that data is being saved and loaded to/from
the “Local Control System”, i.e. on your computer.
If this is the first time you have started mxGUI, then your Signal List, Productions, Snapshots, etc. will bear
no resemblance to the displays on your system. This is because your “Local Control System” is running from a
default configuration.
The best solution is to transfer the complete configuration (and some productions) from your system to the
mxgui computer.
If you don’t have access to a system, and want to play around with the mxGUI interface, you can build a simple
production using the default configuration installed by the mxGUI installer.
The default mxgui configuration is very basic, and provides limited tools for offline setup (as elements such
as signals will not match those of your system).
Online
When mxGUI operates online, the connection icon shows the IP address of the connected host - in our
example, an mc 266 with an IP address = 192.168.102.65:
Any changes you make immediately affect the online system, and all data is saved and loaded to/from the host
control system.

21. mxGUI
21.4.4 Operating Principles

The mxGUI operating window is virtually identical to the Central GUI on an mc 2 console, except for some
additional menus, the name of the emulation and a "close" button (to close the current emulation).
mxGUI Menus
The main menus at the top of the window
· Page - opens the drop-down page menu (see Changing the GUI Display).
· Window -> Access/Assign - opens the 'Access/Assign' pop-up window. This mimics the console’s
ACCESS/ASSIGN control panel.
· Settings -> Connection - opens the 'Connection' pop-up window. This is used to connect to a real
system in order to work online.
· Application -> Quit – closes the mxGUI application.
· ? -> Info – shows the mxGUI release and system software versions, plus the Lawo support contact
details.
Changing the GUI Display

Click on the drop-down Page menu to access the same SCREEN CONTROL displays as on your mc 2 system:
Signal List, Signal Settings, etc:
Or, press the "Hot Key" combination (e.g. Ctrl + 1) for faster access; each press will cycle through all the
596/686
available pages. Version: 5.16.0/DRAFT1 mc²56 MKIII Operators Manual
You will find two displays which appear only within mxGUI (and not on the console):
21. mxGUI
Adjusting Settings
Using the mouse and keyboard on your computer, you can:
· Left-click to enable a button or option.
· Right-click to reveal the context menu (if applicable).
· Left-click on a text field to edit a name.
· Click on the up/down arrows beside a parameter, or use the keyboard up/down arrow keys, to adjust the
value.
You can use the mouse wheel (if you have one) to adjust a parameter value, or scroll up/down a list, once it
is in focus.
Keyboard Shortcuts
You can also use any of the Keyboard Shortcuts to speed up the page navigation and editing of parameters.

21. mxGUI
21.5 Online Operation

When operating online, the mxGUI computer talks to a real mc 2/Nova system via its control system port. In this
mode, mxGUI is simply acting as a remote control. You will see the same Signal List, Productions list, etc. as
on the mc 2 system, and all data (productions, presets, configuration, etc.) is being saved and loaded to/from the
host control system.
21.5.1 Network Connection

The mxGUI computer must connect to the mc 2/Nova control system. Connections are made via TCP/IP Ethernet.
Connection to Control System (via network switch)
In the example above, we are connecting to a mc 296 and, therefore, the ETHERNET B port on the Nova73 Router
Module (MKII) should be used. To check the connector location when using other products, see Control System
Locations.
A single mxGUI computer can connect directly. However, it is more common to install a network switch.
Depending on the number of network connections, one mc 2/Nova system can support up to 16 clients.
WARNING: You must use a network switch and NOT a hub, and keep the Lawo network separate from other
network traffic within the installation. The switch should support 1GB for best performance.
For more information on installing a suitable network switch, please contact your local Lawo representative or
email support@lawo.com.
Cable Specifications
· CAT 5 or better (CAT 5e/6/7); straight (1:1) or crossed Ethernet cable.
· Connector Type: RJ45.
· 1000, 100 and 10 Base-TX LAN speeds are supported; 1000 Base-TX (Gigabit Ethernet) is
recommended.
· Cable Length: up to 100m.
Connecting via a Network Switch (recommended)

1. Connect the mxGUI computer's network interface to the network switch.
2. If not already installed, connect the ETHERNET B port from the first Router Module (980/33) to the
network switch.
If a redundant Router Module is installed, run a second ETHERNET B connection as shown above. This will
ensure continued access to the control system should a takeover occur.

21. mxGUI
Direct Connection
1. Connect the mxGUI computer's network interface directly to the ETHERNET B port on the active Router
Module (980/33).
If the system switches to the alternate Router Module, then will need to re-connect your device manually.
21.5.2 TCP/IP Configuration

To establish communication, you will need to configure the TCP/IP settings of the computer's Network Interface
Card.
IP Address
The IP address must be unique, and lie within the same IP address range as that of the mc 2/Nova control
system (i.e. the first three fields must match).
For example, if the Lawo control system's IP address = 192.168.102.56, then set your computer's IP address to
192.168.102.101.
You can check the Lawo system IP address from the Central GUI: open the System Settings display and
select Global - the IP Address Primary = the main control system IP address.
For a list of the default IP addresses for all products, see Default TCP/IP Settings.
Subnet Mask
The Subnet Mask must match that of the mc 2/Nova control system. In all Lawo systems, the default Subnet
Mask = 255.255.255.0.
Default Gateway
A Default Gateway setting is required if data packets are to be redirected. For example, if you are connecting via
a network switch with Layer 3 routing capability. If redirection is not required, then the Default Gateway can be
left blank.
If you are connecting via a wider network, please ask your network administrator for further assistance.
Check the IP settings carefully. If there is an IP conflict, then the network will not operate correctly.
Testing the Connection

The simplest way to check the connection is to open the Web Browser Interface as follows: open your browser
software and enter the IP address of the Lawo system into the URL field - the System Overview page should
appear. If not, try the trouble-shooting tips.

21. mxGUI
21.5.3 Opening a Connection to a System

1. Start mxGUI, making sure that you open the correct emulation.
2. Select Settings -> Connection from the mxGUI main menus:
The 'Connection' pop-up window appears:
If this is the first time you have used the 'Connection' window, then it will be blank. (This window lists all the
systems which mxGUI can connect to, each with a Name, Primary IP address (main control system),
Secondary IP address (redundant control system) and connection Status).

21. mxGUI
3. Click on New to create a new generic connection:
4. Then click on the name - e.g. New host 1 - to enter a name for this system. For example, we have
chosen Studio 1 (mc296).
5. Enter the IP address of the control system into the Primary IP and Secondary IP fields. In each case,
type in the address and then press ENTER to confirm.
If there is no redundant control system, then you should enter the same IP address into both fields.
If there is a redundant control system, then enter the main and redundant control systems IP addresses into the
Primary and Secondary fields. Note that the IP address of a redundant control system is always one digit higher
than that of the main control system.
IP Addresses (for non-redundant system) IP Addresses (for redundant system)
The connection is now prepared and you are ready to go online.

You can prepare several connections for different systems if you wish. Our example below shows three different
mc 2 connections, all currently offline:

21. mxGUI
6. To connect to one of the systems in the list, right-click on its entry and select Connect:
The mxGUI computer will now attempt to connect to the selected system:
If the connection is successful, then the Status column updates to show the “plugged in” icon.
If the connection fails, then the Status remains as “unplugged”:
· Check the network connection and TCP/IP settings of your computer's network interface card.
· Check that mxGUI is compatible with the mc 2 or Nova system (the first three digits of the software
versions must match.)
· See also the trouble-shooting tips to resolve the problem.
7. If you wish mxGUI to automatically reconnect if the system loses its online status, then tick
Reconnect. mxGUI will also start up in online mode if a valid network connection is present.
8. Once you have a valid connection, you can minimise the Connection window.
Hover over the connection icon, at the bottom right of all mxGUI displays, to view the IP address of the
connected host:
You can now use the mxGUI displays to view or change settings on the online system.
Any changes you make are actioned immediately, and all data is saved and loaded to/from the host control
system. So, make sure any other operators are aware that you are online!
21.5.4 Disconnecting mxGUI

To disconnect mxGUI from the system:
1. Maximise or open the Settings -> Connection window.
2. Select the online system, right-click and choose Disconnect.
mxGUI disconnects and the Status of the Connection returns to is “unplugged” state:
mxGUI can connect to one system at a time. Therefore, if you connect to a different mc 2 or Nova system,
any existing connection is automatically canceled.

21. mxGUI
21.6 Offline Setup

When running offline, mxGUI runs an emulation of the mc 2/Nova control system. All data is saved and loaded
to/from your computer (known as the “Local Control System”).
Settings are prepared offline by saving productions from the Productions display, presets from the Main display,
etc. These files are then transferred back to the mc 2/Nova either by copying to USB (via the Shared Folder), or
going online and using the File Transfer display.
21.6.1 Files & Compatibility
What can be Prepared Offline?

Anything which can be saved on a real system can be saved offline onto the mxGUI local control system:
· Productions, Snapshots, Cuelists and Mixes - as saved from the Productions, Snapshots, Cuelists
and Mixes displays.
· Presets – module or channel presets as saved from the Main display.
· Custom Function Assignments – the mapping of user buttons and other custom function assignments
as defined in the Custom Functions display.
When mxGUI is started in one of the Nova modes, presets, cuelists and mixes are not accessible (as these
features are not supported by a stand-alone routing matrix).
Compatibility
· Productions can be loaded on any mc 2 or Nova system. However, only transferable elements will load.
For example, you can recall a snapshot created on one console to another providing you are using the
same channel type. However, inputs and outputs are specific to the system, so signal routing will not
load unless supported by an identical Core and Signal List Configuration.
· Presets can be loaded to any mc 2 console regardless of the configuration or mc 2 mode.
· Custom Function Assignments – these files are specific to the function. This means that you can
transfer a custom assignment file created on mxGUI to any console or Nova router; if the receiving
system does not support the same User Panel or HLSD, the custom assignment can be edited from the
When preparing a production, it is important that the local control system configuration, on your mxGUI
computer, matches that of your actual system. This ensures that any productions you create will load in full
when they are transferred back to the mc 2 or Nova. See Synchronising the Configuration.
See Transferring User Data for more information on exchanging data within a production (e.g. snapshots).

21. mxGUI
Where are the Files Stored?

The File Transfer display provides access to user data stored on the Local
Control System:
· Active production – this can be opened to access individual
snapshot folders, snapshots and automation mixes (mc 2 consoles
only).
· Productions – contains all zipped productions; these can be
transferred as a complete file.
· Presets – contains all module and channel presets (mc 2 consoles
only).
· Configuration – contains the configuration data (see below).
Configuration Data
The complete configuration set contains four individual component files:
· Core Configuration – defines the Nova/IO system and its signal parameters (config.tcl).
· Signal List Configuration – defines the Directories, Subdirectories, Names and Labels of the Signal
List display (gui_config.tcl).
· Custom Template Instances – store the contents of the Custom Functions display.
The first two files cannot be edited by mxGUI and are included for service/AdminHD access.
For simplicity, the complete configuration can be zipped and transferred as a single file - called the
complete_config.
21.6.2 Organising Your Files

If you are going to prepare settings for a range of different systems, then it is a good idea to organise your files
carefully before you start working with mxGUI.
1. Use the File Transfer display to create a separate folder, inside the Shared Folder, for each mc 2 or
Nova system.
2. Then within each studio's folder, create a sub folder for productions, custom functions, etc:
This will allow you to keep all the relevant files together for each studio’s configuration: Productions, Custom
Function Assignments and configuration (complete_config).
In the example above, a separate Presets folder has been created to store module or channel presets. Because
presets can be recalled on any mc 2 console, this is a top level folder and is not system specific.

