lawo crystal operators manual v4.2 1

Operators Manual

crystal

Version: 4.2/1

Edition: 13 December 2013

Copyright

All rights reserved. Permission to reprint or electronically reproduce any document or graphicin 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 beguaranteed 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 forcorrectness 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, 2013

V4.2/1

Table of Contents

crystal Operators Manual 3

Table of Contents

Welcome to crystal 4

Changes to This Manual 5

Important Safety Instructions 7

Overview 9

Getting Started 23

Console Operation 31

The Standard Templates 98

VisTool Operation 143

Glossary 197

V4.2/14 crystal Operators Manual

Welcome to crystal

Welcome to crystal

Welcome to the crystal digital broadcast mixing console, Lawo’spurpose designed solution for on-air and production.

This documentation is designed for users of the console. Itcovers the console and all options.

You can access more information by registering at www.lawo.de (click on Login). By registering youwill receive the latest news for your product, and can download software and documentation.

Getting started – Operation

Read Getting Started and Console Operation to familiarise yourself with the basics.

Refer to VisTool Operation to learn about this option.

Go to Key Panels to learn more about the external Key Panel options.

For information on installing and configuring the console, please refer to the crystal TechnicalManual.

Marginal Notes

The following symbols are used to draw your attention to:

Points of clarification.

Useful tips and short cuts.

Warning

Warnings – alert you when an action should always be observed.

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crystal Operators Manual V4.2/1 5

Changes to This Manual


Version 4.2/1 (Edition: December 13th 2013, SMcD) - valid from build V4.2.x.x.

New crystal features:

crystal - supports up to 24 channel faders.

Loudness Metering (#10589) - both crystal and sapphire are enabled for loudness metering.

Ember+ Control (#10591) - both crystal and sapphire can act as Ember+ providers andconsumers. This allows external devices to remotely control parameters within the console,or the console to control parameters within an external device.

Minimixer (#10633) - two new level parameters (Level Left & Level Right) to permit outputlevel balancing have been added to the Minimixer function. The Minimixer Signal Flow diagramhas been updated.

Source -> Minimixer (#10634) - this new Source element type allows you to control any levelfrom a console fader, see Fader Control of Levels.

Source -> Jade (#10540) - this new Source element type allows you to interface to Lawo'sJADE (Journalist Audio Distribution Engine).

Logic -> MUX/DEMUX8 (#10632) - a new logic element has been added.

Source -> MF Keys: Voice Music Bus Control (#10635) - a new MF1 Key Mode allows MFKey 1 to operate normally, or to enable/disable automatic switching onto a Voice or Music bus.

System -> Definition -> Parameter = PowerUp - a new Audio to Backplane state has beenadded.

System -> Definition -> Parameter = Description (#11128) - the new Description elementallows you to enter text (to describe the project and system); the text is then displayed in theWeb Brower Interface.

System -> Definition -> Parameter = Local Consumers/Providers (#11111) - these newelements support Ember+ consumer and provider control.

System -> Definition -> Parameter = Matrix Ember+ - this new element allows you toremotely control, or be controlled by, an external matrix (via Ember+).

Save Project to/Load Project From Unit (#11115) - these options save and load thesystem configuration to/from the crystal control system. This allows you to store theconfiguration on the unit, and download it to another computer at a later date.

New VisTool MK2 features:

System Requirements - the System Requirements have been revised.

Licensing via Hardware Dongles (#10625) - the software license can now be activated byhardware dongles. Plus it is possible to enable server-based licensing to move licenses fromPC to PC or licensing on virtual machines.

Ember+ Control - for on-screen parameter control and metering of a remote Ember+ device.

Fader Control in VisTool (#6926) - a graphical Fader element has been added to enablefader value control directly through the GUI.



Loudness Metering (#10589) - Loudness metering elements have been added to supportmomentary, short term or integrated loudness measurements.

Stereo Correlation Meter - a PPM Correlator element has been added.

Overlay Elements - the Overlay element allows you to create an overlay area, linked to anynumber of other elements, which appear when the overlay is active. For example, to showand hide a set of menu options.

Box Elements - Box elements have been added to the Simple category.

Element Reorganisation - the Other and User elements have been reorganised.

User Graphics - user graphics are now stored as part of the VisTool project.

Display Snapshot Name (#7682) - a new option has been added to the MF Key functions sothat the current snapshot name (the last snapshot saved or loaded) may be displayed as textin any Button or Box element.

DMS Meter Grouping (#9224) - the 256 DMS meters are presented in four Groups of 64 (tomatch the system configuration).

Element Functions - the right-click Element functions have a new layout.

Main Menus - two new main menus (DMS and Docks) have been added.

Page Options - a new Rescale option has been added.

Project Settings - new Project Settings to set the grid size and virtual keyboard have beenadded.

VisAdmin (#11845) - a new Overview window provides access to DMS ServiceAdministration and DMS Service Host settings.

VisAdmin Session Management (#11843) - a new Session Management window supportsmultiple sapphire/crystal/Nova29 runtime sessions from a single PC. You can also configurefull screen or frame-less windows (to integrate VisTool alongside other applications).

Version 4.0/6 (Edition: July 26th 2012, SMcD) - a reworking of the manual, valid from build V4.0.x.x


Important Safety Instructions


Warning

Exposure to excessive sound pressure levels can lead to impaired hearing and causedamage to the ear.

Please read and observe ALL of the following notes:

Check all of the hardware devices for transport damage.

Any devices showing signs of mechanical damage or damage from the spillage ofliquids MUST NOT be connected to the mains supply or disconnected from themains immediately by pulling out the power lead.

All devices MUST be grounded. Grounding connectors are provided on all devices.In addition, all low-voltage devices external to the system must also be groundedbefore operation.

For Scandinavian countries, ALWAYS use a grounded mains connection, toprevent the device from being grounded through Ethernet or other signalconnections.

All devices MUST be connected to the mains using the three-cord power leadssupplied with the system. Only supply electrical interfaces with the voltages andsignals described in these instructions.

Do NOT use the system at extreme temperatures. Proper operation can only be

guaranteed between temperatures of 10 C and 35 C and a maximum relativehumidity of 85%.

Neutrik PowerCon and Harting connectors must NOT be disconnected under load.

Only service staff may replace batteries.

Servicing of components inside a device MUST only be carried out by qualifiedservice personnel according to the following guidelines:

o Before removing parts of the casing, shields, etc. the device MUST be switchedoff and disconnected from all mains.

o Before opening a device, the power supply capacitor MUST be discharged with asuitable resistor.

o Components that carry heavy electrical loads, such as power transistors andresistors, should NOT be touched until cool to avoid burns.

Servicing unprotected powered devices may only be carried out by qualified servicepersonnel at their own risk. The following instructions MUST be observed:

o NEVER touch bare wires or circuitry.

o Use insulated tools ONLY.

o DO NOT touch metal semi-conductor casings as they can bear high voltages.



Defective Parts/Modules

Warning

crystal contains no user-serviceable parts. Therefore DO NOT open the devicesother than to perform the procedures described in this manual.

In the event of a hardware defect, please send the system component to your localservice representative together with a detailed description of the fault. We wouldlike to remind you to please check carefully whether the failure is caused byerroneous configuration, operation or connection before sending parts for repair.We recommend contacting our service department before sending parts for repair.

First Aid (in the case of electric shock)

Warning

DO NOT touch the person or his/her clothing before power is turned off, otherwiseyou risk sustaining an electric shock yourself.

Separate the person as quickly as possible from the electric power source asfollows:

o Switch off the equipment.

o Unplug or disconnect the mains cable.

o Move the person away from the power source by using dry insulating material(such as wood or plastic).

If the person is unconscious:

o Check their pulse and reanimate if their respiration is poor.

o Lay the body down and turn it to one side. Call for a doctor immediately.

Having sustained an electric shock, ALWAYS consult a doctor.


Chapter 1: Overview

Chapter 1: Overview

Introduction

This chapter provides an overview of the crystal and its key features:

System Components

The Control Surface

The Base Unit

VisTool

Key Panels

Configuration and Templates

Signal Flow

Snapshots and User Rights Management

System Networking

Ember+

Software Diagnostics and Maintenance Tools


Chapter 1: OverviewSystem Components

System Components

Each crystal may consist of up to four components:

Control Surface – available in five standard frame sizes ranging from 4 to 16 channel faders.(From Version 4.2 onwards, up to 24 channel faders.)

Base Unit – handling all audio interfacing, routing, control and central signal processing(DSP).

VisTool MK2 (optional) – a software application which runs on an external PC to provide real-time displays and touch-screen control.

Key Panels (optional) – a range of 19”/1RU rack mounted Key Panels to provide additionalkeys, talkback, etc.


Chapter 1: OverviewThe Control Surface

The Control Surface

crystal is available in a choice of frame sizes. Depending on the frame you have chosen, you willhave a number of Fader and Monitor Modules:

Fader Module – provides 4 fader strips each with a dedicated rotary control, fader, ACCESSkey for central assignment and a number of MF (Multi-Function) keys for source-specificcontrol.

Monitor Module – provides stereo metering (including correlation meter), 8 function buttonsfor parameter and snapshot control, plus monitoring sections for loudspeaker and headphonemonitoring.

Any fader strip may control any type of channel (called sources), and sources come pre-configuredwith signal processing (DSP) and functions such as signaling, talkback, conference bussing, etc.

Each frame connects to the Base Unit via the CAN bus, and may be powered from its ownPSU (included) or optional Redundant Power System (951/25).


Chapter 1: OverviewThe Base Unit

The Base Unit

The heart of the crystal is the Base Unit:

Front Panel:

Rear Panel:

This is a 19”/1RU unit which handles the following:

Audio Interfacing – all audio connections are made to and from the base unit. As standardthere are 4 Mic/Line, 4 Line and 4 AES3 inputs, plus 8 Line, 4 AES3 and 2 stereo headphoneoutputs. Two expansion slots at the front of the base unit can be used to fit additional Mic/Line,Line, AES3 or SDI cards. Four MADI ports (64-channels each) provide further audio i/oexpansion and the ability to network the crystal to other Lawo systems.

Signal Processing – a pool of DSP resource provides EQ, Dynamics, Limiting and Delay.Each source is pre-configured so, for example, a DJ Mic may have EQ and Dynamics, whilethe Programme output offers a Limiter.

System Connections – the base unit connects to the control surface using a CAN busconnection. There is also an Ethernet connection for remote PC configuration and Wordclockfor external synchronisation.

External Control - 8 GPIOs are included for signalling and fader starts. In addition, the RS-422 port provides connection to radio automation systems.


Chapter 1: OverviewVisTool

VisTool

VisTool MK2 is a software application which runs on an external PC and works in real time withLawo's crystal, sapphire, zirkon, Nova17 and Nova29.

Elements such as metering, timers, MF Keys, signaling and parameter displays can be viewed andcontrolled from an external monitor connected to the VisTool PC:

Stand-alone Monitor

The VisTool PC is not included and must be provided by the customer.