21. mxGUI
21.6.3 Synchronising the Configuration

In order to prepare a production offline, it is important that the local control system configuration, on your mxGUI
computer, matches that of your mc²56. If not, some parts of the production, such as signal routing, will not load
correctly, see File Compatibility.
The best solution is to transfer the complete configuration from your mc²56 to the mxGUI computer.
You only need to perform this operation once (providing there are no changes to your system configuration).
For a fail safe approach, it is best to perform this operation in two stages using the mxGUI Shared Folder:
· Step 1 - Go online, and transfer the complete_config from the mc²56 to the Shared Folder. This
places a copy of the system configuration on your computer. (If you do not have online access, then
request a copy of the "complete_config" file from your system administrator, and copy this into the
Shared Folder using your host operating system, see Shared Folder.)
· Step 2 - Disconnect (go offline) and transfer the copied complete_config from the Shared Folder to
the local control system. Then cold start mxGUI, and it will boot-up using the new configuration data.
WARNING: While it is possible to transfer the complete_config from the Remote to the local control
system in one step, this is NOT recommended. IF you transfer in the wrong direction, then you will
overwrite the configuration data on your mc²56!
Step 1. Transfer the complete_config to the Shared Folder

1. Connect your mxGUI computer to the remote system, and configure its TCP/IP settings.
2. Open an online connection.
3. Open the File Transfer display.
4. Select a location within the Shared Folder (on the left) as your destination - in our example, the sub
folder Studio 1 (66).
5. Then right-click on the console’s Configuration directory (on the right) and choose Transfer:
All the configuration files are zipped and transferred to the mxGUI Shared Folder as a single file -
complete_config.
While online, it is a good idea to transfer some productions from the online system (on the right) to the
mxGUI computer (on the left). You can then load a production later, rather than having to build your offline
setup from scratch.

21. mxGUI
Step 2. Change the mxGUI Configuration

1. Disconnect mxGUI from the online system.
2. From the File Transfer display, select the local control system’s Configuration folder (on the left).
3. Locate the complete_config file you transferred earlier (on the right), right-click and choose Transfer:
A pop-up appears warning you that OK will overwrite the configuration of the mxGUI local control system:
4. Select OK to continue - the configuration is transferred.

21. mxGUI
You now need to cold start mxGUI before the new configuration data takes effect. To do this:
1. Select the System -> System Settings display.
2. And select the Global topic.
3. Enable the Prepare Coldstart option:
This prepares mxGUI so that on the next restart it will perform a cold start rather than warm starting from the
current configuration.
4. Close mxGUI, by selecting Application -> Quit.
5. Then restart the program from the launch options:
After the restart, you will be running the new configuration.

You can check this by looking at the Directories and Subdirectories within the Signal List and/or the Nova
configuration in the Signal Settings display.

21. mxGUI
21.6.4 Preparing & Saving Settings

You can now begin your offline setup:
Productions
1. If you transferred some productions from the online system, then copy these into the Productions
folder of the local control system using the File Transfer display:
2. Load a production from the Productions display. This provides a great starting point for your offline
setup.
3. Now make changes, and save your settings either by saving or updating the production.
You can use the Strip Assign display, and Access/Assign pop-up window to perform tasks which normally
use the console front panel - for example, changing the channel in access, assigning channels to fader
strips, etc.
Presets
Module or channel presets are saved in the usual manner from the Main display.
To modify an existing preset, copy it into the Presets folder of the local control system.
Custom Functions
Custom Functions can be programmed in the usual manner from the Custom Functions display.
To modify an existing function, copy it into the Custom Template Instances folder of the local control system.
Other Data
You can also save snapshots and mixes from mxGUI, and access these individual files from the Active
Production folder of the local control system.
Remember to save or update the production to save the snapshot or mix permanently onto the local control
system. If not, your snapshots and mixes are only held in temporary memory.

21. mxGUI
21.6.5 Transferring Data Back to the System

Having prepared a file, it can be transferred back to the mc²56 either by copying to USB (via the Shared Folder),
or going online and using the File Transfer display.
For example, to transfer a production via the File Transfer display:
1. Connect your mxGUI computer to the remote system, and configure its TCP/IP settings.
2. Open an online connection.
3. Open the File Transfer display.
4. Select the online system’s Productions folder as the destination (on the right).
5. Then on the left, right-click on the production you wish to import and choose Transfer - the production
is copied to the online control system.
6. Now go to the console and load the production - your setup is recalled!
You can transfer any type of file: productions, snapshots, automation, presets, and custom function
assignments to the online control system.
A production created offline will only load completely if:

· The configuration running on mxGUI matches that of the online system.
· mxGUI is running the correct mc 2/Nova emulation.
Good Housekeeping
Having completed a transfer, it is a good idea to keep a copy of the production in the mxGUI Shared Folder.
This ensures that you keep a backup of everything needed for this offline setup: the complete_config,
production, etc:
Note that when you change the mxGUI configuration, all other folders – Active production, Productions and
Presets – remain intact. This means that you can end up with a mixture of productions from different systems
on the same mxGUI local control system.
We recommend keeping a backup of all files within the Shared Folder. Create a sub folder for each mc 2 and
Nova system so that you can store all configuration data and productions together. This way you will know
which productions match which configuration in a few weeks time! See Organising Your Files.

21. mxGUI
21.7 The File Transfer Display

The File Transfer display allows you to transfer Productions, Presets and Configuration files between the local
control system (your mxGUI computer) and an online control system (mc 2 console, Micro Core or Nova router).
You might use this display to:
· Transfer configuration data to mxGUI.
· Transfer productions, snapshots, presets, custom function files to/from an mc 2/Nova system.
· Transfer files to/from the Shared Folder so that files can be accessed by your host operating system.
1. Select Page -> Production -> File Transfer to open the display:

· Local Control System - on the left you are always viewing files or directories on the mxGUI computer.
· Online Control System - on the right you can view files or directories on any online system plus the
shared folder (host operating system shared folder).
Note that the Shared Folder (Host OS) is represented on both sides of the display so that it can accept files
from the local control system (your offline mxGUI) or an online system.
In the example above we are connected to a mc 266 control system (online). Note that if mxGUI is offline, then
the only folder on the right of the display is the Shared Folder.
The method of operation is very similar to the File display on an mc 2 console:
1. Open or close directories by double-clicking on the directory name (or click on the arrow beside the
directory name).
2. Having selected a source and a valid destination, right-click on the source file to select Transfer:
Note that:
· Files can be transferred from left to right or right to left.
· Each file or folder is clearly marked with its Type – e.g. production, snapshot, channel preset, EQ
preset, etc. This is important as files can only be transferred to a valid destination. For example, you
cannot transfer a snapshot into the Automation directory!
· For safety reasons you cannot delete productions, snapshots, configuration files, etc. from the File
Transfer display.

21. mxGUI
21.7.1 The Shared Folder

The contents of the Shared Folder can be accessed from the File Transfer display, and outside mxGUI by your
host operating system. You can use the Shared Folder to organise files or transfer files externally (e.g. to USB
or email).
Note that from 5-2-0-0, the location of the mxgui_user_share folder must be defined within the Oracle VM
VirtualBox Manager for each mxGUI release, see Installation Procedure: Shared Folders.
The Shared Folder (in mxGUI):
The User Shared Folder (in Windows Explorer):

21. mxGUI
Shared Folder Operations
From mxGUI
Within mxGUI, you can perform some basic file management tasks:
1. Right-click on the Shared Folder and select New Folder:
A new folder is added with a generic name.

2. Type to rename the folder.
You can create folders within folders simply by right-clicking on the sub folder name.
3. Right-click on the file or sub folder and select Delete. Then Select OK to confirm.
The file or folder is deleted from the Shared Folder.
From your Host OS

You can use your host operating software to perform any of the usual file management tasks: create folder,
move or delete files, etc.
For more details on locating the Shared_Folder, see Installation Procedure: Shared Folders. Our folder location
is shown below:
Note that each file has a specific file extension which should not be modified, otherwise the file cannot be
loaded by the Lawo system. For example, .lpn is the file extension for all zipped productions. See File
Types & Extensions.

21. mxGUI
21.8 The Strip Assign Display

This display provides an overview of channel and main fader strip assignments.
1. Select Page -> Strip Assign to open the Strip Assign display.
The display represents the two layers of physical fader strips on the console:
· STRIP N – identifies the fader strip. Note that main fader strips are marked as MAIN N.
· Layer 2 Controls (Upper row):
o SEL - the fader select (SEL) button.
o Mute - the fader MUTE button.
o Level in dB - the fader level, with + and - level adjust buttons.
o Channel Name/User Label/Source Label - this label is switched by the LABEL buttons on the
ACCESS/ASSIGN pop-up window.
· Layer 1 Controls (Lower row) - as above, but level can be adjusted using the on-screen fader.
2. Click and drag on a fader (Layer 1), or use the + and - buttons (Layer 2) to adjust the channel level.
If you click in the level field, you can adjust the level using the mouse wheel (if you have one), or type in a
value.
Open the ACCESS/ASSIGN pop-up window and use the COUPLE function to adjust level across a range of
fader strips.
3. Press a Mute button to MUTE the channel.

4. Press a SEL button to select the fader strip - for example, Strip 1, Layer 1 - the channel in access
updates accordingly.
If you open the ACCESS/ASSIGN pop-up window, you can use the SEL buttons to perform assignment
operations such as fader strip assignments, bus assignments, copy/ reset audio parameters, etc.

21. mxGUI
21.9 The Access/Assign Window

The Access/Assign window is a pop-up window that replicates all the access and assignment functions found
on the front panel of a mc 2 console.
1. Select Window -> Access/Assign:
The window opens, and can be moved to any position above another display, or minimised until needed:
2. Use the on-screen controls in exactly the same way as the console front panel:
· ACCESS – selects the channel in access, see ACCESS CHANNEL/ASSIGN.
· STRIP ASSIGNMENT - assigns channels to fader strips, see Fader Strip Assignment.
· BUS ASSIGN - FADER – makes bus/VCA assignments, see Bus Assign.
· BANK and LAYER - switches Banks and Layers.
· LABEL – switches the fader strip Labels.
· COPY AUDIO – used to copy or reset audio parameters, see Copy & Reset.
· LINK – used to create link groups or couple groups.
· MODULE ISO – used to isolate DSP modules from snapshot loads.
· SEL – replicates the SEL buttons for each audio module (EQ, Gate, Compressor, etc.) within the
Central Control Section, see Selecting Channel Parameters.

21. mxGUI
21.10 mxUpdater
From Version 5.8.2 software, the mxUpdater utility can be used to update the software of the mc 2/Nova control
system, or backup and restore user data.
Software Updates
mxUpdater makes it easy to update your system, without needing FTP or Telnet tools, whenever you install a
new version of mxGUI. Note that the utility contains only the software version which is concurrent with the
mxGUI release. Therefore, it is only possible to update to this version.
If you wish to update to a different version, or downgrade the system, then you will need to use the "new CF
card" method described in your Technical Manual.
Note that a software update affects only the System Flashcard (below left), and will not alter any of your user
data.
Backup and Restore of User Data

Independently, mxUpdater can also be used to backup and restore all user data on the Data Flashcard. This
allows you to restore all user data, including productions and the system configuration, to an earlier point in
time.
Note that the backup and restore functionality affects only the Data Flashcard (below right), and will not alter the
current software version running on the System Flashcard.
Preparation
To use mxUpdater for either application, you will need to set up the two mxGUI shared folders and make an
online connection to the mc 2/Nova control system.

21. mxGUI
21.10.1 Starting the Utility & Connecting to the System

1. Close mxGUI to return to the product launch options.
2. Select Utility Programs -> mxUpdater and click on Start:
The program opens with an empty window.