You must install a VisTool PC in order to use VisTool snapshots and user rightsmanagement.

To operate VisTool in real time (known as runtime), you must activate one of the following softwarelicences:

VisTool Standard – included free of charge with crystal and sapphire, and activated by theactivation process. This licence runs the standard configuration for your product with a fixedset of pages and elements.

VisTool Unlimited – a paid upgrade available from www.lawo.de. This licence runs anyVisTool start script, including custom configurations designed by VisTool Edit.

VisTool Edit is used to design and build custom VisTool configurations. Eachconfiguration may contain multiple pages with any number of VisTool elements. You canuse VisTool Edit to tweak an existing configuration - for example, to change the meteringlayout or add some MF Keys - or, you can design your own VisTool pages from scratch.Elements may be sized and positioned as required; you can even include your owncustom graphics.

See VisTool Operation.

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Chapter 1: OverviewKey Panels

Key Panels

Up to 15 Key Panels may be added to each system to expand the number of buttons and controls.Different panels feature a range of MF Keys, self-labelling LCD buttons and other controls. Typicalapplications include communications or matrix control.

The key panel options include:

TB-12 – 19”/1RU panel with 12 backlit programmable buttons, talkback microphone andloudspeaker:

KSC-T20 – 19”/1RU panel with 20 backlit programmable buttons:

KSC-LCD16 – 19”/1RU panel with 16 self-labelling LCD buttons:

KSC-LCD15P1 – 19”/1RU panel with 15 self-labelling LCD buttons and 1 rotary control:

KSC-LCD14P2 – 19”/1RU panel with 14 self-labelling LCD buttons and 2 rotary controls:

KSC-GPIO32 – 19”/1RU panel with 32 GPIO contacts and 8 VCA inputs:

For details about the operation of these panels within your studio, please consult your systemsengineer.


Chapter 1: OverviewConfiguration and Templates

Configuration and Templates

The Standard Templates

To make crystal easy to operate ‘out of the box’ without any complex configuration, the console isdelivered with a choice of standard templates:

Radio On-Air – for the self-operated or traditional on-air radio studio.

Radio RAS – for Radio Automation System (RAS) and DJ-operated setups.

Edit Suite – for TV or radio edit suites.

The template defines how many source channels and summing busses you have, where you shouldconnect your audio inputs and outputs, the signal flow for each audio path, what functions areprogrammed onto the control surface MF keys and how the console responds to external controlfunctions such as GPI signals.

For more details, see the Standard Templates.

The Configuration Tool

Each template is transferred to the console using a software application called the zirkonConfiguration Tool. This software can also be used to modify a template or programme a customconfiguration from scratch.

The system configuration defines several key aspects of the mixing allowing it to cover a wide rangeof applications.

The configuration is not an operational tool, but can be used by your systems engineer tocustomise the console for the studio’s requirements.

The configuration is created offline, using a software application called the zirkon Configuration Tool,and then transferred to the console. Once transferred, the configuration resides within the controlsystem (in the Base Unit) and is loaded at boot up.

Settings defined by the configuration include:

Input and Output naming – each input and output is named to clearly identify connections toexternal equipment.

Sources – each source is named (e.g. DJ, CD, etc.) and defined to be mono, stereo, 5.1,5.1/2ch; or used as a MIDI control channel to work with DAWs (like ProTools™).

Summing Busses – each summing bus is named (e.g. GRP 1, AUX ST, etc.) and defined tobe mono, stereo or 5.1.

Signal Processing – EQ, Dynamics, Limiter and Delay are available for all sources, andsome or all summing busses depending on the available resources. In addition, 16 De-Essersmay be configured for any mono source.

Control Surface Layout – the configuration defines which sources are available for faderstrip assignment, and whether the console can be switched to access layers and/or virtualFader Modules.

MF (Multi-Function) Keys – the configuration defines the function and colour coding appliedto all MF Keys. MF Keys are available on the VisTool displays and external Key Panels.


Chapter 1: OverviewConfiguration and Templates

External Control Functions – the configuration also defines how the console responds toexternal control functions such as GPI signals or radio automation systems.

Logic Elements – these elements are used to programme logical functions. For example, ifyou need a function to be triggered by the result of a number of other conditions. Logicelements include OR, AND, NOT, etc.

Connects – "Connect" elements may be configured to control audio connection betweeninputs and outputs. For example, to create a communications system or routing matrix.

Minimixer – this is a stereo-in-stereo-out mix element designed principally for use within themonitor chain of the system. Minimixers offer level control, dim, balance, phase reverse, etc.

In addition to programming and transferring configurations, the Configuration Tool can be used tochange the IP Address of a system.


Chapter 1: OverviewSignal Flow

Signal Flow

Unlike an analogue console with a fixed number of input channels and outputs busses, the crystalprovides a pool of DSP resource which is allocated by the configuration. This means that yourconsole can have a mixture of input channels, groups, mains, auxiliary sends, conference busses,etc. And, that each channel or bus may be allocated signal processing so that you can apply EQ,Dynamics and Delay to both inputs and outputs.

Maximum Resources Available:

Sources

Each input channel on the crystal is called a ‘source’.

Only sources assigned to fader strips are active in the mix; if you remove a source from a fader strip,then you will no longer hear it!

The naming of sources, assignment of signal processing and other attributes are all made within thesystem configuration. Physical inputs are normally ‘hard wired’ to sources. This allows source-specific channel features such as fader start or mic live signaling to follow the source when it isassigned to a different fader strip.

Up to 100 sources may be defined within the configuration, and each may be mono, stereo, 5.1 or5.1/stereo.

Up to 48 (mono) sources may then be summed together simultaneously during a mix.

A stereo source uses two summing resources; a 5.1 source uses 6 summing resources,and so on.

On crystal, not all signal processing modules are available for every source; this depends on theconfiguration, see The Standard Templates.

On crystal, 5.1 sources do NOT support DSP.

See Sources for more on operation.


Chapter 1: OverviewSignal Flow

Summing Busses

Each bus on the crystal is called a ‘summing bus’, and can be mono, stereo or 5.1 (but not 5.1/stereo).

The naming, assignment of signal processing and bus attributes are all made within the console’sconfiguration, so please refer to the standard templates for details.

Up to 32 summing busses (mono) may be defined within the configuration.

A stereo bus uses two and a 5.1 bus uses 6 summing bus resources.

The first pair of busses is pre-defined as stereo PFL 1. This may be inserted into the studio monitors,headphones or output to its own PFL speaker.

The remaining busses are ‘user’ definable within the configuration as:

Normal summing busses – these sums can be allocated DSP, assigned to fader strips andassigned from sources during the show. Typically they are used to create aux sends, groupsor extra main outputs.

GP Sums – General Purpose sums which do not need DSP or control surface assignment.For example, a GP Sum may be used to create a talkback bus.

Conf Busses – Conference busses have special conference facilities for generating a mixminus (N-1).

Your busses should be named to match their application (e.g. AUX 1, GRP 1, PGM, etc.).

The signal flow for each summing bus is the same as for a source, so EQ, Dynamics, Limiter andDelay may be applied depending on the resources allocated within the configuration. On crystal, 5.1summing busses do NOT support DSP.

The configuration defines whether you can re-assign busses from the control surface, or whethersources are ‘hard wired’ to each bus. For example, sources may be ‘hard wired’ to the programmebus for simplicity and security.

If summing busses cannot be assigned to the control surface, then they are output fromthe console at unity gain (0dB).

See Summing Busses for more on operation.


Chapter 1: OverviewSnapshots and User Rights Management

Snapshots and User Rights Management

One of the major benefits of the crystal is the ability to store and recall personal settings.

Each crystal includes 5 internal snapshot memories, and unlimited snapshots may be saved andloaded to and from a VisTool PC:

Local Snapshot Memories VisTool Snapshots

In addition, the User Rights Management system can configure different levels of access for differentusers. It can also define one or more snapshots to load when a user logs in. For example, to load afull snapshot for the type of show, followed by a partial snapshot to recall the settings for theirmicrophone channel.


Chapter 1: OverviewSystem Networking

System Networking

Multiple crystal, sapphire, zirkon, Nova29, Nova17 and/or Nova73 systems may be networked in anumber of ways to share resources and exchange functions:

In this example, the Nova17 (Lawo’s stand-alone routing matrix) acts as the central routing hub for 3crystal studios and an Announcer’s Booth (with TB-12 Key Panel). The VisTool PC and KSC.LCD16Key Panel provide an additional operating station for access to the routing matrix.

Any of these “users” can benefit from:

Resource Sharing – the consoles and routers are connected via MADI so that I/O resourcescan be shared. For example, the Announcer’s microphone may be routed to any studio.

Matrix Control – panels can be configured to control routing within the Nova matrix.

Remote System Administration – all systems are connected to a TCP/IP network viaEthernet. This provides remote access to maintenance pages and configuration files. Acentral networked server can also be used to store snapshots so that personal settings maybe recalled in any studio.

Logic Control Signal Exchange – a GPI/O Network allows any control signal, for examplesignaling, to be exchanged via TCP/IP. The TCP/IP network may extend to the World WideWeb, enabling a crystal in London to issue logical commands to a Nova29 in Oxford. Forexample, the London presenter can press an ‘Ad Break’ button which switches audio routingin both London and Oxford so that different sets of local adverts play out to the differenttransmission feeds.

For more information on networking, please contact your local Lawo representative.


Chapter 1: OverviewEmber+

Ember+

Ember+ is a TCP/IP network control protocol that allows devices to remotely control parameterswithin the crystal, or the crystal to control parameters within an external device.

Ember+ is a non-proprietary protocol, supported by a range of devices including Lawo's crystal andsapphire consoles.

More details about the Ember+ protocol can be found at https://code.google.com/p/ember-plus/feeds.

https://code.google.com/p/ember-plus/feeds


Chapter 1: OverviewSoftware Diagnostics and Maintenance Tools

Software Diagnostics and Maintenance Tools

crystal includes two important diagnostics and maintenance tools – the Web Browser Interfaceand SoP Explorer.

The Web Browser Interface

The crystal control system includes an integrated web server, allowing the system status to bemonitored via a web page running on a service computer. Components which can be monitoredinclude DSP card, Sync, Slot and general (Supplementary) information:

SoP Explorer

SoP Explorer is a programme for performing software updates of the sapphire Master Board, controlsurface modules and I/O cards by transferring files from a service computer. By running SoPExplorer you can review the current software status of all system components on your network, andperform updates as required:


Chapter 2: Getting Started

Chapter 2: Getting Started

Introduction

This chapter provides a quick introduction to using the console. The objective is not to teach everysingle detail, but to introduce the basic operating principles. For more in depth knowledge, pleaserefer to Console Operation.

We are assuming that your console is fully commissioned such that a suitable configuration hasbeen transferred and all MF Keys are fully labelled.