3. Under "1 - Select Remote System", enter the IP address of the mc 2/Nova control system and click on
Connect.
If you have connected to a system previously, then its IP address can be selected from the drop-down list.
After a successful connection you will see some information about the system in the mxUpdater window and
the following files in the mxgui_config_share folder:

21. mxGUI
21.10.2 Saving a User Data Backup

Before updating the software, it is recommended that you save a backup of all user data. This will make a copy
of the complete Data Flashcard, described earlier, so that it can be restored at a later date if required.
1. Under "2 - Backup Data", select Backup.
2. Enter a file name and then start the backup by clicking on Save.
Once the backup is complete, you will see the line DETAIL: Backup operation done in the "Log" area:
The backup file is stored on the mxgui computer in the mxgui_config_share -> mxupdater -> backup folder:

21. mxGUI
21.10.3 Updating the Software Version

mxUpdater can be used to update the system software to the version which is concurrent with the mxGUI
release. Note that it only possible to update to this version. If you wish to update to a different version or
downgrade the system, then you should use the auto update tool as described in the software release notes.
To proceed with the update:
1. Under "3 - Update System", select Update.
2. Confirm the update by clicking on OK.
You will now see the progress of the upload, update and validation steps in the "Log" area. Once the update is
complete, a system reboot is triggered:
Note that the last few "Log" lines, including ERROR: Could not connect and ERROR: Update failed, remote
aborted, are a result of the reboot. These lines are normal and can be ignored.
After the reboot, the software update is complete.

21. mxGUI
21.10.4 Restoring User Data from a Backup File

At any time you can use one of your backup files to restore the system's user data.
WARNING: This operation will overwrite all existing data on the Data Flashcard, including productions and
configuration files. Therefore, it is a good idea to make a backup of the current user data before beginning a
restore.
To proceed:
1. Under "4 - Restore Data", select Restore.
2. Select one of your backup files and click on Load:
3. Confirm the restore by clicking on OK.

21. mxGUI
Once the restore is complete, you will see the line DETAIL: Restore operation done in the "Log" area.

22. Lawo Remote App
22. Lawo Remote App

This chapter describes how to install and operate the Lawo Remote App, a free App which allows you to adjust
parameters, recall snapshots and control user-defined functions remotely from an iOS device.
Topics include:
· Installation & Configuration
· Starting the Lawo Remote App
· Configuring a New Connection
· Connecting to the System
· iApp Menus
· Strip Control
· Snapshots
· User Buttons
· Settings
In Version 5.6.0.x, the App was redesigned for iOS iPADs, and is fully compatible with the latest iOS
versions.

22. Lawo Remote App
22.1 Installation & Configuration

Installing the Lawo Remote App
The Lawo Remote App can be downloaded, for free, from the App store. Note that from Version 5.6.0 onwards,
the App has been redesigned for iOS iPADs, and is fully compatible with the latest iOS versions.
Download and install the Lawo Remote App on your device in the usual manner:
Configuring the Network

The remote device communicates with the mc 2/Nova control system via WLAN (Wireless Local Area Network).
To use the Lawo Remote App you must have a properly configured wireless network access point which can
connect to your Lawo control system. There are several configuration options depending on your network
infrastructure. Please refer to the separate technical document “TD_WirelessAccessPoint” for details.
Enabling App Control (on the mc2 system)

To use the App, remote access must be enabled using the Safe Mode option in the System Settings display.
1. On the console, select the Global -> System topic and make sure that the Safe Mode option is
unchecked.
The console can now be controlled from a Lawo Remote App device.
There is no limit on the number of clients. However, if more than one device sets a parameter, the last
change wins!

22. Lawo Remote App
22.2 Starting the Lawo Remote App

1. On your device, click on the Lawo Remote icon to launch the App.
The Lawo remote welcome page appears showing the status of the existing connection – in our example, “Not
connected”:
2. Touch the Bookmark icon at the top right of the display - the Bookmarks page opens listing any
configured connections. If no connections have been configured, then the list is empty:

22. Lawo Remote App
22.3 Configuring a New Connection

To configure a new connection:
1. Select the New Bookmark icon at the lower right of the display - the ‘New Bookmark’ page opens:
2. Touch each entry to edit the:

· Name – this field is used for reference within the Lawo Remote App and can be used to name the
system, e.g. Studio A.
· System Type – choose an entry from the list of supported systems. The system type must match that
of the system you wish to connect to.
· Primary & Secondary Host – enter the IP address of the control system you wish to connect to. If you
have a redundant control system, then you will need to enter the primary and secondary IP addresses.
(You can check the IP address of your control system from the System Settings display, see IP
Address Primary.)
· Comment - enter a Comment if you wish.
3. When you have completed each field, touch Done to return to the Bookmarks list - a green tick appears
beside the new connection:
To edit an existing bookmark, touch the i icon. Or, to delete an existing bookmark, select the Edit button at the
lower left of the Bookmarks page.

22. Lawo Remote App
22.4 Connecting to the System

You can connect to any system configured within the Bookmarks page. You can only connect to one system
at a time.
1. Open the Bookmarks page, and touch the bookmark for the system you wish to connect to - the
following confirmation dialogue appears:
2. Touch Yes to continue.

The device attempts to connect. If successful, the operational menus appear:
If the connection fails, then an error will appear. Check the system type and IP settings from the Bookmarks
page. Check that the device is connected to the correct WLAN. If the connection still fails, then there is a
problem with your network or its configuration. Please contact your network administrator for assistance.

22. Lawo Remote App
22.5 iApp Menus

The main operational menus appear once you have an active connection to the mc²56 system:
From the Lawo Remote App you can access:

· Strip Control – to adjust fader levels, input parameters, panning or aux sends.
· Snapshots – load any Snapshot from any folder within the active production.
· User Buttons – user defined functions programmed from the Custom Functions display.
· Settings - for the Lawo Remote App.

22. Lawo Remote App
22.6 Strip Control

In "normal" view, this page shows the main input parameters, channel name or user label, MUTE and fader level.
Eight channels are displayed at a time (as selected from the CONTROL buttons on the right of the page):
To change the 8-channel bay, either press the left or right arrow buttons (below CONTROL). Or, tap in the
"Selected Bay" field (e.g. on 2.Bay / 9-16) to open a selector pop-up where you can choose a new bay to view.
Press FLIP to access the alternate layer on all eight channels.
Note that all controls are local, and so are not affected by banking or layering operations on the main console.
To adjust parameters:
· Input control - tap to enable or disable the options for each source. (If an option is "greyed out", then it
is not available for that source.)
· Label - shows either the channel name or user label (as selected using the LABEL buttons). Note that
user labels are always channel user labels (not inherit source). The label field also doubles as the fader
SELECT button - touch a label to change the fader in access. The yellow "Channel in access" field
updates accordingly.
· Fader level - either touch and drag the fader, or double-tap to reset the fader value. The reset level is
defined in the iApp Settings menu.
· MUTE - tap to enable or disable.
· color coding - is defined by the channel color.
Use the MODULE buttons to access the other Strip Control views.
To return to the main menus, select the MENU button (bottom right).

22. Lawo Remote App
22.6.1 PAN / SOURCE CTRL

Select the PAN module (top right) to view or adjust panning for a single channel - in our example, for Gtr 1:

22. Lawo Remote App
You can either tap and drag on the pan position, or tap in a value field (e.g. on X) and use the on-screen rotary
control to adjust the value:
Tap on a different channel name/user label field (at the bottom of the page) to change the channel in access.
Select the SOURCE CTRL module (top right) to adjust source control, dig amp, delay and/or the insert in a
similar manner.

22. Lawo Remote App
22.6.2 AUX SENDS

The AUX SENDS module can be used to view and adjust thesend levels to a selected Aux master - for example,
to Aux 1/2 (Drum RVB).
This works in a similar manner to the FADER CONTROL of Levels mode on the console front panel - first, select
an Aux master (from the top half of the page), and then use the eight faders to adjust the send levels, turn the
SEND ON/OFF, and select the aux send position (post-fader, pre-fader or pre-EQ).
The labels displayed on the Aux master select buttons can show either the channel name or user label (as
selected using the LABEL buttons).
You can also adjust the level of the Aux master or MUTE its output (from the top half of the page); the Aux
master select buttons are colored red if an aux master is muted.
To access all available Aux masters, swipe downwards.

22. Lawo Remote App
22.7 Snapshots
Return to the main menus, and select Snapshots to load a Snapshot from any folder within the active
production:
1. Select the folder - e.g. iAppSnaps.
2. Then select the snapshot followed by Load and click Yes to confirm - the snapshot is loaded to the
console. If any snapshot isolates are active, then these are applied.
3. To return to the main menus, select the Lawo Remote button (top left).
Note that you cannot save or update snapshots from the Lawo Remote App, or change production.

22. Lawo Remote App
22.8 User Buttons

Select User Buttons to access functions programmed the Custom Functions display:
1. Touch a button to action its function.
2. To return to the main menus, select the Lawo Remote button (top left).
Note that the Lawo Remote user buttons are stored with the console configuration, and therefore may vary when
you connect to a different console. For a list of potential functions, please see the Custom Functions List.

22. Lawo Remote App
22.9 Settings
This menu provides access to settings which are specific to the iApp. Some can be adjusted; others are for
information only:
· Global -> Surround Format - shown for information purposes only.
· Global -> Delay Format - click to select milliseconds, metres or frames. The selection affects how
delay parameters are displayed in the SOURCE CTRL view on the Strip Control page.
· Fader -> Double Tap Level - click to enter the reset value which will be used when a fader is double
tapped on the Strip Control page:

23. Fault Finding & Diagnostics

This chapter describes the fault finding and diagnostics tools available to the operator.
Topics include:
· Software Versions
· Shutdown & Restart
· Diagnosing System Errors
· Control Surface PSU Alarms
· Other GUI Diagnostics
· Redundant Router Module
· Restarting a Bayserver
For more information on further diagnostics and service procedures, please refer to your product's Technical
Manual.

23.1 Software Versions

Compatibility
All Lawo products use a consistent software release numbering system to indicate compatibility. In each case,
the first three digits of the software versions must match. This affects mxGUI and AdminHD, as well as other
networked mc 2/Nova systems.
Checking the Software Version
You can check the software version of your mc 2/Nova system from the System Settings display: select Global ->
System and look at the Product Release Version field.
Software Updates
The latest software for your product is available from the Downloads area at www.lawo.com (after Login).
Information about the software release can be found in the "Release_Notes_X.xx" documentation.
From Version 5.8.2 onwards, the mxUpdater utility (included with mxGUI) should be used to update the system
software. To update from an earlier version, or downgrade the system, you will need to use the "new CF cards"
method described in your Technical Manual.
Note that a software update affects only the System Flashcard, and will not alter any of your user data.
Once running Version 5.8 (or later), there can be a mismatch in your configuration if you install an earlier
release than 5.8. Therefore, please contact the Lawo support department if you wish to downgrade your
software version to a release < Version 5.8.
Changing Firmware Revisions

From Version 5.6, all Nova73 IO modules will automatically update to the required firmware (according to their
AdminHD configuration) once they are plugged into the Nova73 frame. This makes it easier than ever to
reconfigure a system, and prevents any mismatch between Control System and IO software revisions.

23.2 Shutdown & Restart
Shutdown
The system should be shut down by powering off the Nova73 (via the mains connections at the front of the unit).
Note that the control system is located on the Router Module MKII within the Nova73. Therefore, it is not
necessary to power off the control surface in order to shut down the control system. However, if you intend to
leave the console for any length of time, then powering off the surface is recommended.
Following switch-off, power is provided to the control system for a further few seconds. During this time, all
current settings are saved to flash memory; this is known as the warm start data. You will hear several tones
signaling that the shut down has been successfully completed. The system is shut down when the blue LED of
the trackball is off.
You can switch off the power to other components, such as remote IO devices, at any time.
Starting the System (Warm Start)

The system starts automatically when power is supplied to the Nova73. If the control surface is not powered,
then you should also power up the surface.
The control system boots in a few seconds; during this time you will see the boot-up progress on the console's
displays. By default, the warm start data is loaded at the end of boot-up. This means that the system comes
back exactly as it was when you last shut down, ensuring fast recovery of all previous settings following a loss
of power. Once boot-up is complete, the displays refresh to show the Channel Display and Central GUI screens.
The console is now ready for operation.
The following settings are stored in the warm start data, and are recalled following a warm start:
· Core configuration settings changed by an online AdminHD computer.
· Matrix crosspoints and IO parameters (Mic preamp gain, SRC on/off, etc.)
· The DSP configuration and parameters (EQ, Dynamics, Fader levels, etc.)
· All other user settings (fader strip assignments, etc.)
Starting the System (Cold Start)

Alternatively, the system can be set to cold start, following the next reboot, by selecting the Global -> "Prepare
Coldstart" option in the System Settings display. First, enable the option, and then restart the control system
(e.g. power off and on).
A cold start boots without loading any warm start data. You should perform a cold start only if there is a problem
with the warm start data, or if you wish to clear all warm start data from the system.
Following a cold start:
· All configuration files (defined by AdminHD) return to their cold start defaults (config.tcl, gui_config.tcl,
etc.)
· All matrix connections are cleared, unless protected by the factory-configuration.
· All IO parameters are set to factory default values.
· The default DSP configuration is loaded. This can be defined from the Custom Functions display.
· All DSP parameters are set to factory default values.
· All other user settings are cleared (e.g. no fader strip assignments).
The best way to reset the console for a new job or show is to load a production.

23.3 Diagnosing System Errors

In the event of a component failure, a hazard warning flag appears in the title bar of the Central GUI. Hover over
the warning triangle to view the last ten alarm messages. Messages in red indicate active alarms; messages in
yellow are resolved.
To interrogate further:
1. Open the Signal Settings display.
This display monitors all of the components defined in the AdminHD configuration. In the event of a problem, a
red/white cross appears in the System tree.
2. Follow the red warning flags and open each branch of the tree to find the problem – in our example, a
DALLIS card.
3. Open the DALLIS card further, and you will see grey/white crosses beside Signal In 1, Signal In 2,
etc. These show that the AES signals are no longer available:
3. Check and replace the card if necessary.

Once all components are connected and working correctly, the red/white crosses disappear from the System
Settings display and the hazard warning flag in the title bar is cleared.

23.4 Control Surface PSU Alarms

The Central GUI offers status monitoring for all PSUs fitted to the control surface.
The status of each PSU is represented by a symbol which appears at the bottom right of every console display:
The number of symbols relates to the number of PSUs within the control surface and any extender bays (if the
extenders are connected). The PSUs are represented from left to right across the frame.
The symbols indicate:
· Green Circle – the PSU is working fine.
· Red circle with an exclamation mark – there is an error.
In each case, use the ball to hover the symbol to reveal more information.
Note that the bay numbers are counted from BAY 1 upwards. However, internally the bays are addressed
from 0. This means that BAY 1 on the GUI relates to an internal Bayserver address of 0, BAY 2 to an
address of 1, and so on.

23.5 Other GUI Diagnostics

Control Surface Connection
If a redundant Router Module is fitted to the Core, you can run two ETHERNET A connections between the Core
and control surface. The operator will then be presented with an error message should the active connection fail,
and decide whether they wish to switch to the redundant connection/module.
Redundant Router Module Takeover

If a redundant Router Module is fitted to the Core, you can force a manual takeover to the redundant module (from
the System Settings display).
Status Bar Notifications

The icons on the right of the status bar will show any problems with the sync source, control surface PSUs and, if
applicable, the connection to a Lawo networked system and Waves Multirack host computer. In each case, hover
over the icons to reveal more information - for example:
Bulb Test, Fader Calibrate, Surface TFT Reset

These options, in the System Settings display, can be used to test the control surface illumination, calibrate the
faders or reset the mini TFT displays used in the surface.

23.6 Redundant Router Module

By fitting two Router Modules (980/33) to the central slots of the Nova73, the system supports redundancy for
both the routing matrix AND control system.
When the system first boots, the module on the left is active, while the module on the right is redundant. This is
indicated by the ACTIVE and STANDBY LEDs.
Main & Redundant Router Module LEDs
23.6.1 Automatic Takeover

If the active Router Module fails or there is a control system error, the system will automatically switch to the
redundant Router Module. This ensures a seamless recovery without any interruption to operation.
Note that there will be a brief interruption to audio, of around 1 second, while routes are reconfigured.
23.6.2 Control Surface Connection Failure

If the ETHERNET A connection between the control surface and Router Module fails, then an automatic takeover
does not occur, as the failure could be deliberate (for example, you may have disconnected the network cable).
Instead the operator is presented with an error message on the Central GUI:
Click on the message - a confirmation pop-up appears:
Select Yes to switch to the redundant Router Module; this will result in a brief interruption to audio (as for an
automatic takeover).
Select No to ignore the error and close the pop-up. In this instance, there will be no interruption to audio, but you
will lose control from the console surface until such time as the missing ETHERNET A connection is re-instated.

23.6.3 Manual Takeover

The system can be forced to switch to the redundant Router Module using any of the following methods: the
Central GUI, the MODULE TAKEOVER button or the ROUTER TAKEOVER contact closure.
Using the Central GUI

1. Open the System Settings display and select the Global topic.
2. Click on Redundancy takeover - a confirmation dialogue box appears:
3. Select Yes to confirm or No to cancel the operation.

If you select Yes, then the system will switch to the redundant Router Module; this will result in a brief
interruption to audio (as for an automatic takeover).
Using the MODULE TAKEOVER Button

1. On the front of the Nova73, identify the redundant Router Module - this is one with the STANDBY LED lit
(yellow).
2. On this module, press the recessed MODULE TAKEOVER button.
The system will switch to the redundant Router Module; a brief interruption to audio will occur while routes are
reconfigured (as above).
Once the takeover is complete, you will see the ACTIVE and STANDBY LEDs update accordingly.
Using the ROUTER TAKEOVER Contact Closure

A manual takeover can also be forced by triggering a positive edge at the ROUTER TAKEOVER (IN) input of the
Nova73's GPI 1 connector.

23.7 Restarting a Bayserver

Each control surface bay has its own Ethernet Bayserver which can be restarted from the front panel. You should
perform this procedure, rather than a complete system restart, if:
· The graphics on an individual display freeze or look odd.
· The controls on a panel are not responding; indicators not updating.
These symptoms can sometimes occur if a Bayserver looses its Ethernet connection to the control system.
1. Using a pointed object, press the recessed button at the top of the display as shown:
The Bayserver restarts in a few seconds; during this time you will see the boot-up screen on the display. Once
complete, communication with the control system is re-established, and the Channel (or Central GUI) display is
reinstated.


24. Trouble-shooting
This chapter includes a series of typical problems and tips to help you fault find the system.
Topics include:
· Boot-up Issues
· Control Surface Issues
· Network Communication Issues
· mxGUI Issues
For further assistance, please contact your local Lawo representative or email support@lawo.com.

24.1 Boot-up Issues

24.1.1 The system will not boot or does not boot correctly
1. Power off the Nova73 and wait for the system to shutdown.
The system has completed its shutdown when the blue LED of the trackball is off.
2. Power on to try a warm start.
3. If this is unsuccessful perform a cold start.
If the system now boots correctly, then your warm start user data is corrupt. Check your production data by
loading a production. If this is the cause of the problem, perform another cold start and try a different production. If
there is a problem with all production data, then you may need to replace the User Data Flashcard.
4. If this is still unsuccessful, then you should try replacing the System Data Flashcard with a backup copy.
24.1.2 The system boots up but I have no audio

1. Check the System Settings display to see if there any reported errors.
If an IO module or remote IO device/card is shown in red, then there is a problem with the connection or the
hardware.
2. Check the connections to the remote IO device/card.
Are the fibres reversed?
3. Check the indicators on the Nova73 and remote IO device/card.
The ACTIVE LEDs on all Nova73 modules and DALLIS cards should blink in time with each other at around 1Hz.
This shows that the card is synchronous to the rest of the system. If an LED is out of sync, then check that the
card is fitted correctly. If the symptom persists, replace the plug-in card.
4. If everything still looks ok, try reloading the DSP configuration from the DSP Configurations display.

24.2 Control Surface Issues

24.2.1 The graphics on the console displays appear to freeze
This can occur if the load on the CPU exceeds 95% - for example, during a production load. Audio processing is
unaffected, and therefore the behaviour should be ignored. Once the production has loaded, and the CPU returns
to normal levels of operation, the problem should resolve.
24.2.2 The graphics on one of the console displays freezes or looks odd
This can occur if a Bayserver looses its Ethernet connection to the Control System.
1. Try restarting the Ethernet Bayserver.
If the problem persists, then the display or Bayserver may be faulty.
24.2.3 The USB ports are not working

The USB ports in the control surface have a ganged short circuit protection. This means that a short circuit at one
of the ports will shut down all ports together.
To reset the short circuit protection:
1. Power the control surface off and on in order to power cycle the internal USB hub.
If the problem persists, then the USB hub may be faulty.
24.2.4 The console keyboard or trackball are not working

This can occur if the USB short circuit protection has been triggered (as if one of the USB ports has a short
circuit, then all ports will shut down together).
1. First, check that the keyboard is installed correctly.
2. Then check if the other USB ports are powered.
3. If not, power the control surface off and on in order to power cycle the internal USB hub.
If the problem persists, then the USB hub may be faulty.

24.3 Network Communication Issues

24.3.1 The network connection to the control system is not working
If you cannot establish network communication with the mc 2/Nova control system:
1. Check the network connections from your device to the Lawo network, and from the Lawo network to the
2
mc /Nova system.
2. Check the TCP/IP settings on the connecting device's Network Interface Card.
3. If applicable, check that the software you are running is compatible with the mc 2 system. When
connecting from mxGUI or AdminHD, the first three digits of the software versions must match.
4. Try running a PING test:
· If the ping test fails, then there is something wrong with your network configuration.
· If the ping test is successful, then the network communication is working. If you still cannot connect to
the mc 2/Nova system, then something may be blocking the connection. Try disabling any firewall and/or
antivirus software on the connecting device.
24.3.2 Running a PING test

The PING command is a built-in Windows and Mac function, that allows you to test whether you have a valid
network connection to and from any networked device.
1. Make sure that your computer is connected to the correct network port, and that you have configured
the TCP/IP settings of your computer's network interface card.
2. On a Windows 7 PC, type cmd into the "Search programs and files" field under the Start menu and
press Enter.
This opens the DOS command prompt window:
Alternatively, on a Mac, open the Terminal program (found in the Applications -> Utilities folder).
3. On both platforms, perform the ping test as follows:
Type ping xxx.xxx.xxx.xx (where xx.. is the IP address of the device you are trying to connect to) and press
Enter.
Your computer will now try to establish communication...

Ø Ping Test Fail

If the ping test fails, then the request will time out, and you will not receive any successful packets:
There is something wrong with your network configuration, so check the network connections, and TCP/IP
settings again. Or contact your network administrator.
Ø Ping Test Success
If the ping test is successful, then the result will show that the Sent packets have been successfully Received:
This confirms that the network communication is working. If you still cannot connect, then something on your
computer is blocking the network connection. Try disabling any firewall and/or antivirus software.