Topics covered in this chapter are:

Fader Module Quick Reference

Monitor Module Quick Reference

Powering On

Logging In/Loading a Snapshot

Resetting Fader Positions

Monitoring a Signal (Quick-Start)


Chapter 2: Getting StartedFader Module Quick Reference

Fader Module Quick Reference

Each Fader Module provides 4 fader strips with:

1 RotaryControl

When the ACCESS key (3) is off (green), therotary control may adjust mic preamp gain,digital gain, and pan or balance; press down onthe control to step through the availablefunctions.

The control is also used to adjust sourceparameters and fader strip assignments.

2 MF Keys

1, 1b, 2, 2b

& OLED

When the ACCESS key (3) is off (green), the 4small multi-function (MF) keys are programmedby the configuration and vary from source tosource. Functions are labelled on the displayand may include PFL, bus assignment,talkback, signaling, etc.

The keys are also used to adjust sourceparameters and fader strip assignments.

3 ACCESSKey

The ACCESS key is used to select a fader stripfor:

Source Parameter Control – select anACCESS key (white) to adjust sourceparameters.

Strip Assign - double-press an ACCESS key(yellow) to select and assign a new source tothe fader strip.

4 Fader The fader is a long life manual fader with ascale from - to +9dB.

5 LAWO

Backlight

The LAWO backlight indicates either signalpresent or the type of source/summing bus.The colours used and their meaning is definedby the configuration.

6 Label This display shows the name of the source orsumming bus controlled by the fader strip. Youcan use the User Labels software to edit labelsduring runtime.

7 MF Keys

3 & 4

The two large multi-function (MF) keys areprogrammed by the configuration. Typicalapplications include fader START, PFL,MUTE, etc. These buttons are labelled with aninserted foil which can be replaced if theirapplication changes.


Chapter 2: Getting StartedMonitor Module Quick Reference

Monitor Module Quick Reference

The 4-fader crystal has one Monitor Module; all other frame sizes include two.

1 Peak Meter This stereo peak meter is defined by theconfiguration and includes a stereocorrelation meter.

On the first Monitor Module the meterprovides “Follow Monitor” metering. In otherwords, it will meter the selected monitorsource.

2 AmbientLightDetector

This detector automatically adjusts thebrightness of buttons and displays accordingto the ambient light level. The configurationcan disable the sensor or assign an on/offMF Key.

3 FunctionButtons

On the first Monitor Module, these 8 buttonsare dual engraved and perform dedicatedfunctions as follows:

Source Parameter Control – press INP,DYN, LIM, DEL or EQ to adjustparameters for the source in access. Thesource in access is selected by the faderstrip ACCESS key (white).

Bus Assign Mode – press BUS and thenselect a page (1 to 5) to map busassignments onto the Fader Module.

Local Snapshot Control – press and holdSNAP RECALL and select a snapshot (1to 5) to load. SNAP STORE works in asimilar manner. You may need to UNLOCK the snapshot save function(from an MF Key).

4 RotaryControl &MF Keys

The two rotary controls and MF Keys are alldefined by the configuration. Typically, theyprovide monitor source selection and levelcontrol for different monitoring outputs – e.g.loudspeakers (CR MONITOR) andheadphones (HP MAIN).

The configuration defines the exact layoutand operation of these controls.


Chapter 2: Getting StartedPowering On

Powering On

The crystal consists of several components: the Base Unit, control surface and options such asVisTool, additional Key Panels and other networked consoles or routers:

1. The system has no on/off switch but starts automatically when connected to the mainssupply. Please install a master system power switch where applicable.

Components may be powered in any order. This means that you can begin VisTool operationswithout power to the control surface. Remember though that the Base Unit's control system is theheart of the system. Without power to the Base Unit, there is no DSP, no routing matrix and nocontrol!

If you have a redundant power supply unit, then this may feed up to five devices.

2. Let’s assume that you turn on the master power switch for all system components:

You will see an initial flicker of LEDs on the control surface modules

The Base Unit will begin to boot. While booting, you will see its progress in the Status display.

When the Base Unit finishes booting, the system’s IP address appears in the Status displayand the system run LED (to the right of the RS422 connector) begins to flash at regularintervals.

The console is now ready for operation - this takes approximately 20 seconds from power on.

At the end of boot-up process, the warm start data is automatically loaded. This data isstored when the system was last shut down, and means that when you turn on, you willget back to wherever you were before the last power off!

If this is the first time you have powered the crystal "out of the box", then there will be noconfiguration and therefore no settings loaded. Before you can use the unit, you mustprogramme and transfer a configuration.


Chapter 2: Getting StartedLogging In/Loading a Snapshot

Logging In/Loading a Snapshot

Before you start creating your own setup, it’s a good idea to reset the console back to somethingsensible.

If your system is configured with User Rights Management, then when you login to the console, asnapshot may automatically load. This can be used to reset the console for your show or type ofwork, see User Login.

If this is not the case, then you can load back an existing ‘zero desk’ snapshot manually. Thecrystal’s 5 internal snapshot memories are a great place to store and recall ‘zero desk’ settings orstarting points for different types of show or production.

Your studio may operate a different policy. For example, all your user snapshots may bestored on a VisTool PC, see VisTool Snapshots.

To load an internal snapshot:

1. Press and hold the SNAP RECALL button.

You can see which snapshots contain data from the lit buttons – in our example, we can choose toload snapshot 1, 3 or 4:

2. Keep holding the SNAP RECALL button while you select a memory number – e.g. press 4 torecall snapshot 4.

The SNAP RECALL button flashes magenta to indicate a successful operation, and the console’ssettings update accordingly.

Depending on the settings within the snapshot, you may now be able to open up some source faders,turn up the studio monitor control and hear audio!

If you are sat in front of a series of blank fader strips, then see Assigning Fader Strips. For moredetails on snapshot operation, see Snapshots.


Chapter 2: Getting StartedResetting Fader Positions

Resetting Fader Positions

The crystal faders are not motorised, and therefore the physical faders will NOT be positioned at thecorrect levels if:

You recall a snapshot which resets fader levels.

You power on (and load the warm start data), having moved the faders.

You assign a summing bus to a fader strip. (Summing busses are not reset to match thefader position when assigned to the surface).

You assign a new source to a blank fader strip with the fader open.

If a fader position needs to be reset, then the source label display will flash and you will see arrowsindicating the correct level of the source.

To reset the fader position:

1. Move the fader up or down according to the direction of the arrows.

As you move closer to the correct source level, the number of arrows decreases.

2. Keep moving the fader until the display stops flashing and the arrows disappear.

You will see the word “locked” in the display. This indicates that the source level is locked to thefader position.

3. You can now use the fader to control the source level.

The following pictures illustrate the procedure following the assignment of a summing bus ( PGM) toa fader strip:


Chapter 2: Getting StartedMonitoring a Signal (Quick-Start)

Monitoring a Signal (Quick-Start)

Radio On-Air Configuration Template Edit Suite Configuration Template

1. On the fader strips, interrogate the sources using the label displays (e.g. LINE1, DJ1, etc.).

2. Connect audio to a source (e.g. to Line 1).

If signal is present, the LAWO indicator will normally illuminate; green, yellow or red for levelsabove -60dB, -1dB or +3dB respectively.

The LAWO backlight is defined by the configuration, and it operation may vary from thisdescription.

3. Check that the channel is turned on:

Radio On-Air/RAS Template - select the channel ON (red when enabled).

Edit Suite Template - check that the channel MUTE is off (white).

4. Open the fader.

Providing the source is assigned to the Programme bus (PGM), you will see level on the secondMonitor Module meter.

5. On the first Monitor Module, select the monitor source (PGM), turn up the level (CRMMONITOR) and turn off MUTE and DIM.

You should now see level on the first Monitor Module meter and be hearing audio through yourloudspeakers!


Chapter 2: Getting StartedMonitoring a Signal (Quick-Start)

Troubleshooting

If you not hearing audio, then check the following:

1. Is the LAWO backlight illuminated on the fader strip?

If not, there is no signal present at the source input. Check your input connection and input gain.

2. If yes, are you seeing level on the first Monitor Module (configured for follow monitormetering)?

If not:

Have you selected the PGM monitor source selector button?

Is your source assigned to the Programme bus and the send level open? See busassignment & level control.

Is the source channel turned off or muted? Check the channel ON or MUTE buttons.

Is the summing bus master fader closed? Assign the bus master to a fader strip to check itslevel, see Assigning Fader Strips.

3. If you are seeing level on the follow monitor meter but still not hearing anything:

Check the control room monitoring level (CR MONITOR).

Check that you have not muted the loudspeaker output. (Depending on the configuration, thismay happen automatically if the DJ's mic fader is open.)

Finally, check that your loudspeakers are connected and turned on!


Chapter 3: Console Operation

Chapter 3: Console Operation

Introduction

This chapter looks at console operation in more detail, and assumes you have read the Overview andGetting Started sections.

Some functions are dependent on the configuration, and therefore may vary from the"typical operations" described. If you are running one of the standard configurationtemplates, then please also refer to The Standard Templates.

In addition, your user rights may prevent you from accessing certain functions; pleaseconsult your system administrator.


Frame Options

The Fader Strip

The User Labels Software

Assigning Fader Strips

The Monitor Module

Sources (including Input gain, EQ, Dynamics, Delay, etc.)

Summing Busses (including bus assign and mix minus operation.)

Snapshots

Monitoring

PFL (Pre Fade Listen)

Follow ACCESS Monitoring

Pool Sources

MF Key Functions

GPIO Functions

Metering Options


Chapter 3: Console OperationFrame Options

Frame Options

crystal is available in a choice of frame sizes ranging from 4 to 16 faders. Depending on the frameyou have chosen, you will have a number of Fader Modules, and either one or two Monitor Modules:

Section of a 12-fader crystal console:

4-fader crystal


Chapter 3: Console OperationThe Fader Strip

The Fader Strip

Each Fader Module provides 4 identical fader strips which maycontrol any source or summing bus defined by the configuration.Some functions are common to all crystal consoles, whileothers (MF Keys 1 to 4) are configurable and therefore may varyfrom system to system.

Functions common to all consoles are:

The Rotary Control

The ACCESS key

The Fader

The LAWO backlight

Fader Labels

Functions which are configurable are:

MF Keys 1, 1b, 2 & 2b - labelled by the OLED.

MF Keys 3 & 4 – labelled by inserted foils.

Example MF Key Layout



Fader Strip Rotary Control

The rotary control steps through a number of functions including input gain, panning and input signalselection (for pool sources).

The exact sequence of parameters varies depending on the type of source and its configuration. Theexample below shows the parameters available for a mono microphone source, on a consoleconfigured for 5.1:

1. Turn the rotary control to adjust the first parameter (e.g. Mic gain).

The OLED display shows the amount of Mic gain in dB.

2. Press down on the rotary control to step to the next function – digital Gain – and turn toadjust.

3. Keep pressing down to step through the available parameters.

In each case the OLED shows the parameter and its value.