24.4 mxGUI Issues

24.4.1 mxGUI is not booting up
If, when you start mxGUI, you see only a black screen and not the trackball shown below, then you should
check the BIOS setup of your PC.
1. Enter the BIOS system of your computer - the exact method varies depending on the PC manufacturer,
so please refer to your computer's manual for details.
2. Search for a checkbox called "VTX" or "Virtual Technology" - on most computers, it can be found under
security or something similar. This option MUST be enabled.
3. Then restart mxGUI, and you should see the blue trackball screen appear:

25. Appendices
25. Appendices
This chapter includes further information which you may find useful.
Topics include:
· Control System Locations
· Default TCP/IP Settings
· Surround Levels
· Pan Slope
· Central User Button Numbering
· Controlling Virtual Devices (A__line, LCU, DMI-8)
· Digital Output Settings
· SDI Parameters (3G SDI Card)
· SDI Parameters (non 3G SDI Cards)
· VCA, Surround, Link & Couple Masters: Master/Slave Behaviour

25. Appendices
25.1 Control System Locations

The table below shows the location of the control system for different mc 2 and Nova products.
Note that the Router Module MKII (980/33) control system provides two network ports: ETHERNET A connects
to the mc 2 control surface; ETHERNET B connects to the Lawo system network.
System Router Module Control System Location System Network Port

mc² 36 980/33 Intel Control Surface ETHERNET B
mc² 56 MKII 980/33 Intel Nova73 ETHERNET B
mc² 56 MKIII 980/33 Intel Nova73 ETHERNET B
mc² 96 980/33 Intel Nova73 ETHERNET B
Nova73 HD MKII 980/33 Intel Nova73 ETHERNET B
Nova73 Compact MKII 980/33 Intel Nova73 Compact ETHERNET B
mc² Micro Core 980/33 Intel Micro Core ETHERNET B
Nova37 980/33 Intel Nova37 ETHERNET B

25. Appendices
25.2 Default TCP/IP Settings

Default IP Addresses
The default IP addresses, for different Lawo product control systems, are:
· mc236 = 192.168.102.36
· mc256 = 192.168.102.56
· mc266 = 192.168.102.65
· mc296 = 192.168.102.96
· Nova73 (HD & Compact) = 192.168.102.1
· mc2 Micro Core = 192.168.102.136
· Nova37 = 192.168.102.137
· mxGUI (local control system) = 192.168.56.101
You can check the IP address of your control system from the System Settings display under Global ->
System -> IP Address Primary.
Subnet Mask
For all products, the default Subnet Mask = 255.255.255.0
Other IP Addresses
The table below lists the other IP addresses used within a mc²56 installation:
Device Port IP Address Notes

Router Module 980/33 Slot ETHERNET A 192.168.105.1 Fixed address.
A (internal network)
Router Module 980/33 Slot ETHERNET B 192.168.102.xxx Default address of the control system
A (external network) (as listed above).
Router Module 980/33 Slot ETHERNET A 192.168.106.1 Fixed address.
B (optional) (internal network)
Router Module 980/33 Slot ETHERNET B 192.168.102.xxx This address is always one digit
B (optional) (external network) higher than that of the main control
system.
Ethernet Switch (optional) - 192.168.102.250 Default address.
ISDN Dialup Router - 192.168.102.200 Default address.
(optional)
We recommend keeping the default IP addresses, where possible, as this will simplify remote maintenance.
The control system address (ETHERNET B) can be changed in a file called "ip-address" located on the data
card (in the /data/config folder).

25. Appendices
25.3 Surround Levels

The following diagrams show the power output to each channel, when panning is off, for each of the console’s
surround formats.

25. Appendices
25.4 Pan Slope

The following diagrams demonstrate how the slope control affects Left-Centre-Right panning:
Panning (center flat) L / C / R Panning (center flat) L / C / R Panning (center flat) L / C / R
0 0 0
-10 -10 -10
-20 -20 -20

dB
dB
dB
-30 -30 -30
-40 -40 -40
-50 -50 -50
-60 -60
-20 -10 0 10 20 -20 -10 0 10 20 -60
-20 -10 0 10 20
slope: -5 slope: 0
slope: 5
Panning (Normal) L / C / R Panning (Normal) L / C / R Panning (Normal) L / C / R

0 0 0
-10 -10 -10
-20 -20 -20

dB
dB
dB
-30 -30 -30
-40 -40 -40
-50 -50 -50
-60 -60
-20 -10 0 10 20 -20 -10 0 10 20 -60
-20 -10 0 10 20
slope:-5 slope:0
slope:5

25. Appendices
25.5 Central User Button Numbering

The following information describes the panel type, index and button numbering for each "central" user button
panel on your mc 2 console. You will need this information to address user buttons from the Custom Functions
display:
Note that not all panel types are supported by all consoles. When configuring a Nova73, the only relevant panel
type is the Lawo Remote App.
25.5.1 Monitoring Panel

This panel type addresses the touch-screen buttons on the Central GUI Monitoring side panel.
The panel indexing and button numbering is as follows.

25. Appendices
25.5.2 User Panel 40 Button

This panel type addresses the 40-button user panel that can be fitted to the Overbridge.
The panel index and button numbering is as follows:
User Panel 40 2 x User Panel 40

25. Appendices
25.5.3 User Button Screen Control Panel

This panel type addresses the CENTRAL USER BUTTONS on the console surface.
The panel index is always 1 and button numbering is as shown below.
25.5.4 Talkback Panel

This panel type addresses the user buttons on the TALKBACK panel.
The panel index is always 1 and buttons are numbered as shown below.

25. Appendices
25.5.5 Lawo Remote APP

This panel type addresses the user buttons within the Lawo Remote App (running on iPhone, iPod or iPad).
The panel index and button numbering for the first two panels is shown below. Up to four User Button panels can
be configured.

25. Appendices
25.6 Controlling Virtual Devices (A__line, LCU, DMI-8)

The following RAVENNA Virtual Devices can be controlled directly from the mc 2 console: Lawo's A__mic8,
A__dig8 and LCU (Lawo Commentary Unit) and Neumann's DMI-8.
Note that the devices must be correctly configured as described in the "RAVENNA for mc 2/Nova User Guide".
25.6.1 A__mic8 & A__dig8
Signal Routing
All local audio and GPIO signals will appear in the Signal List display once your system is configured. This
allows you to route sources, from say an A__mic8, to the console's DSP channels:

25. Appendices
Or, say an Aux bus back to an A__mic8 Line output:
Parameter Control
If an A__mic8 input is routed to a DSP channel, and channel is assigned to a fader strip, you can use the
console's INPUT section to control:
· GAIN - mic input gain.
· 48V - 48V phantom power.
· PAD - a -20dB PAD.
· HPF - cycles through the roll-off frequency options: Off, 40Hz, 80Hz and 140Hz.
Note that there are no accessible parameters for the A__dig8.

25. Appendices
25.6.2 LCU (Lawo Commentary Unit)
Signal Routing
All local audio signals will appear in the Signal List display once your system is configured. This allows you to
route sources from the LCU to the console's DSP channels:

25. Appendices
Or, say a Group bus back to an LCU output:
Parameter Control
If one of the microphone inputs (MIC A, MIC B or MIC Guest) is routed to a DSP channel, and channel is
assigned to a fader strip, you can use the console's INPUT section to control:
· GAIN - mic input gain.
· 48V - is mapped to the On-Air request: On = on-air; Off = off-air.
· HPF - is mapped to the LF Cut.
Note that the mic input gain and LF Cut functions are usually controlled by the LCC operator, and are not
available on the LCU front panel.
Note also that when an LCU is controlled from an mc 2/Nova, it is the AdminHD configuration which determines
the partnering RAVENNA connection. Therefore, the LCU ID (which can be defined in the LCU's Settings
Subtree) has no function.
Please refer to the "LCU Quick Start Guide" for more details on the available parameters and signals.

25. Appendices
25.6.3 DMI-8 (from Neumann)

The DMI-8 is an 8-channel microphone interface from Neumann which supports a RAVENNA Net connection.
Signal Routing
The eight microphone input signals from the device will appear as Sources in the Signal List display once your
system is configured.
Note that there are no Destinations available for this device.
Parameter Control
If one of the microphone inputs is routed to a DSP channel, and channel is assigned to a fader strip, you can
use the console's INPUT section to control:
· GAIN - mic input gain. Note that the Lawo GAIN range (0 to 70dB) is mapped to the DMI-8 gain range (0
to 64dB) in a linear fashion.
· 48V - is mapped to the DMI-8's Mute function: On = mute on; Off = mute off.
· PAD - is mapped to the DMI-8's -18dB PAD.
· HPF - is mapped to LF Cut, and cycles through the three frequency options. Note that the Lawo 140Hz
roll-off option equates to a 160Hz LF Cut in the DMI-8.
Note that all other DMI-8 parameters, such as the choice of mic polarity, must be adjusted by the DMI-8's own
GUI system.

25. Appendices
25.7 Digital Output Settings

For each digital output, sample rate conversion and dither are applied automatically depending on your choice of
sample rate and word length from the Signal Settings display.
The following table explains the results of each clock selection and word length combination:
Clock Selection Word Length Selection SRC on/off Dither Status
System 24-bit SRC off Off (Truncate)
System 20-bit SRC on Dither on
System 16-bit SRC on Dither on
44.1kHz 24-bit SRC on Off (Truncate)

44.1kHz 20-bit SRC on Dither on
44.1kHz 16-bit SRC on Dither on
48kHz 24-bit SRC on Off (Truncate)

48kHz 20-bit SRC on Dither on
48kHz 16-bit SRC on Dither on
Follow Input 24-bit SRC on Off (Truncate)

Follow Input 20-bit SRC on Dither on
Follow Input 16-bit SRC on Dither on

25. Appendices
25.8 SDI Parameters (3G SDI Card)

The DALLIS 3G/HD/SD SDI card (946/17) is a multi-rate SDI card with BNC input, thru and two outputs. It
contains an audio embedder and de-embedder for up to 16 audio channels, and a VANC embedder and de-
embedder for two independent Dolby E Metadata streams. There is onboard video and audio delay, and an
integrated sample rate converter. It occupies two DALLIS card slots and can be configured to run in a number of
different modes using AdminHD.
1. Select the 946/17 card from the System tree.
2. Then select one of the four parameter tabs: 3GSDI, Embedder, De-Embedder or Metadata.
Note that SDI card parameters can be adjusted whether the card is local to the system, or fitted to a remote
network partner.
Note that SDI parameters are never stored by snapshots. From Version 4.8.0.2 onwards, they are stored and
recalled by productions. You can use the Global isolate of SDI parameters custom function to isolate SDI
parameters so that settings are not affected by a production load.
25.8.1 3G SDI
· SRC – check this option to enable sample rate conversion. Note that SRC is applied to all channels on
the card. Normally, SRC should be enabled. If SRC is off (unchecked), then the system must be
clocked to the same reference as the sending device.
· Enable video delay & Video delay (frames) – this option applies a delay to the SDI data from the de-
embedder to embedder. Video and audio containted in the stream are delayed by the same amount. Set
the amount of Video delay in steps of 1 video frame.
· Video generator mode, format & test pattern – the SDI card is equipped with a free-running video
test pattern generator. Set the mode to either:
o Auto – if the input is locked to an incoming video signal, then the output will automatically track the
format of the input. If the input fails, then the video test pattern generator transmits the last received
video format. When the SDI module is part of a SDI chain, this option is recommended.
o Force On – in this mode it is assumed that the card is used as a video master and that no SDI input
signal is applied. The test pattern generator is forced on all the time. Use the Video generator
format and Generator test pattern options to define the video signal. In this mode the embedder
sample rate is derived from the generator, and the SDI receiver is switched off. Note that the de-
embedder cannot be used.

25. Appendices
25.8.2 Embedder
· Clean – check this option to set the embedder mode to “Clean”. In this mode the incoming audio
stream is deleted and a new data structure generated according to your embedder settings. Note that if
you select this mode any existing audio data will be lost.
· Embedder Group Enable – audio is embedded in groups of four channels into SDI. There is a total of
four groups per SDI, resulting in 16 audio channels. For each group, this checkbox determines whether
the incoming SDI stream is replaced:
o Enable the checkbox to replace the audio group content.
o Disable the checkbox to leave the audio group untouched.
If there is no audio at the SDI input, then a new audio group will be generated.
Note that in AdminHD modes 16/0 and 8/0, all embedder group enables are turned off as the whole embedder
section is bypassed.
· Embedder source 1 to 16 – use these options to define the source for each embedder.
25.8.3 De-Embedder
· DALLIS signal in source 1 to 16 – use these options to define the source for each de-embedder.
25.8.4 Metadata
The SDI module offers 2 metadata ports according to SMPTE RDD-2008. This allows embedding, de-embedding
and transport of two independent Dolby metadata streams alongside with the video. The streams can be
accessed via two D-type connectors at the front panel.
· Metadata de-emb. & emb. to port 1, 2 - use these options to define the streams for the Metadata
ports.
· Metadata embedder mode & line – set the mode to Auto to track the input, or select Pre-selected
line and define a Metdata embedder line.

25. Appendices
25.9 SDI Parameters (non 3G SDI Cards)

The DALLIS HD or SD SDI cards (946/13, 09, 05, 01) provide the ability to route a maximum of 8 channels
to/from the SDI stream. Sample rate conversion can be applied to the whole card (all 8 channels), and delay can
be applied to either the embedded or de-embedded signals.
SDI parameters can be adjusted for the card and for individual input and output signals.
Note that SDI parameters are never stored by snapshots. From Version 4.8.0.2 onwards, they are stored and
recalled by productions. You can use the Global isolate of SDI parameters custom function to isolate SDI
parameters so that settings are not affected by a production load.
25.9.1 SDI Card

Select an SDI card from the System tree, and click on SDI to adjust the following card parameters:
· SRC – check this option to enable sample rate conversion. Note that SRC is applied to all 8 channels
on the card. Normally, SRC should be enabled. If SRC is off (unchecked), then the system must be
clocked to the same reference as the sending device.
· Delay – select whether delay is enabled for the Embedded (SDI output) or De-embedded (SDI input)
signals; delay cannot be applied to both.
· Generator signal, mode and format – defines the output generator signal for the SDI stream.
· Embedder mode – select from:
o On – audio channels will be replaced within the existing SDI data structure according to your SDI
output group selections.
o Off – no audio replacement; the SDI stream remains unaltered.
o Clean – deletes the incoming audio stream and generates a new data structure according to your
embedder settings. Note that if you select this mode any existing audio data will be lost.

25. Appendices
25.9.2 SDI Inputs

Select an SDI input signal from the System tree, and click on SDI to adjust the following signal parameters:
· Group select – this field defines which pair of SDI channels will map to the selected SDI card input. In
our example, Group 2 Channels 3&4 from the SDI stream will be de-embedded to SDI Signal In 1 and
2.
· Delay time & Delay – check the Delay option to enable delay for the stereo input, and set the delay
time in ms. Delay time can be adjusted from 0 to 240ms.
Delay is only applied to SDI inputs if the SDI card Delay parameter is set to De-embedder.
25.9.3 SDI Outputs

Select an SDI output signal from the System tree, and click on SDI to adjust the following parameters:
· Group select – this field defines which pair of SDI channels will map to the selected SDI card output. In
our example, Group 1 Channels 1&2 from the SDI stream will be embedded to SDI Signal Out 1 and
2.
The assignment is only active if the SDI card Embedder mode is set to On or Clean.
· Delay time & Delay – check the Delay option to enable delay for the stereo output, and set the delay
time in ms.
Delay is only applied to SDI outputs if the SDI card Delay parameter is set to Embedder.
· Wordlength – choose from the available drop-down menu options.
When 16 or 20-bit are selected, dither is automatically applied.

25. Appendices
25.10 VCA, Surround, Link & Couple Masters: Master/Slave

Behaviour
The master/slave behaviour of VCA, Surround VCA, Link and Couple masters vary depending on the parameter
and type. Firstly, each parameter behaves according to a mode:
· Relative Control – these parameters are controlled relatively, allowing you to offset slave positions.
· Absolute Control - these parameters are set by the master; any change is inherited by all slaves.
· On Master – for some switches the parameter can be switched ON from a master but not OFF. For
example, you can use a VCA master MUTE button to mute all slaves, and then individually unmute
slaves.
· Off Master – for other switches the parameter can be switched OFF by a master but not ON.
The following conditions affect what happens when channels are linked or unlinked:
· Apply on Assign – the parameter value of the master is added to the slave channel when a link is
created.
· Restore – the parameter value of the master is subtracted from the slave channel when a link is removed.
Some special conditions apply to faders and AFV:
· Relative Faders – this condition sets whether slave faders are moving (Relative Fader OFF) or non-
moving (Relative Fader ON).
· Slave Controls Master – this condition determines whether a change on a slave fader updates the
master.
· Invert - for the Audio Follow Video enable parameter (ON function), the Invert condition inverts settings
between the master and slave.
These conditions apply to Link groups:
· Ignore Module Link – this condition means that a parameter is linked as soon as a Link group is
created, whether any modules are selected for linking or not.
· Ignore Suspend - this condition means that the parameter cannot be suspended from the link or couple.
Each mode and condition can differ between a VCA, a Surround VCA, a Link or the Couple master so please use
the following tables to check the behaviour for specific parameters.
Remember that when using VCA grouping, slave faders can be moving or non-moving, defined by the Relative
Slave faders option in the System Settings display. For all other group types (Surround VCAs, Links and the
Couple group), slave faders always move.
25.10.1 VCA MasterTable

VCA Master Table
Parameter Mode Slave Apply Restore Relative Slave Invert Ignore Ignore
Operation On Fader Controls Module Suspend
Assign Master Link
Isolate ON_MASTER On Off Off Off Off Off Off Off
DigiAmp level RELATIVE On Off Off On Off Off Off Off
DigiAmp on ON_MASTER On Off Off Off Off Off Off Off
Module link OFF On Off Off Off Off Off Off Off
Input gain RELATIVE On Off Off Off Off Off Off Off
Input balance RELATIVE On Off Off Off Off Off Off Off
Input phase revert
ON_MASTER On Off Off Off Off Off Off Off
left

25. Appendices
VCA Master Table
Assign Master Link
Input phase revert
ON_MASTER On Off Off Off Off Off Off Off
right
Input stereo swap ON_MASTER On Off Off Off Off Off Off Off
Input left to both ON_MASTER On Off Off Off Off Off Off Off
Input right to both ON_MASTER On Off Off Off Off Off Off Off
Input M/S matrix ON_MASTER On Off Off Off Off Off Off Off
Input mono ON_MASTER On Off Off Off Off Off Off Off
Insert send level RELATIVE On Off Off On Off Off Off Off
Insert on OFF_MASTER On Off Off Off Off Off Off Off
Insert level bypass OFF On Off Off Off Off Off Off Off
Insert soft clip OFF On Off Off Off Off Off Off Off
Insert meter source OFF On Off Off Off Off Off Off Off
Equalizer 1 to 4 gain RELATIVE On Off Off Off Off Off Off Off
Equalizer 1 to 4
ABSOLUTE On Off Off Off Off Off Off Off
frequency
Equalizer 1 to 4 Q ABSOLUTE On Off Off Off Off Off Off Off
Equalizer 1 to 4 on OFF_MASTER On Off Off Off Off Off Off Off
Equalizer 1 to 4
slope
Equalizer 1 to 4 type ABSOLUTE On Off Off Off Off Off Off Off
Equalizer 2 & 3
notch
Equalizer on ON_MASTER On Off Off Off Off Off Off Off
Filter /SCF gain RELATIVE On Off Off Off Off Off Off Off
Filter/SCF frequency ABSOLUTE On Off Off Off Off Off Off Off
Filter/SCF Q ABSOLUTE On Off Off Off Off Off Off Off
Filter/SCF 1 & 2 on OFF_MASTER On Off Off Off Off Off Off Off
Filter/SCF slope ABSOLUTE On Off Off Off Off Off Off Off
Filter/SCF type ABSOLUTE On Off Off Off Off Off Off Off
Filter/SCF on ON_MASTER On Off Off Off Off Off Off Off
Delay time RELATIVE On Off Off Off Off Off Off Off
Delay on ON_MASTER On Off Off Off Off Off Off Off

25. Appendices
VCA Master Table
Assign Master Link
Image width RELATIVE On Off Off Off Off Off Off Off
Image position RELATIVE On Off Off Off Off Off Off Off
Image on ON_MASTER On Off Off Off Off Off Off Off
Image style ABSOLUTE On Off Off Off Off Off Off Off
Direct out level RELATIVE On On On On Off Off Off Off
Direct on OFF_MASTER On Off Off Off Off Off Off Off
Direct out level
OFF On Off Off Off Off Off Off Off
bypass
Direct out soft clip OFF On Off Off Off Off Off Off Off
Aux send level RELATIVE On On On On Off Off Off Off
Aux send
RELATIVE On On On Off Off Off Off Off
pan/balance
Aux send on ON_MASTER On Off Off Off Off Off Off Off
Aux send mix cue OFF On Off Off Off Off Off Off Off
Aux send
independent
Metering position ABSOLUTE On Off Off Off Off Off Off Off
Direct out position ABSOLUTE On Off Off Off Off Off Off Off
Track path position ABSOLUTE On Off Off Off Off Off Off Off
Track switch ABSOLUTE On Off Off Off Off Off Off Off
Aux send position ABSOLUTE On Off Off Off Off Off Off Off
Channel module
order
Fader Level RELATIVE On On On On Off Off Off Off
Mute ON_MASTER On Off Off Off Off Off Off Off
Left-right panning RELATIVE On Off Off Off Off Off Off Off
Front-back panning RELATIVE On Off Off Off Off Off Off Off
Pan slope RELATIVE On Off Off Off Off Off Off Off
LFE level RELATIVE On Off Off On Off Off Off Off
Hyperpan front width ABSOLUTE On Off Off Off On Off Off Off
Hyperpan back width ABSOLUTE On Off Off Off On Off Off Off

25. Appendices
VCA Master Table
Assign Master Link
Hyperpan depth ABSOLUTE On Off Off Off On Off Off Off
Hyperpan turn RELATIVE On Off Off Off Off Off Off Off
Pan on ON_MASTER On Off Off Off Off Off Off Off
Pan mode center-flat ON_MASTER On Off Off Off Off Off Off Off
Hyperpan on ON_MASTER On Off Off Off Off Off Off Off

Hyperpan turn pre
ABSOLUTE On Off Off Off On Off Off Off
pan
Direct out balance OFF On Off Off Off Off Off Off Off
Busses ON_MASTER On Off Off Off Off Off Off Off
PFL ABSOLUTE On Off Off Off Off Off Off Off
AFL ABSOLUTE On Off Off Off Off Off Off Off
DirOut mute by fader ABSOLUTE On Off Off Off Off Off Off Off
Coordination ON_MASTER On Off Off Off Off Off Off Off
Conference ON_MASTER On Off Off Off Off Off Off Off
AfV on level RELATIVE On Off Off On Off Off Off Off
AfV off level RELATIVE On Off Off On Off Off Off Off
AfV attack time RELATIVE On Off Off Off Off Off Off Off
AfV hold time RELATIVE On Off Off Off Off Off Off Off
AfV release time RELATIVE On Off Off Off Off Off Off Off
AfV event number ABSOLUTE On Off Off Off Off Off Off Off
AfV state ABSOLUTE On Off Off Off Off Off Off Off
AfV enable OFF_MASTER On Off Off Off Off On Off Off
AfV event state ABSOLUTE On Off Off Off Off Off Off Off
AfV max event time RELATIVE On Off Off Off Off Off Off Off
Module Link OFF On Off Off Off Off Off Off Off
Channel source
selection
25.10.2 Surround VCA Master Table

Note that analog input gain is not linked by the Surround VCA Master; only digital input gain for AES or MADI
sources is linked when using a Surround VCA Master.