When you reach the end of the sequence, the control returns to the first parameter (Mic gain).

4. When you are happy with the settings, let go of the rotary control.

After a few seconds the OLED times out.

5. Turn the rotary control; it has reverted to the first parameter in the sequence – Mic gain.

Tap down on the rotary control to step through the functions without making a change; theOLED display shows the parameter function and value.

The sequence of parameters depends on the source type and its configuration. The steps include:



Input Gain

On fader strips controlling a microphone source, you can adjusttwo gain settings:

Mic gain – this is the analogue pre-amplifier gain beforeanalogue-to-digital conversion; it may be set from +18dBto +73dB. If you have a high level mic signal, use the20dB PAD to lower the mic gain, see INP.

Gain – this is digital gain within the channel DSP path; itmay be set from -30dB to +18dB.

On fader strips controlling other sources, such as line level,AES or SDI, there is no mic gain, only digital gain.

On fader strips controlling a summing bus, there is no input gain(mic or digital).

When adjusting input gain, use the signal present display to help set a good input level -the LAWO backlight is normally green or yellow for a good operating level; if the light turnsred, then the source is overloading and may cause distortion.

The LAWO backlight is defined by the configuration, and its operation may vary from thisdescription.



Pan or Balance

Pan parameters vary according to whether the source is mono, stereo or surround.

On a mono source, you can adjust:

Left/Centre/Right pan position

Front/Rear pan position

Slope – from 0.0 to 1.0 (see below).

LFE – low frequency effect level, from -120 to +9 dB.

Front/rear pan, slope and LFE level are only available if a surround bus is configured onyour console and surround parameters are enabled on the source.

The Slope adjusts signals feeding the discrete centre channel within the surround field. It may beused to balance between discrete and phantom centre signals. To see the effect, position the sourceat front centre, and adjust the slope to a setting of 1.0; the signal feeds only the discrete centreoutput. Now set the slope to a value of 0.0; the signal feeds only left and right (phantom centre).

On a stereo source you can adjust the left/right balance, front/rear pan and LFE level. Centre slope isnot available.

On a surround (5.1) source, you can adjust LFE level only; the surround source is assigned directlyto the surround bus (e.g. left to left, centre to centre, etc.)

If a surround source is assigned to a stereo bus, then the source is downmixed according to thesurround downmix parameters set within the configuration. If a surround source is assigned to amono bus, then the stereo downmix is converted to mono by subtracting 3dB from, and thensumming, the L and R channels.



Pool Source Signal Select

If pool sources are configured on your console, and a pool source is assigned to the fader strip, thenthe rotary control is used to select the signal feeding the pool source. These operations appear at theend of the parameter sequence:



Fader Strip MF Keys

Each fader strip has six MF Keys which are programmed by theconfiguration.

The 4 small MF Keys (1, 1b, 2 & 2b) can be used for functionswhich vary from source to source. Functions are clearly labelledon the display and may include PFL, bus assignment, talkbackand signaling. Red usually indicates that the function is enabled,and green for disabled. However this depends on theconfiguration.

Our example shows MF Keys configured for Talkback (TB),conference bus assign (Conf) and signaling for incoming callsfrom a telephone hybrid (RING):

The two large MF Keys (3 & 4) are labelled with an inserted foilwhich means that they are normally programmed with the samefixed functions across the console. Typical applications includefader START, PFL, MUTE, channel ON and OFF, etc. The foilscan be replaced if the MF Key changes. The functions andcolour coding are programmed by the configuration.



Access Key

The ACCESS key is used for:

Source Parameter Control

Fader Strip Assign



The Fader

Each fader on crystal has a fader scale ranging from - to+9dB; the 0dB position is clearly marked. The maximum positionis at +9dB to match the headroom of analogue and digital audiointerfaces.

Warning

Having set a good input level, be careful not tooverdrive the console output by setting fader levels toohigh. Use the peak metering on the Monitor Module,VisTool or external metering to guide you.

Also remember that if you assign a summing bus to afader strip, such as Programme ( PGM), then thefader level will affect the gain structure through theconsole.

During a live broadcast it is a good idea to set yourmain summing bus levels to 0dB, preset your limitersettings appropriately, and then remove the summingbus from the fader strip for the broadcast.



Signal Present or Source Type (LAWO Backlight)

The LAWO backlight indicates either signal present or the type ofsource (or summing bus).

The LAWO Backlight on Bus Masters

For bus masters, the LAWO backlight indicates the type ofmaster. For example:

Programme Bus ( PGM) – magenta

Record Bus ( REC) – magenta

Auxiliary Bus ( AUX) – blue

The colours used are defined by the configuration.

The LAWO Backlight on Input Sources

For input sources, the LAWO backlight may indicate the type of source (similar to above), or showwhen signal is present. For each source there are three possible options:

Signal Present only – illuminates only when signal is present. Up to 8 level thresholds canbe defined, each with its own colour code and state. For example:

o Green Fully Lit – indicates signal above -60dB.

o Yellow Fully Lit – indicates signal above -1dB.

o Red Blinking – indicates signal above +3dB.

Source Colour only – the LAWO backlight always indicates the type of source. For example,magenta, cyan and white might be used to indicate different Guest microphones.

Mix Mode – combines both of the above options; signal present takes priority. For example, ifyour source is colour coded magenta, and you have the same signal thresholds as above:

o Magenta – indicates the source type.

o Green – indicates signal level above -60dB.

o Yellow – indicates signal level above -1dB.

o Red – indicates signal level above +3dB.

The LAWO backlight mode, source colour and signal present threshold levels are all defined by theconfiguration.



Labels

You can interrogate which sources, or summing bus masters, are assigned to the fader strips fromthe labels at the bottom of each module (e.g. LINE 1, GUEST, HYB 1, etc.):

If a fader is controlling a summing bus, then the label is pre-fixed with a sign to help

distinguish bus masters from input sources (e.g. PGM).

If the source label is flashing, then the fader position does not match the audio level of thesource. This will occur if faders are moved while the console is turned off, if you assign asumming bus to a fader strip or if you assign a new source to a blank fader strip with thefader open. If this is the case you will need to reset the fader position to match the sourcelevel.

The source and summing bus labels are defined by the console configuration..

The User Labels software can be used to add user labelling to each source, or bus, duringruntime.


Chapter 3: Console OperationThe User Labels Software

The User Labels Software

The software application called User Labels can add up to two lines of user labelling to each source,or bus. User labels can be edited during runtime from an external PC.

User Labels Software Console Front Panel



System Requirements

crystal

The crystal system MUST be running OS Version 3.4.0.17a software or higher.If the OS-Version islower than 3.4.0.17a, please contact your local Lawo representative or email [email protected].

User Labels PC

To install and run the User Labels software, your computer MUST meet or exceed the followingrequirements:

Operating System: Windows XP Professional SP3 or Windows 7 Ultimate.

Processor: Intel™ Core i3 530 (or higher equivalent processor).

Random access memory (RAM): 2GB

Ethernet interface: 100MBit

If you have a VisTool PC, then it can be used to run the User Labels software.

mailto:[email protected]



Installing the Software

The userlabels.exe setup application, included with your system, performs an automatic install ofthe User Labels software.

1. Copy the userlabels.exe application onto your computer.

2. Double click on the userlabels.exe application icon:

This starts the ‘DSA User Labels Setup Wizard’:

3. Follow the Wizard's instructions accepting the default options provided.

4. When you reach the 'Summary' window, check the options and click Install.

The software is installed onto your computer; this may take a few minutes.

By default, files are installed in the location: ‘C:\Program Files\DSA’.

5. When the installation is complete, a confirmation window appears.

6. Click on Finish to exit the ‘Setup Wizard’.

If you have any problems with the software installation, please contact your local Lawo representativeor email [email protected].

mailto:[email protected]



Network Connection

You should connect the User Labels PC to the Base Unit's Ethernet port either directly or via anetwork switch. Do NOT use an Ethernet hub as this will interrupt the data stream. See the crystalTechnical manual for details.

The User Labels software uses the DMS service (the first DMS Channel) specified by the VisAdminprogramme, which is automatically installed when you install VisTool MK2. See the crystalTechnical manual for details.



Viewing User Labels on the Console

To see user labels on the console, they must be enabled in the system configuration. Theconfiguration options define whether user labels are permanently on, off or toggled from an MF Key.

If your configuration has user labels enabled permanently, then you will always see three lines of textfor each fader label.

Alternatively, if your configuration allows you to toggle user labels, then you can switch between:

Display Name Only User Labels On

1. Press the "User Labels" MF Key to turn on user labels globally across the console.

This function could be configured onto any MF Key. The configuration also determineswhether the two User Label lines are large or small.



Editing User Labels

1. Start the "User Labels" application either by selecting its desktop icon or by selecting START ->All Programs -> DSA -> User Labels:

This is the default file path created during a standard install.

The application opens with an empty window:

When online, the flag at the bottom left of the window indicates that the software iscommunicating correctly with the crystal system. If this flag does not appear, then check thenetwork connection to the system.



2. To transfer the current labels from the console, select Load from Desk.

The window updates to show the Name, Display name and User Label Lines for all sources andbusses defined in the configuration. You will see all sources and busses even if they are notassigned to a fader strip:

3. Click in the User Label - Line 1, or User Label - Line 2, fields to edit or add a name. You mayenter up to 8 characters in each line:

The Name and Display fields are defined by the configuration and cannot be edited bythe User Labels software.



4. When you have finished editing, select Save to Desk to transfer the new User Labels to theconsole. This can be done at any time, even when the console is on-air:



User Labels: Other Buttons & Menu Options

The "User Labels" software includes some other buttons and menu options:

Clear Table - select this button to clear the User Labelsfor all sources and busses in the table.

Data Menu:

o Load from Desk - transfers the current user labelsfrom the console.

o Save to Desk - transfers user labels from thesoftware to the console.

o Export... - use this option to export the current userlabel table as an .xml file. You can use this to copyuser labels from one system to another.

o Import... - use this option to import user labels froman .xml file.

o Exit - closes the User Labels software application.

View Menu:

o Identifier - displays the internal System Number. Thisnumber cannot be modified and is for information only.

o Font... - select to open the Font dialogue box. You canuse this to adjust the on-screen font for the user labelstable.



User Labels: Snapshots & Warm Start Data

User labels for all source and busses in the configuration are saved when you save a snapshot. Thismeans that you can save and recall labels for specific shows along with other settings, seeSnapshots.

The last User Labels are stored in the console's warm start data. This means that when you poweron you will get back to wherever you were when the power was last turned off!


Chapter 3: Console OperationAssigning Fader Strips

Assigning Fader Strips

Any source or summing bus defined in your configuration may be assigned to any fader strip.

Please note the following:

The crystal supports summing of up to 48 (mono) sources simultaneously during amix; a stereo source uses two summing resources; a 5.1 source uses 6 summingresources.