25. Appendices
Surround VCA Master Table
Apply Slave Ignore

Slave Relative Ignore
Parameter Mode On Restore Controls Invert Module
Operation Fader Suspend
Assign Master Link
Isolate ABSOLUTE On Off Off Off Off Off Off Off
DigiAmp level RELATIVE On Off Off Off Off Off Off Off
DigiAmp on ABSOLUTE On On On Off Off Off Off Off
Input phase revert
ABSOLUTE On On On Off Off Off Off Off
left
Input phase revert
right
Input stereo swap ABSOLUTE On On On Off Off Off Off Off
Input left to both ABSOLUTE On On On Off Off Off Off Off
Input right to both ABSOLUTE On On On Off Off Off Off Off
Input M/S matrix ABSOLUTE On On On Off Off Off Off Off
Input mono ABSOLUTE On On On Off Off Off Off Off
Insert send level RELATIVE On Off Off Off Off Off Off Off
Insert on ON_MASTER On On On Off Off Off Off Off
Equalizer 1 to 4
frequency
Equalizer 1 to 4 Q ABSOLUTE On On On Off Off Off Off Off
Equalizer 1 to 4 on ABSOLUTE On On On Off Off Off Off Off
Equalizer 1 to 4
slope
Equalizer 1 to 4 type ABSOLUTE On On On Off Off Off Off Off
Equalizer 2 & 3
notch
Equalizer on ABSOLUTE On On On Off Off Off Off Off
Filter/SCF gain RELATIVE On Off Off Off Off Off Off Off
Filter/SCF frequency ABSOLUTE On On On Off Off Off Off Off
Filter/SCF Q ABSOLUTE On On On Off Off Off Off Off

25. Appendices
Apply Slave Ignore

Assign Master Link
Filter/SCF 1 & 2 on ABSOLUTE On On On Off Off Off Off Off
Filter/SCF slope ABSOLUTE On On On Off Off Off Off Off
Filter/SCF type ABSOLUTE On On On Off Off Off Off Off
Filter on ABSOLUTE On On On Off Off Off Off Off
Expander threshold ABSOLUTE On On On Off Off Off Off Off
Expander gain ABSOLUTE On On On Off Off Off Off Off
Expander ratio ABSOLUTE On On On Off Off Off Off Off
Expander attack ABSOLUTE On On On Off Off Off Off Off
Expander hold ABSOLUTE On On On Off Off Off Off Off
Expander release ABSOLUTE On On On Off Off Off Off Off
Expander delay ABSOLUTE On On On Off Off Off Off Off
Expander on ABSOLUTE On On On Off Off Off Off Off
Gate threshold ABSOLUTE On On On Off Off Off Off Off
Gate floor ABSOLUTE On On On Off Off Off Off Off
Gate hysteresis ABSOLUTE On On On Off Off Off Off Off
Gate attack ABSOLUTE On On On Off Off Off Off Off
Gate hold ABSOLUTE On On On Off Off Off Off Off
Gate release ABSOLUTE On On On Off Off Off Off Off
Gate delay ABSOLUTE On On On Off Off Off Off Off
Gate on ABSOLUTE On On On Off Off Off Off Off

Gate SCF on ABSOLUTE On On On Off Off Off Off Off
Gate external key on ABSOLUTE On On On Off Off Off Off Off
Gate external key ABSOLUTE On On On Off Off Off Off Off
Compressor
threshold
Compressor gain ABSOLUTE On On On Off Off Off Off Off
Compressor ratio ABSOLUTE On On On Off Off Off Off Off
Compressor attack ABSOLUTE On On On Off Off Off Off Off
Compressor hold ABSOLUTE On On On Off Off Off Off Off
Compressor
release
Compressor delay ABSOLUTE On On On Off Off Off Off Off
Compressor on ABSOLUTE On On On Off Off Off Off Off

25. Appendices
Apply Slave Ignore

Assign Master Link
Compressor SCF on ABSOLUTE On On On Off Off Off Off Off
Compressor
external key on
Compressor
external key
Compressor soft
knee
Limiter threshold ABSOLUTE On On On Off Off Off Off Off
Limiter gain ABSOLUTE On On On Off Off Off Off Off
Limiter hysteresis OFF On Off Off Off Off Off Off Off
Limiter attack ABSOLUTE On On On Off Off Off Off Off
Limiter hold ABSOLUTE On On On Off Off Off Off Off
Limiter release ABSOLUTE On On On Off Off Off Off Off
Limiter delay ABSOLUTE On On On Off Off Off Off Off
Limiter on ABSOLUTE On On On Off Off Off Off Off
Limiter soft knee ABSOLUTE On On On Off Off Off Off Off
Delay on ABSOLUTE On On On Off Off Off Off Off
Image on ABSOLUTE On On On Off Off Off Off Off
Image style ABSOLUTE On On On Off Off Off Off Off
Direct out level RELATIVE On Off Off Off Off Off Off Off
Direct on ABSOLUTE On On On Off Off Off Off Off
Direct out level
bypass
Aux send level RELATIVE On Off Off Off Off Off Off Off
Aux send
RELATIVE On Off Off Off Off Off Off Off
pan/balance
Aux send on ABSOLUTE On On On Off Off Off Off Off

25. Appendices
Apply Slave Ignore

Assign Master Link
Aux send
independent
Metering position ABSOLUTE On On On Off Off Off Off Off
Direct out position ABSOLUTE On On On Off Off Off Off Off

Track path position ABSOLUTE On On On Off Off Off Off Off
Track switch ABSOLUTE On On On Off Off Off Off Off
Aux send position ABSOLUTE On On On Off Off Off Off Off
Channel module
order
Fader Level RELATIVE On Off Off Off Off Off Off Off
Mute ON_MASTER On On On Off Off Off Off Off
LFE level RELATIVE On Off Off Off Off Off Off Off
Hyperpan front width ABSOLUTE On On Off Off On Off Off Off
Hyperpan back width ABSOLUTE On On Off Off On Off Off Off
Hyperpan depth ABSOLUTE On On Off Off On Off Off Off
Pan on ABSOLUTE On On On Off Off Off Off Off
Pan mode center-flat ABSOLUTE On On On Off Off Off Off Off
Hyperpan on ABSOLUTE On Off Off Off Off Off Off Off
Hyperpan turn pre
ABSOLUTE On On On Off On Off Off Off
pan
Direct out balance OFF On Off Off Off Off Off Off Off
Busses ABSOLUTE On On On Off Off Off Off Off
PFL ABSOLUTE On Off Off Off Off Off Off Off
AFL ABSOLUTE On Off Off Off Off Off Off Off
DirOut mute by fader ABSOLUTE On On On Off Off Off Off Off
Coordination ON_MASTER On On On Off Off Off Off Off

25. Appendices
Apply Slave Ignore

Assign Master Link
Conference ON_MASTER On On On Off Off Off Off Off
AfV on level RELATIVE On Off Off Off Off Off Off Off
AfV off level RELATIVE On Off Off Off Off Off Off Off
AfV attack time ABSOLUTE On On On Off Off Off Off Off
AfV hold time ABSOLUTE On On On Off Off Off Off Off

AfV release time ABSOLUTE On On On Off Off Off Off Off
AfV event number ABSOLUTE On On On Off Off Off Off Off
AfV state ABSOLUTE On On On Off Off Off Off Off
AfV enable OFF_MASTER On Off On Off Off On Off Off
AfV event state ABSOLUTE On On On Off Off Off Off Off
AfV hold time ABSOLUTE On On On Off Off Off Off Off
AfV max event time ABSOLUTE On On On Off Off Off Off Off
Channel source
selection
25.10.3 Link Group Master Table

Link Group Master Table
Apply Slave Ignore
Assign Master Link
Isolate ABSOLUTE On Off Off Off Off Off On Off
DigiAmp on ABSOLUTE On Off Off Off Off Off Off Off
Input phase revert
left
Input phase revert
right
Input stereo swap ABSOLUTE On Off Off Off Off Off Off Off
Input left to both ABSOLUTE On Off Off Off Off Off Off Off
Input right to both ABSOLUTE On Off Off Off Off Off Off Off
Input M/S matrix ABSOLUTE On Off Off Off Off Off Off Off
Input mono ABSOLUTE On Off Off Off Off Off Off Off

25. Appendices
Apply Slave Ignore

Assign Master Link
Insert on ABSOLUTE On Off Off Off Off Off Off Off
Insert meter source ABSOLUTE On Off Off Off Off Off Off Off
Equalizer 1 to 4
frequency
Equalizer 1 to 4 Q RELATIVE On Off Off Off Off Off Off Off
Equalizer 1 to 4 on ABSOLUTE On Off Off Off Off Off Off Off
Equalizer 1 to 4
slope
Equalizer 2 & 3
notch
Equalizer on ABSOLUTE On Off Off Off Off Off Off Off
Filter/SCF frequency RELATIVE On Off Off Off Off Off Off Off
Filter/SCF Q RELATIVE On Off Off Off Off Off Off Off
Filter/SCF 1 & 2 on ABSOLUTE On Off Off Off Off Off Off Off
Filter on ABSOLUTE On Off Off Off Off Off Off Off
Expander threshold RELATIVE On Off Off Off Off Off Off Off
Expander gain RELATIVE On Off Off Off Off Off Off Off
Expander ratio RELATIVE On Off Off Off Off Off Off Off
Expander attack RELATIVE On Off Off Off Off Off Off Off
Expander hold RELATIVE On Off Off Off Off Off Off Off
Expander release RELATIVE On Off Off Off Off Off Off Off
Expander delay RELATIVE On Off Off Off Off Off Off Off
Expander on ABSOLUTE On Off Off Off Off Off Off Off
Gate threshold RELATIVE On Off Off Off Off Off Off Off

25. Appendices
Apply Slave Ignore

Assign Master Link
Gate floor RELATIVE On Off Off Off Off Off Off Off
Gate hysteresis RELATIVE On Off Off Off Off Off Off Off
Gate attack RELATIVE On Off Off Off Off Off Off Off
Gate hold RELATIVE On Off Off Off Off Off Off Off
Gate release RELATIVE On Off Off Off Off Off Off Off
Gate delay RELATIVE On Off Off Off Off Off Off Off
Gate on ABSOLUTE On Off Off Off Off Off Off Off
Gate SCF on OFF On Off Off Off Off Off Off Off
Gate external key on OFF On Off Off Off Off Off Off Off
Gate external key OFF On Off Off Off Off Off Off Off
Compressor
threshold
Compressor gain RELATIVE On Off Off Off Off Off Off Off
Compressor ratio RELATIVE On Off Off Off Off Off Off Off
Compressor attack RELATIVE On Off Off Off Off Off Off Off
Compressor hold RELATIVE On Off Off Off Off Off Off Off
Compressor
release
Compressor delay RELATIVE On Off Off Off Off Off Off Off
Compressor on ABSOLUTE On Off Off Off Off Off Off Off
Compressor SCF on OFF On Off Off Off Off Off Off Off
Compressor
external key on
Compressor
external key
Compressor soft
knee
Limiter threshold RELATIVE On Off Off Off Off Off Off Off
Limiter gain RELATIVE On Off Off Off Off Off Off Off
Limiter hysteresis RELATIVE On Off Off Off Off Off Off Off
Limiter attack RELATIVE On Off Off Off Off Off Off Off
Limiter hold RELATIVE On Off Off Off Off Off Off Off
Limiter release RELATIVE On Off Off Off Off Off Off Off
Limiter delay RELATIVE On Off Off Off Off Off Off Off
Limiter on ABSOLUTE On Off Off Off Off Off Off Off

25. Appendices
Apply Slave Ignore

Assign Master Link
Limiter soft knee ABSOLUTE On Off Off Off Off Off Off Off
Delay on ABSOLUTE On Off Off Off Off Off Off Off
Image on ABSOLUTE On Off Off Off Off Off Off Off
Direct out level RELATIVE On Off Off Off On Off Off Off
Direct on ABSOLUTE On Off Off Off On Off Off Off
Direct out level
ABSOLUTE On Off Off Off On Off Off Off
bypass
Direct out soft clip ABSOLUTE On Off Off Off On Off Off Off
Aux send
pan/balance
Aux send on ABSOLUTE On Off Off Off Off Off Off Off
Aux send
independent
Channel module
order
Module link OFF Off Off Off Off Off Off Off Off
Mute ABSOLUTE On Off Off Off Off Off Off Off

25. Appendices
Apply Slave Ignore

Assign Master Link
Hyperpan front width RELATIVE On Off Off Off Off Off Off Off
Hyperpan back width RELATIVE On Off Off Off Off Off Off Off
Hyperpan depth RELATIVE On Off Off Off Off Off Off Off
Pan on ABSOLUTE On Off Off Off Off Off Off Off
Pan mode center-flat ABSOLUTE On Off Off Off Off Off Off Off
Hyperpan turn pre
pan
Direct out balance ABSOLUTE On Off Off Off Off Off Off Off
Busses ABSOLUTE On Off Off Off Off Off Off Off
PFL OFF On Off Off Off Off Off Off Off
AFL OFF On Off Off Off Off Off Off Off
DirOut mute by fader OFF On Off Off Off Off Off Off Off
Coordination OFF On Off Off Off Off Off Off Off
Conference OFF On Off Off Off Off Off Off Off
AfV enable ABSOLUTE On Off Off Off Off Off Off Off
Channel source
selection

25. Appendices
25.10.4 Couple Group Master Table

Couple Group Master Table
Apply Slave Ignore

Assign Master Link
Isolate ABSOLUTE On Off Off Off Off Off Off Off
DigiAmp on ABSOLUTE On Off Off Off Off Off Off Off
Input phase revert
left ABSOLUTE On Off Off Off Off Off Off Off
Input phase revert
right ABSOLUTE On Off Off Off Off Off Off Off
Input stereo swap ABSOLUTE On Off Off Off Off Off Off Off
Input left to both ABSOLUTE On Off Off Off Off Off Off Off
Input right to both ABSOLUTE On Off Off Off Off Off Off Off
Input M/S matrix ABSOLUTE On Off Off Off Off Off Off Off
Input mono ABSOLUTE On Off Off Off Off Off Off Off
Insert on ABSOLUTE On Off Off Off Off Off Off Off
Equalizer 1 to 4
frequency RELATIVE On Off Off Off Off Off Off Off
Equalizer 1 to 4 Q RELATIVE On Off Off Off Off Off Off Off
Equalizer 1 to 4 on ABSOLUTE On Off Off Off Off Off Off Off
Equalizer 1 to 4
slope ABSOLUTE On Off Off Off Off Off Off Off
Equalizer 2 & 3
notch ABSOLUTE On Off Off Off Off Off Off Off
Equalizer on ABSOLUTE On Off Off Off Off Off Off Off
Filter/SCF frequency RELATIVE On Off Off Off Off Off Off Off

25. Appendices
Apply Slave Ignore

Assign Master Link
Filter/SCF Q RELATIVE On Off Off Off Off Off Off Off
Filter/SCF 1 & 2 on ABSOLUTE On Off Off Off Off Off Off Off
Filter on ABSOLUTE On Off Off Off Off Off Off Off

Expander threshold RELATIVE On Off Off Off Off Off Off Off
Expander gain RELATIVE On Off Off Off Off Off Off Off
Expander ratio RELATIVE On Off Off Off Off Off Off Off
Expander attack RELATIVE On Off Off Off Off Off Off Off
Expander hold RELATIVE On Off Off Off Off Off Off Off
Expander release RELATIVE On Off Off Off Off Off Off Off
Expander delay RELATIVE On Off Off Off Off Off Off Off
Expander on ABSOLUTE On Off Off Off Off Off Off Off
Gate threshold RELATIVE On Off Off Off Off Off Off Off
Gate floor RELATIVE On Off Off Off Off Off Off Off
Gate hysteresis RELATIVE On Off Off Off Off Off Off Off
Gate attack RELATIVE On Off Off Off Off Off Off Off
Gate hold RELATIVE On Off Off Off Off Off Off Off
Gate release RELATIVE On Off Off Off Off Off Off Off
Gate delay RELATIVE On Off Off Off Off Off Off Off
Gate on ABSOLUTE On Off Off Off Off Off Off Off
Gate SCF on ABSOLUTE On Off Off Off Off Off Off Off
Gate external key on ABSOLUTE On Off Off Off Off Off Off Off
Gate external key ABSOLUTE On Off Off Off Off Off Off Off
Compressor
threshold RELATIVE On Off Off Off Off Off Off Off
Compressor gain RELATIVE On Off Off Off Off Off Off Off
Compressor ratio RELATIVE On Off Off Off Off Off Off Off
Compressor attack RELATIVE On Off Off Off Off Off Off Off
Compressor hold RELATIVE On Off Off Off Off Off Off Off
Compressor
release RELATIVE On Off Off Off Off Off Off Off
Compressor delay RELATIVE On Off Off Off Off Off Off Off

25. Appendices
Apply Slave Ignore

Assign Master Link
Compressor on ABSOLUTE On Off Off Off Off Off Off Off
Compressor SCF on ABSOLUTE On Off Off Off Off Off Off Off
Compressor
external key on ABSOLUTE On Off Off Off Off Off Off Off
Compressor
external key ABSOLUTE On Off Off Off Off Off Off Off
Compressor soft
knee ABSOLUTE On Off Off Off Off Off Off Off
Limiter threshold RELATIVE On Off Off Off Off Off Off Off
Limiter gain RELATIVE On Off Off Off Off Off Off Off
Limiter hysteresis RELATIVE On Off Off Off Off Off Off Off
Limiter attack RELATIVE On Off Off Off Off Off Off Off
Limiter hold RELATIVE On Off Off Off Off Off Off Off
Limiter release RELATIVE On Off Off Off Off Off Off Off
Limiter delay RELATIVE On Off Off Off Off Off Off Off
Limiter on ABSOLUTE On Off Off Off Off Off Off Off
Limiter soft knee ABSOLUTE On Off Off Off Off Off Off Off
Delay on ABSOLUTE On Off Off Off Off Off Off Off
Image on ABSOLUTE On Off Off Off Off Off Off Off
Direct out level RELATIVE On Off Off Off Off Off Off Off
Direct on ABSOLUTE On Off Off Off Off Off Off Off
Direct out level
bypass OFF On Off Off Off Off Off Off Off
Aux send
pan/balance RELATIVE On Off Off Off Off Off Off Off
Aux send on ABSOLUTE On Off Off Off Off Off Off Off

25. Appendices
Apply Slave Ignore

Assign Master Link
Aux send
independent OFF On Off Off Off Off Off Off Off
Channel module
order ABSOLUTE On Off Off Off Off Off Off Off
Mute ABSOLUTE On Off Off Off Off Off Off Off
Hyperpan front width RELATIVE On Off Off Off Off Off Off Off
Hyperpan back width RELATIVE On Off Off Off Off Off Off Off
Hyperpan depth RELATIVE On Off Off Off Off Off Off Off
Pan on ABSOLUTE On Off Off Off Off Off Off Off
Pan mode center-flat ABSOLUTE On Off Off Off Off Off Off Off
Hyperpan turn pre
pan ABSOLUTE On Off Off Off Off Off Off Off
Direct out balance ABSOLUTE On Off Off Off Off Off Off Off
Busses ABSOLUTE On Off Off Off Off Off Off Off
PFL OFF On Off Off Off Off Off Off Off
AFL OFF On Off Off Off Off Off Off Off
DirOut mute by fader ABSOLUTE On Off Off Off Off Off Off Off

25. Appendices
Apply Slave Ignore

Assign Master Link
Coordination ABSOLUTE On Off Off Off Off Off Off Off
Conference ABSOLUTE On Off Off Off Off Off Off Off
AfV enable ABSOLUTE On Off Off Off Off Off Off Off
Channel source
selection ABSOLUTE On Off Off Off Off Off Off Off

Mc256MKIII Operators Manual V5160 DRAFT1

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mc²56 MKIII

To obtain the latest documentation and software downloads, please visit:

© Lawo AG, 2018

2. Important Safety Instructions ................................................................................................................ 5

4. Front Panel Controls ............................................................................................................................ 9

5. Working with the Central GUI .............................................................................................................. 25

6. Selecting a Channel ........................................................................................................................... 40

7. Getting Started .................................................................................................................................. 46

8. Signal Flow Configuration .................................................................................................................... 69

9. Control Surface Configuration .............................................................................................................. 91

10. Channel Operations .......................................................................................................................... 116

11. Stereo Channels .............................................................................................................................. 184

12. Surround Channels ........................................................................................................................... 192

13. Metering .......................................................................................................................................... 219

14. Monitoring & Talkback ...................................................................................................................... 236

15. Control Channels & Grouping ............................................................................................................ 243

16. Console Reset ................................................................................................................................. 256

17. Timecode Automation ....................................................................................................................... 366

18. Signal Routing & Settings ................................................................................................................. 435

19. mxDSP ........................................................................................................................................... 483

20. System Configuration ....................................................................................................................... 496

21. mxGUI ............................................................................................................................................ 579

22. Lawo Remote App ............................................................................................................................ 621

23. Fault Finding & Diagnostics .............................................................................................................. 634

24. Trouble-shooting ............................................................................................................................... 644

25. Appendices ..................................................................................................................................... 650

mc²56 MKIII Operators Manual Version: 5.16.0/DRAFT1 3/686

About this Manual

Notes - points of clarification.

Tips - useful tips and short cuts.

WARNINGS: Alert you when an action should always be observed.

Lawo User Registration

4/686 Version: 5.16.0/DRAFT1 mc²56 MKIII Operators Manual

2. Important Safety Instructions

mc²56 MKIII Operators Manual Version: 5.16.0/DRAFT1 5/686

Signal Flow: Broadcast Channels

6/686 Version: 5.16.0/DRAFT1 mc²56 MKIII Operators Manual

Stereo & Surround

Banks & Layers

Console Reset & Automation

mc²56 MKIII Operators Manual Version: 5.16.0/DRAFT1 7/686

KICK - viewed on Central GUI Waves SoundGrid Server

Note that all included options are described in this manual.

8/686 Version: 5.16.0/DRAFT1 mc²56 MKIII Operators Manual

4. Front Panel Controls

mc²56 MKIII Operators Manual Version: 5.16.0/DRAFT1 9/686

4.1 Surface Overview

1 Channel Displays - metering and touch-screen operation of channel assignments.

10/686 Version: 5.16.0/DRAFT1 mc²56 MKIII Operators Manual

4.2 Console Variants

mc²56 MKIII Operators Manual Version: 5.16.0/DRAFT1 11/686

4.3 The Channel Display

12/686 Version: 5.16.0/DRAFT1 mc²56 MKIII Operators Manual

4.3.1 Touch-screen Operations

Bus Assign Metering Options Mini Display Assign

1. Touch the screen to edit the channel's bus or group assignments.

4.3.2 Local BANK/LAYER Switching & ISO Bay