All sources assigned to fader strips are active in the mix. This means that on largercontrol surfaces, you may have more faders available than summing resource.

A source can only be assigned once; you cannot assign a source to two differentfaders.

The configuration defines whether operators can assign all, or a subset of sources,to fader strips. Therefore, it may be possible that your system does not allow faderstrip assignment for simplicity of operation. In addition, your user rights may preventyou from assigning fader strips.

Depending on the configuration, your console may support pool sources. Poolsources allow you to change the input to a source from the fader strip.



Assigning a Source (or Bus) to a Fader Strip

1. If you are replacing an existing source, then make sure that the fader is closed.

2. If the source you wish to assign is controlled from a different fader, then close the open fader.

These two steps prevent sources being taken off-air accidentally, and only apply tosources; you can move a bus from one fader strip to another without changing its level.

3. Double-press the ACCESS key on the fader strip layer you wish to assign. You must presstwice in quick succession.

The ACCESS key turns yellow to indicate that you are in “source assign” mode.

You can press and hold the ACCESS key to enter the “source assign” mode, as analternative to the double-press. However, if you use this method you will need to keeppressing the key throughout the rest of the operation.

4. Turn the rotary control to scroll through the options.

The name of the selected source is shown in the OLED display – e.g. EXT1.

Summing busses are prefixed with a to distinguish them from input sources.



5. To assign the selected source, or bus, press the Take MF Key.

You will see the user label update at the bottom of the fader strip:

The ACCESS key cancels (returns to green) and the MF Keys and rotary control return to theirdefault mode of operation.

If EXT1 was controlled from a different fader strip before the assign, then the source ismoved – in other words, you will see a blank fader strip where EXT1 used to be.

If the fader label does not update, then the assignment has failed. This may occur if:

You try to replace a source without closing its fader.

You select a source already assigned to another fader strip layer without closing its fader.

You have reached the limit of 48 mono source sums.

If you have assigned a summing bus, or a new source to a blank fader strip with the faderopen, then you will need to reset the fader position to match the level of the source.



Clearing a Fader Strip

You can use the “source assign” procedure to remove the current source, or bus, from a fader striplayer leaving it blank.

Removing an input source from the control surface removes it from the mix. Therefore,you can only remove a source if the fader is closed to prevent you accidentally taking asource off air! This does not apply to summing busses, as busses remain active at alltimes.

1. Close the fader (only necessary if you are removing an input source).

2. Double-press the ACCESS key. Press twice in quick succession.

The ACCESS key turns yellow and the MF Keys update:

3. Press the Remv MF Key.

The source is removed resulting in a blank fader strip.


Chapter 3: Console OperationThe Monitor Module

The Monitor Module

The 4-fader crystal has one Monitor Module; all other frame sizes include two.

The upper controls are common to all consoles, while the lower MF Keys and rotary (VCA) controlsare configurable and therefore may vary from system to system. The drawings below show thefunctions configured for each of the standard templates:

Radio On-Air Template Edit Suite Template

Functions common to all consoles are:


Bus Assignment

Snapshot Control

Functions which are defined by the configuration are:

MF Keys – labelled by inserted foils.

Rotary (VCA) Controls 1 & 2 – labelled by inserted foils.

Ambient Light Detector – the configuration can disable this function or assign an on/off MFKey.


Chapter 3: Console OperationSources

Sources

Each input channel on the crystal is called a ‘source’.

Only sources assigned to fader strips are active in the mix; if you remove a source from a fader strip,then you will no longer hear it!

The naming of sources, assignment of signal processing and other attributes are all made within thesystem configuration. Physical inputs are normally ‘hard wired’ to sources. This allows source-specific channel features such as fader start or mic live signaling to follow the source when it isassigned to a different fader strip.

Up to 100 sources may be defined within the configuration, and each may be mono, stereo, 5.1 or5.1/stereo.

Up to 48 (mono) sources may then be summed together simultaneously during a mix.

A stereo source uses two summing resources; a 5.1 source uses 6 summing resources,and so on.

On crystal, not all signal processing modules are available for every source; this depends on theconfiguration, see The Standard Templates.




Source Parameters

The following diagram shows the maximum amount of DSP which may be allocated to a source:

Every source features:

Analogue Input section – available for sources fed from microphone inputs; includes micgain, 48V and high pass rumble filter.

Digital Input section – available for every source; includes digital gain, phase reverse, pan orbalance, surround parameters.

Metering – meter points for input, pre and post processing (can be displayed on VisTool).

Fader – a fader for level control.

Bus Assign – bus sends with pre/post fader selection and variable level control.

In addition, the following DSP modules may be assigned by the configuration:

EQ – 3-band parametric EQ plus High and Low Pass Filters.

Dynamics – Gate, Expander, Compressor and De-Esser sections.

Limiter – independent limiter.

Delay – adjustable in ms, metres or frames.

Stereo use more resource than a mono source.





Source parameters are controlled from the Fader Module when the ACCESS key is switched intosource parameter mode (white). This allows you to adjust settings for the source in access, onesource at a time:

Your user rights or the configuration may prevent you from accessing DSP parameters.



Operating Principles

1. Put a source “into access” by pressing its ACCESS key.

The ACCESS key turns white, and the 16 MF Keys and 4 rotary controls within the 4-fadermodule update; they can now be used to control source parameters for the selected fader strip.The type of parameters are selected from the Monitor Module e.g. INP:

In our example, we are controlling input parameters (INP) for a microphone source. The OLEDdisplays show variable parameters and their values (Mic, Gain, Pan), and label the option buttons(Pad On, Phantom On, Rumble 80Hz). The button colours indicate:

Red = enabled.

Green = disabled.

Grey = the button has no function.

In our example, the Phantom Power (48V) and 20dB Pad are both turned on; the 80Hz Rumble filteris off.

2. To adjust each parameter use the displays to guide you.

3. To adjust parameters for a different source, select a different ACCESS key:

The example above shows the input parameters (INP) for a stereo line level source.

Only one source can be “in access” at a time.



4. To change to a different set of parameters, select a different function button – e.g. press EQ:

The colour coding of the non-selected ACCESS keys follows the parameter sections, soblue for EQ, yellow for INP, etc.

Also the INP, DYN, LIM, DEL and EQ buttons are half lit if the DSP section is available forthe source in access. In our example, all five DSP modules are available. If a button is notlit, then this DSP module is not configured for the selected source.

On the left (master) OLED are two dots. These show that there are two pages of functions for theEQ section:

5. Press down on the left (master) rotary control to step to the next page.

On some OLEDs you will see an arrow. This shows which parameter which will beadjusted when you turn the rotary control. Sometimes, you have a choice of twoparameters: in our example, turn to adjust Gain or press down and turn to adjustFrequency.



6. When you have finished setting parameters, deselect the white ACCESS key on the faderstrip.

The controls return to their default mode of operation (indicated by the green ACCESS keys):

The next few pages look at each DSP module in more detail.



INP

1. With an input source in ACCESS, select the INP function button on the Monitor Module toaccess input parameters.

No input parameters are available for summing busses, so the INP button is inactive whena bus is in access.

Input parameters vary depending on whether a source is mono, stereo or surround and how it isconnected (mic or line/digital):

Mono Sources

For a mono mic source, the following parameters are applied in the analogue domain beforeanalogue-to-digital conversion:

Mic – analogue microphone pre-amp gain from +18dB (or -2dB with PAD) to +73dB.

Pad – switch on the PAD to reduce the mic gain by 20dB; the mic gain value updatesaccordingly.

Phantom On - switch on to enable 48V phantom power.

80Hz - switch on to insert a high pass ‘rumble’ filter to roll-off subsonic frequencies at 80Hz.

Gain – digital gain from -30dB to +18dB.

Pan – left/centre/right panning applied to stereo or surround summing bus assignments.

For a mono line level or digital source, there is no analogue input section and so the available inputparameters are:


Pan – left/centre/right panning applied to stereo or surround summing bus assignments.

Use the fader strip rotary control to adjust other pan parameters such as front/rear pan,LFE level, etc.



Stereo Sources

For a stereo source, the available input parameters are:

Stereo input options – to deal with problem sources:

o l->b – the left input is routed to both sides of the stereo channel.

o r->b – the right input is routed to both sides of the stereo channel.

o mono – left and right inputs are summed with a -3dB gain offset.

o side – the left input and right input are reversed (left input to right side of channel, and rightinput to left side of channel).

The status of the source is displayed in the second OLED – in our example, stereo = normalstereo input routing (default).


Phase – to phase invert the left input of the stereo source.

Bal – left/right input balance.

Basis – this is the left/right width which can be reduced or expanded.

Turn the Bal/Basis rotary control to adjust Balance; push down and turn to adjust Basis.



Surround Sources

On a surround (5.1) source, the available input parameters are:


There are no pan parameters as on a surround (5.1) source, you can adjust LFE level only(from the fader strip rotary control). The surround source is assigned directly to thesurround bus (e.g. left to left, centre to centre, etc.)

If a surround source is assigned to a stereo bus, then the source is downmixed accordingto the surround downmix parameters set within the configuration. If a surround source isassigned to a mono bus, then the stereo downmix is converted to mono by subtracting3dB from, and then summing, the L and R channels.



DYN

The dynamics DSP module may be configured for input sources and summing busses. The sectionincludes an independent gate, expander and compressor.

A Limiter is available as a separate DSP module. A de-esser may also be configured formono sources.

1. With a source, or summing bus, in ACCESS, select the DYN function button on the MonitorModule.

The controls update to show parameters for one of the dynamics sections - in our example, theCompressor (COMP):

2. To page to the next section, press down on the left (master) rotary control.

The controls and displays update to show the Expander (EXP):

3. Press again to page to the Gate.

4. If you have a mono source with a De-esser, then press again to page to the De-esser.

5. Press again to return to the Compressor.



>> Compressor

1. The following parameters are available for the compressor:

DYN – switch on to enable all dynamics sections: compressor, expander, gate (and de-esser).

COMP – switch on to enable the compressor.

Both DYN and COMP must be enabled (red) for the compressor to be active. If themaster DYN button is not enabled, then the COMP button is dim to indicate that thecompressor is not yet active.

Gain – makeup gain from -12dB to 0dB.

THRS – threshold from -93dB to +27dB.

Ratio – ratio from 1:1 to 1:16

ATT – attack time from 0.16ms to 82ms

RLS – release time from 10ms to 5000ms

2. Turn the ATT/RLS rotary control to adjust attack; push down and turn to adjust release.



Note that the characteristic of the compressor is optimised for radio on-air operation:

The ratio pivot point moves around the working point according to the input signal level and notaround a fixed threshold. This allows the ratio to adapt without having to change the levelconsiderably.



>> Expander

1. The following parameters are available for the expander:


EXP – switch on to enable the expander.

Both DYN and EXP must be enabled (red) for the expander to be active. If the masterDYN button is not enabled, then the EXP button is dim to indicate that the expander is notyet active.


Ratio – ratio from 1:1 to 1:0.1



>> Gate

1. The following parameters are available for the gate:


GATE – switch on to enable the gate.

Both DYN and GATE must be enabled (red) for the gate to be active. If the master DYNbutton is not enabled, then the GATE button is dim to indicate that the gate is not yetactive.


ATT – attack time from 0.16ms to 82ms


2. Turn the ATT/RLS rotary control to adjust attack; push down and turn to adjust release.



>> De-esser

A simple de-esser may be configured for mono sources. It can be used to reduce excess sibilantconsonants such as “s”, “z” and “sh” when dealing with human speech.

The de-esser must be enabled for the source within the configuration; if de-essing is notconfigured, then you will not be able to access this page of parameters.

1. The following parameters are available for the de-esser:

DYN – switch on to enable all dynamics sections: compressor, expander, gate and de-esser.

DeEss – switch on to enable the de-esser.

Both DYN and DeEss must be enabled (red) for the de-esser to be active. If the masterDYN button is not enabled, then the DeEss button is dim to indicate that the de-esser isnot yet active.

Reduction – this is the amount of gain reduction applied to the sibilant frequencies:

o Values from 1 to 6 reduce the gain of the unwanted sibilant frequenices; the higher thevalue, the more gain reduction.

o Above 6, the gain reduction remains at its maximum, and the affected frequency rangebroadens.

female/male – select female or male to change the centre frequencies affected by the de-esser; these are optimised for either male or female voices.



LIM

The limiter DSP module is separate from the dynamics and may be configured for input sources andsumming busses.

1. With a source or summing bus in ACCESS, select the LIM function button on the MonitorModule:

2. The following parameters become available:

LIM – switch on (red) to enable the limiter.





DEL

The delay module may be configured for input sources and summing busses.

1. With a source or summing bus in ACCESS, select the DEL function button on the MonitorModule.

2. The following parameters become available:

DELAY – switches the prepared delay time in or out of circuit: red = on.

Time – the delay time is displayed and adjusted in either ms, meters (m) or frames (frms).Turn any of the three rotary controls to set the time.

Depending on whether the system is running at 48kHz or 44.1kHz, the delay time may be adjusted asfollows:

48kHz Operation 44.1kHz Operation

Delay (ms) 0 to 340 0 to 368

Delay (meters) 0 to 112 0 to 121

Delay (frames) 0 to 8 0 to 9



EQ

The EQ module may be configured for input sources and summing busses. The EQ section includesa 3-band parametric equaliser, plus high and low pass filters.

The filters can be used either as fixed slope filters (12dB per octave) or shelving EQ.

1. With a source or summing bus in ACCESS, select the EQ function button on the MonitorModule.

The controls update to show parameters for one of the pages of EQ - in our example, the 3-bandparametric equaliser:

2. To page to the filter bands, press down on the left (master) rotary control.

The controls and displays update accordingly:

3. Press again to return to the parametric EQ.



>> 3-band Parametric Equaliser

1. Enable the EQ button (red) to switch on the EQ section.

The EQ button switches the whole EQ section (3-band equaliser and filters) on or off.

2. Turn each of the rotary controls to adjust Gain for the equaliser band.

Gain may be adjusted from -15dB to +15dB.

3. Push down and turn each of the rotary controls to adjust the frequency.

Frequency may be adjusted from 20Hz to 18kHz.

4. Press the + or – buttons to increase or decrease the Q.

Q may be adjusted from 0.7 to 5.0.



>> 2-band Filters

1. Enable the EQ button (red) to switch on the EQ section.

The EQ button switches the whole EQ section (3-band equaliser and filters) on or off.

2. On the HP filter band:

Select HPF to switch the filter band to a high pass filter; turn the rotary control to adjustfrequency.

Select LoSh to switch the filter band to a low frequency shelving EQ; turn the rotary control toadjust gain; press down and turn to adjust frequency.

3. On the LP filter band:

Select LPF to switch the filter band to a low pass filter; turn the rotary control to adjustfrequency.

Select HiSh to switch the filter band to a high frequency shelving EQ; turn the rotary control toadjust gain; press down and turn to adjust frequency.

When the filter bands are set for high or low pass, they operate as fixed slope filters (12dB peroctave).

When the filter bands are set for shelving EQ, gain may be adjusted from -15dB to +15dB.

Frequency for both filter bands may be adjusted from 20Hz to 18kHz.


Chapter 3: Console OperationSumming Busses

Summing Busses

Each bus on the crystal is called a ‘summing bus’, and can be mono, stereo or 5.1 (but not 5.1/stereo).

The naming, assignment of signal processing and bus attributes are all made within the console’sconfiguration, so please refer to the standard templates for details.

Up to 32 summing busses (mono) may be defined within the configuration.

A stereo bus uses two and a 5.1 bus uses 6 summing bus resources.

The first pair of busses is pre-defined as stereo PFL 1. This may be inserted into the studio monitors,headphones or output to its own PFL speaker.

The remaining busses are ‘user’ definable within the configuration as:

Normal summing busses – these sums can be allocated DSP, assigned to fader strips andassigned from sources during the show. Typically they are used to create aux sends, groupsor extra main outputs.

GP Sums – General Purpose sums which do not need DSP or control surface assignment.For example, a GP Sum may be used to create a talkback bus.

Conf Busses – Conference busses have special conference facilities for generating a mixminus (N-1).

Your busses should be named to match their application (e.g. AUX 1, GRP 1, PGM, etc.).

The signal flow for each summing bus is the same as for a source, so EQ, Dynamics, Limiter andDelay may be applied depending on the resources allocated within the configuration. On crystal, 5.1summing busses do NOT support DSP.

The configuration defines whether you can re-assign busses from the control surface, or whethersources are ‘hard wired’ to each bus. For example, sources may be ‘hard wired’ to the programmebus for simplicity and security.

If summing busses cannot be assigned to the control surface, then they are output fromthe console at unity gain (0dB).



Bus Assignment & Level Control

Bus assignments are made using the 4 small MF Keys and rotary control on each fader strip. Thefader strip controls are switched into “bus assign” mode using the BUS and dual engraved functionbuttons – INP 1, DYN 2, LIM 3, DEL 4, EQ 5 on the Monitor Module. Each page provides access toup 4 bus assignments, and up to 5 pages may be configured. This provides access to up to 20busses, each of which may be mono, stereo or 5.1.

1. On the Monitor Module, select the BUS and 1 function buttons.

The fader strips are switched into “bus assign” mode globally across the console:

The fader strip MF Keys are colour coded to show:

Red = bus assign on (pre fader)

Yellow = bus assign on (post fader)

Green = bus assign off

The available busses, and the order of pre/post/off switching, are defined by the configuration. Inour example, we can assign sources onto busses named PGM or REC.

2. To access more busses, select a different page – for example, press 2 for page 2:

Up to 5 pages may be configured, but not all may be used. If a page is available then its functionbutton is half lit. In our example, we can choose page 1 or 2; pages 3 to 5 are unused.



3. Having selected the correct bus assign page, press a fader strip MF Key toassign the source to a bus. Each press cycles through the available options.

The OLED shows the send level to the selected bus - in our example to the AUX.

4. Turn the rotary control to adjust the Aux send level; the level may be adjustedfrom -120dB to +9dB.

5. Press down on the rotary control to step through the other send levels.

After each press the OLED updates to show the bus name and its send level.

Warning

Be very careful when adjusting bus send levels to main output busses such asprogramme. These levels should be set to 0dB unless operating in special circumstances.Otherwise you will not achieve unity gain through the gain structure of the console.

You may be able to adjust bus send levels from the faders if an MF Key or other controltrigger has been programmed to access this function.

6. When you have completed all your bus assignments, deselect the Monitor Module BUSbutton to return the fader strip MF Keys and rotary controls to their default functions.

The BUS button is half lit when deselected:



Conference Bussing (Mix Minus/N-1)

The conference system is used to generate mix minus/N-1 feeds for particular sources within yourconfiguration.

Each source within the system receives an automatically switched mix minus feed. When theirsource fader is open (on-air), they will hear programme minus themselves, and when their sourcefader is closed (off-air), they will hear the conference bus minus themselves – this allows membersof the conference to hear each other while they are off-air.

Let’s take an example where the configuration has defined conference feeds for 3 sources: DJ1,Guest and HYB 1 (defined by the Radio On-Air standard template). Note that the operation of theEdit Suite template is identical; simply replace the 3 sources with MIC 1, MIC 2 or TEL. For theRadio RAS template, you can generate conference feeds for any of the following sources: DJ (MIC1), any Guest (MIC 2, 3, 4), and the Hybrids (HYB 1, HYB 2).

Setting Up the Monitoring

In order for our system to operate correctly the mix minus feed for each source must be returned tothe correct destination. In our example, we are assuming:

1. The DJ is listening to their mix minus feed on his/her headphones.

2. The studio guest is also listening on his/her headphones.

3. The telephone guest (HYB 1) is receiving the correct mix minus feed. For the Radio On-Airtemplate, the hybrid send is available on Line output 5. For details on other connections, see TheStandard Templates.

Depending on the configuration, the conference bus may be switched automatically to the monitoringwhen active. Alternatively, you may need to switch the monitoring manually – if this is the case, therewill be a CONF button on the monitor source selector.



Operation

Once you have configured the correct monitoring, then the conference system operates as follows:

1. Turn on the CONF bus assign buttons for all sources within the conference – in our example,on the DJ 1, Guest and HYB 1 fader strips.

This routes each source onto the conference bus; the CONF buttons will turn red, yellow (flashing)or white depending on the status of the faders:

For the conference system to work you must have at least two sources with CONFenabled. Also note that the lamp colours may be configured differently in your system.

Each source within the conference system now receives an automatically switched mix minusfeed; what they hear will depend on the status of the three source faders:

2. Close all three source faders.

When all the conference faders are closed, the CONF buttons become red and all sources willhear the conference bus minus themselves. In other words, they can hear each other, but notthemselves, and chat off-air:



3. Now open one of the faders – e.g. the DJ fader.

The DJ source is now assumed to be on-air, and the DJ’s monitor feed is automatically switchedto programme minus themselves. This is reflected by the flashing (yellow) CONF button:

The CONF buttons on the studio and telephone guest fader strips remain red. This is becausetheir faders remain closed, and so the two guests are still hearing the conference bus minusthemselves and can continue their off-air conversation. Also, if you close the DJ fader, the DJ’smonitor feed reverts to a conference bus mix minus, so they can rejoin the off-air conversation ifrequired.

4. Finally, open both the DJ and studio Guest faders.

Both the DJ and studio Guest are now on-air, and so they will hear programme minus themselves(yellow flashing CONF buttons):

In this mode, there are less than two active conference sources and so the conference system iscancelled. The Telephone Guest’s monitor feed is automatically switched to a Programme mixminus. This state is reflected by the white CONF button.

5. To cancel the conference for any of the sources, deselect the CONF button.

The CONF buttons turn green (off) and the source’s monitor feed receives programme minusthemselves at all times.


Chapter 3: Console OperationSnapshots

Snapshots

One of the major benefits of the crystal is the ability to store and recall personal settings.

Each crystal includes 5 internal snapshot memories which are saved, loaded and erased using theSNAP STORE and SNAP RECALL buttons on the Monitor Module:

Unlimited snapshots may also be saved and loaded onto PC using the optional VisToolsoftware, see VisTool Snapshots.



What’s Stored?

The following settings are saved in a snapshot:

Fader Strip Assignment – the assignment of sources and busses to fader strips.

User Labels - the two User Label text lines for all sources and busses within theconfiguration.

DSP settings – Input Parameters, EQ, Dynamics, Limiter, Delay and Bus Sends for allsources and busses.

Fader Levels (optional) – the configuration determines whether fader levels are stored andrecalled. Saving of fader levels is recommended for production systems, but not for on-air toavoid accidental recalls during a live transmission.

Bus Assignment – the assignment of sources onto any of the console’s summing busses,with level adjustment.

Logical States – up to 32 logical states can be saved.

Matrix Connects – up to 128 matrix connections can be saved.

Snapshots save settings for all sources and summing busses even if they are notassigned to a fader. You may you specify whether snapshots save and load parametersfor all faders of the console, or only up to a certain fader number.

Warning

It is not recommended that snapshots are loaded during a live broadcast as to do so mayresult in sources being taken off air!



To save a snapshot:

1. On the Monitor Module, press and hold SNAP STORE:

If a memory has already been used, then the numbered buttons, 1 to 5, illuminate in red. A greenbutton indicates a free memory.

Your configuration may use UNLOCK to protect snapshots from being saved or erased byaccident. If this is the case, then you will need to activate UNLOCK (usually an MF Key)before you can access SNAP STORE.

In addition, your user rights may prevent you from saving or erasing the 5 local snapshotmemories.

2. Keep holding the SNAP STORE button and select a memory number – e.g. press 4 to savethe console’s settings into memory 4.

The SNAP STORE button flashes magenta to indicate a successful operation.

If you select a used memory, then its contents are overwritten.



To load a snapshot:

1. On the Monitor Module, press and hold SNAP RECALL:

You can see which snapshots contain data from the lit buttons – in our example, we can choosefrom snapshots 1, 3 or 4:

2. Keep pressing and holding the SNAP RECALL button while you select a memory number –e.g. press 4 to recall snapshot 4.

The SNAP RECALL button flashes magenta to indicate a successful operation, and the console’ssettings update accordingly.



To erase a snapshot:

1. On the Monitor Module, press and hold both the SNAP RECALL and SNAP STORE buttons.

Your configuration may use UNLOCK to protect snapshots from being saved or erased byaccident. If this is the case, then you will need to activate UNLOCK (usually an MF Key)before you can access erase.

In addition, your user rights may prevent you from saving or erasing the 5 local snapshotmemories.

You can see which memories are used from the red buttons – in our example, snapshotmemories 1, 3 or 4:

2. Keep pressing and holding while you select a memory number – e.g. press 3.

The snapshot memory is erased.

3. To check the erase has worked, press and hold SNAP RECALL.

The memory should now be clear (unlit):


Chapter 3: Console OperationMonitoring

Monitoring

Depending on the frame size of your console, you will either have one or two Monitor Modules.

Each Monitor Module contains MF Keys and two rotary controls which are programmed by theconfiguration. Typically, these provide source selection and level control for different monitor outputs.

The configuration defines the exact layout and operation of these controls so please refer to TheStandard Templates for more details.

Radio On-Air Configuration Template Edit Suite Configuration Template Monitor Module MF Key Layout


Chapter 3: Console OperationPFL (Pre Fade Listen)

PFL (Pre Fade Listen)

Up to 2 independent PFL busses may be defined by theconfiguration. Each bus may route to a separate PFL speaker,or appear automatically on your speakers or headphones whenPFL is active.

PFL is usually available on one of the fader strip MF Keys. Youcan select different PFL modes from VisTool.

Below is a description of the default PFL mode (PFL SUM):

1. On a closed fader select PFL.

The source is routed onto the stereo PFL bus.

Multiple PFLs may be selected to listen to a number ofsources.

2. Now open the fader.

The PFL is cancelled.

3. Then select PFL on an open fader.

The source is put into a state called ‘PFL prepare’.

4. If you now close the fader, PFL will be enabled.

PFL Clear

Often one of the Monitor Module MF Keys will be programmedfor PFL Clear. This provides a handy way of cancelling all activePFLs across the console.

Radio On-Air Template

Edit Suite Template


Chapter 3: Console OperationFollow ACCESS Monitoring

Follow ACCESS Monitoring

A common monitoring function which may be supported by your configuration is “follow ACCESSmonitoring”. This monitors the source "in access" so that you can hear it while adjusting sourceparameters:

1. On the Monitor Module, first select the FOLLOW ACCESS monitor source selection button:

2. Then select ACCESS on the source you wish to monitor:

You will hear the post-fader output of the selected source.

3. If you change the source in ACCESS, the monitoring automatically follows.


Chapter 3: Console OperationSpecial Configuration Functions

Special Configuration Functions

This section deals with functions which must be programmed by your configuration. Your consolemay support some or all of the following:

Pool Sources

MF Key Functions

GPIO Functions


Chapter 3: Console OperationPool Sources

Pool Sources

Pool sources allow operators to change the input to a source from the fader strip, instead of having“hard-wired” input connections.

For example, let’s say that your crystal Base Unit is connected to a larger matrix, such as a Nova73,via 16 MADI tie lines. By configuring 16 pool sources, one for each MADI tie line, and a matrix sourcepool within the Nova73, you can access Nova73 signals via any of the 16 pool sources.

If pool sources are supported by your configuration, then you will find them when you perform a faderstrip assignment:

1. Double-press an ACCESS key to enter source assign mode in the usual manner:

2. Turn the rotary control to scroll through the available source and summingbus options until you reach the pool sources – in our example, the poolsources are labelled Pool 1, Pool 2, and so on up to Pool 16.

3. Select the pool source and press Take to assign it to the fader strip.

In our example, this has assigned Pool Source 1 (the first stereo MADI tie linefrom our Nova73) to the fader strip.


Chapter 3: Console OperationPool Sources

You can now use the fader strip rotary control to select an input from your matrix source pool.

4. Press down on the rotary control to step through the input gain and panning parameters untilyou reach the Pool Source Group select:

These parameters will only appear on fader strips assigned to a Pool Source.

5. With the arrow pointing at the pool group (MADI), turn the rotary control to change the group.

6. Then press down again on the rotary control, and turn to select a signal – e.g. In 3.

7. Press the Take button to assign the input to the source.

The Label at the bottom of the fader strip updates to show:

MADI – the matrix source pool Group name.

In 3 – the matrix source pool Signal name.

POOL 1 – the source label.

The pool source Group and Signal names come from the input namesdefined within the configuration of the connected router.


Chapter 3: Console OperationMF Key Functions

MF Key Functions

MF Keys appear on the Fader Module, Monitor Modules, VisTool and Key Panels such as the KSC-LCD16. They may be used for a variety of applications:

Source-specific functions – see Fader Strip MF Keys.

Monitoring

On-Air signaling

Talkback – to a variety of destinations.

Return Talkback – allowing others to talk to you!

Tone – send tone to programme or other destinations.

Clipboard Operations – to copy/paste DSP (EQ, DYN, LIM) settings from/to the source inaccess.

REC Mode – to switch sources to a record bus.

Ambient Sensor – to enable or disable the sensors.

Unlock – can protect functions such as snapshot or clipboard operations.

Plus many other functions.

The functionality and colour coding of each MF Key is defined by the configuration so please refer toThe Standard Templates for more details.


Chapter 3: Console OperationGPIO Functions

GPIO Functions

The system also supports a variety of GPIO functions which allow the console to respond to externalfunctions:

Fader Starts – see Fader Strip MF Keys.

Hybrid Signaling – see Fader Strip MF Keys.

Emergency Mute – to mute the programme output.

Red Light – mutes the speaker output when the red light status is active. This could beconfigured to respond to certain sources being on-air, or be activated manually from an MFKey.

Plus many other functions.

GPIO functionality is defined by the configuration so please refer to The Standard Templates for moredetails.


Chapter 3: Console OperationMetering Options

Metering Options

You may run VisTool metering pages on an external monitor connected to the VisTool PC:

Stand-alone VisTool Monitor


Chapter 4: The Standard Templates

Chapter 4: The Standard Templates

Introduction

This chapter covers the signal flow, source and summing bus attributes, MF Key, monitoring,talkback and GPIO functions programmed by each of the configuration templates. Please make surethat are familiar with the general Console Operation first.

Your user rights may prevent you from accessing certain functions; please consult yoursystem administrator.


Template Comparison Table

Radio On-Air Configuration Template

Radio RAS Configuration Template

Edit Suite Configuration Template

A new standard template for Version 4.0 software is currently in development and will be availablesoon.


Chapter 4: The Standard TemplatesTemplate Comparison Table

Template Comparison Table

To make the crystal easy to operate ‘out of the box’, the console is delivered with one of the followingstandard configuration templates:

Radio On-Air – for the self-operated or traditional on-air radio studio.

Radio RAS – for Radio Automation System (RAS) and DJ-operated setups.

Edit Suite – for TV or radio edit suites.

Any template may be downloaded to any of the crystal frame options, with the exceptionthat a 4-fader crystal may not run the Radio On-Air template.

The following table provides a quick comparison of the features offered by each template:

Edit Suite Radio On-Air Radio RAS

Desk Size 4, 8 or 12 Fader 8, 12 or 16 Fader 4, 8, 12 or 16 Fader

Expansion Cards:

Slot 1 I/O Card

Slot 2 I/O Card

Line (optional)

SDI (optional)

Line (optional)

n/a

n/a

n/a

Mic Inputs 2 4 4

Hybrids 1 2 2

Busses (Main, Record, Aux)

4 5 3

Busses (SDI) 4 n/a n/a

Mix Minus Busses 3 4 4

Source Snapshots n/a n/a on 8, 12 and 16 faderdesks.

RAS Implementation n/a n/a Fader start/stop on MF Key3


Chapter 4: The Standard TemplatesRadio On-Air

Radio On-Air

The Radio On-Air template can be downloaded to any crystal console except the 4-fader model. It isdesigned for the self-operated or traditional radio studio.

Topics covered in this section are:

Signal Flow

Sources

Summing Busses

Fader Strip MF Keys

Monitor Module Functions

Additional MF Key Functions

Return Talkback Functions

Monitoring and Talkback Connections

GPIO Connections



Signal Flow

For signal flow diagrams of the Radio On-Air template, please refer to the crystal downloads area atwww.lawo.de (click on Login).

http://www.lawo.de



Sources

SourceLabel

Physical Connection Mono/Stereo

EQ Dyn Lim Dly SpecialFunctions

DJ 1 Input 1 (Mic) Mic/Line Input (rear) Mono On-Air (GPO 8)

DJ 2 Input 2 (Mic) “ Mono On-Air (GPO 8)

Guest 1 Input 3 (Mic) “ Mono On-Air (GPO 8)

Guest 2 Input 4 (Mic) “ Mono On-Air (GPO 8)

Hybr 1 Input 5 (Line) “ Mono RING

Hybr 2 Input 6 (Line) “ Mono RING

Line 1 Inputs 7&8 (Line) “ Stereo

AES 1 Inputs 1&2 AES3 Input (rear) Stereo Fader start(GPO 4)

AES 2 Inputs 3&4 “ Stereo Fader start(GPO 5)

AES 3 Inputs 5&6 “ Stereo


LINE 2 Inputs 3&4 (Line) Expansion Slot 1

(optional, front panel)

Stereo

EXT 1 Inputs 5&6 (Line) “ Stereo

EXT 2 Inputs 7&8 (Line) “ Stereo

LineUp n/a Internal Source Mono

Line Input 1 on the optional expansion card (slot 1) is unused. Line Input 2 is reserved foran external talkback input. This input is switched by the return talkback function.



Summing Busses

Name Mono/

Stereo

Assign

to Strip

Label EQ Dyn Lim Dly Physical Connection/Application

PGM Stereo

Mono

PGM Line Outputs (rear) 1&2

AES Outputs (rear) 1&2

Expansion Slot 1, Line Out 1 (optional,front panel)

REC Stereo REC Line Outputs (rear) 3&4


Aux 1 Stereo AUX 1 AES Outputs (rear) 5&6


Aux 3 Stereo AUX 3 Expansion Slot 1, Line Outs 7&8(optional, front panel)

DJ1

MixMinus

Stereo n/a Internal mix minus bus for the sourcelabelled DJ1.

Guest1

MixMinus

Stereo n/a Internal mix minus for the sourcelabelled Guest1.

Hybr1

MixMinus

Mono n/a Mix minus bus for the source labelledHybr1.

Line Output (rear) - Output 5

Hybr2

MixMinus

Mono n/a Mix minus bus for the source labeledHybr2.


PFL Stereo n/a PFL monitoring bus.

Expansion Slot 1, Line Outs 5&6(optional, front panel)

FollowAccess

Stereo n/a Internal bus – used for Follow Accessmonitoring.

A mono sum of the programme (PGM) output is provided on Line Output 1 of the optionalexpansion card (slot 1).



Fader Strip MF Keys

MF Keys 3 & 4

The two large MF Keys on a Radio On-Air console perform the following functions across all faderstrips:

ON and OFF

When the ON button is enabled (red) the post-fader output of the source is on.

When the OFF button is enabled (green) the post-fader output of the source is switched off.

Note that the two buttons intercancel.

MF Keys 1, 1b, 2 & 2b

The four small MF Keys perform different functions depending on the source assigned to the faderstrip:

PFL (pre fade listen)

When enabled (yellow) the source is routed onto the PFL bus, see PFL (Pre Fade Listen).

Conference Bus Assign

The DJ 1, Guest 1, Hybrid 1 and Hybrid 2 sources can be assigned onto the CONF bus for mixminus monitoring, see Conference Bussing.



Talkback (TB)

The Guest 1, Guest 2, Hybrid 1 and Hybrid 2 source have a talkback (TB) MF Key.

Press TB to activate the talkback; the MF Key turns red and the DJ 1 source is routed pre-fader toyour selected destination:

TB to Guest 1 or Guest 2 – routes DJ 1 to the guest headphone output (Headphone 2).

TB to Hybrid 1 – routes DJ 1 to the Hybrid 1 send.

TB to Hybrid 2 – routes DJ 1 to the Hybrid 2 send.

Only one talkback line can be active at a time. This is indicated on other sources by ayellow TB button.

The TB button will also light (flashing yellow) when a source is attempting to talk to you,see Return Talkback.

In our example we are talking to the Guest headphones (red TB buttons on Guest 1 and Guest 2).

On the fader strips controlling Hybrid 1 and Hybrid 2, the yellow TB buttons indicate that talkback is inuse:



Hybrid Signalling

The Hybrid 1 and Hybrid 2 sources have an extra button – RING. This button flashes yellow whenan incoming call is received (activated by GPI input 6 or 7).

Press RING to take the call; the button lights in red (this activates GPI output 6 or 7):




The Radio On-Air template defines functions for two monitor modules:

Metering

The two meters are assigned as follows:

Meter A (Left) – automatically follows the CR Monitorsource selector.

Meter B (Right) – always meters programme (PGM).

Monitoring

Each of the monitoring sections control two stereo monitoroutputs:

HP DJ

The HP DJ rotary control adjusts the level of the DJ’sheadphone output (Headphone 1).

The HP DJ MF Key is used to name the rotary control and hasno function; to mute the DJ’s headphones turn the level off.

CR Monitor

The CR MONITOR rotary control adjusts the level of the controlroom monitor output.

The CR MONITOR MF Key is used to name the rotary controland has no function. Press the MUTE button to mute the controlroom monitor output. Press DIM to dim the output by 20dB.

Note that the CR Monitor output will automatically be mutedwhen the console is on-air.

HP Guest

The HP Guest rotary control adjusts the level of the Guest headphone output (Headphone 2).

The HP Guest MF Key is used to name the rotary control and has no function; to mute the Guest’sheadphones turn the level off.

ST Monitor

The ST MONITOR rotary control adjusts the level of the studio monitor output.

The ST MONITOR MF Key is used to name the rotary control and has no function. Press the MUTEbutton to mute the studio monitor output. Press DIM to dim the output by 20dB.



Monitor Source Selector

The HP DJ and CR Monitor outputs share a single monitorsource selector, as do the HP Guest and ST Monitor outputs.This allows you to make independent monitoring selections forthe DJ and for the Guest/studio.

Each monitor source selector is identical. You can select from:

PGM – the stereo programme bus.

REC – the stereo record bus.

PFL – the stereo PFL bus.

AUX 1 – stereo auxiliary send.


AUX 3 – stereo auxiliary send

EXT 1 – the inputs connected to the source LINE 5 (Expansion Card Slot 1 Line Inputs 5&6).

EXT 2 – the inputs connected to the source LINE 6 (Expansion Card Slot 1 Line Inputs 7&8).

Follow Access – the follow access bus, see Follow ACCESS Monitoring.

CONF – the mix minus bus for the source DJ 1 (left) or Guest 1 (right), see ConferenceBussing.




On the second monitor module, the 8 “function buttons” are additional MF Keys. These areprogrammed by the Radio On-Air template as follows:

Alarm

This MF Key lights if there is a problem with a control surface module.

On-Air

The console has two “On-Air” states which will light both of the ON AIR MF Keys as follows:

ON AIR (red) – lights when any microphone source (DJ 1, DJ 2, Guest 1 or Guest 2) havetheir faders open and ON buttons enabled.

ON AIR (yellow) – lights when any other source has their fader open and ON button enabled.

Note that the sources do not have to be assigned to a summing bus for the on-air state to be active.

When the console is on-air, GPI output 8 is active.

Also note that the ON AIR MF Keys will flash (red) if the emergency mute function is active.



TB EXT

Press TB EXT to talk to an external communications output. This routes the DJ 1 source (pre-fader)to the output called TB Send (Line Output 2 of the optional expansion card slot 1).

The TB EXT button lights (red) when talkback is active.

Note that only one talkback line can be active at a time. This is indicated on sources by a yellow TBbutton:

Note that the TB EXT button will also light (flashing yellow) when someone is attempting to talk toyou, see Return Talkback.

REC Mode

Press this button to globally change the bus assignments to the programme and record bussesacross the console.

First, view your PGM and REC bus assignments by selecting the BUS function button and layer 1(INP 1):

Press REC MODE and all sources are removed from the PGM bus and assigned to the REC bus.

Turn off REC MODE and all sources are removed from the REC bus and assigned to the PGM bus.

This function is great for switching between live broadcast and off-air recording. However,be aware that the button will reset any individual bus assignments which you may havemade.



Global PFL Off

If a PFF button is active, then the Global PFL Off MF Key lights (red):

Press Global PFL off to cancel all active PFL selections.




Two return talkback functions are programmed by the Radio On-Air configuration. Both functions areactioned by GPI inputs:

Talkback from Guest 1 or 2 to HP DJ

This function can be programmed onto an external button so that a guest can talk to the DJ’sheadphone output. The function is triggered by GPI input 1.

When GPI input 1 is active, the TB buttons on Guest 1 and Guest 2 fader strips light (flashingyellow) and the Guest 1 and Guest 2 sources are summed and routed to the HP DJ (Headphone 1)output.

Talkback from TB EXT to HP DJ

This function can be programmed onto an external button in order to talk to the DJ’s headphoneoutput (Headphone 1) from another location. The function is triggered by GPI input 2.

When GPI input 2 is active, the TB EXT button on the second monitor module lights (flashing yellow)and the TB EXT source (pre-fader) is routed to the HP DJ (Headphone 1) output.




Name Mono/Stereo

Physical Connection Application

TB EXT Mono Expansion Slot 1, Line Input 2(optional, front panel)

Connect an external talkback source for use with return talkback.

TB Send Mono Expansion Slot 1, Line Output 2(optional, front panel)

Connect this output to your externalcommunications feed. Active when the TB EXT MFKey is used.

CR Monitor Stereo Line Outputs (rear) 7&8 Connect your control room loudspeakers here.Sources are assigned from the CR Monitor sourceselector with level, mute and dim.

ST Monitor Stereo Expansion Slot 1, Line Outs 3&4(optional, front panel)

Connect your studio loudspeakers here. Sourcesare assigned from the ST Monitor source selectorwith level, mute and dim.

PFL Stereo Expansion Slot 1, Line Outs 5&6(optional, front panel)

Connect an external PFL speaker here. There is noPFL level.

DJ Headphone Stereo Headphone Output 1 (rear) Connect the “DJ” headphones here. The monitorsource follows the CR Monitor selector. Separatelevel is provided by the HP DJ control.

GuestHeadphone

Stereo Headphone Output 2 (rear) Connect the “Guest” headphones here. Themonitor source follows the ST Monitor selector.Separate level is provided by the HP Guest control.



GPIO Connections

PhysicalConnection

Function Name Action

GPIO Input 1 Return Talkback:

Guest to HP DJ

Routes a sum of the sources Guest 1 and Guest 2 to the DJheadphone output and lights the TB MF Keys on the Guest faderstrips (flashing yellow).


TB EXT to HP DJ

Routes the source TB EXT to the DJ headphone output and lights the TB EXT MF Key (flashing yellow).

GPIO Input 3 Emergency Mute (seebelow)

Cuts the programme bus output, and lights the ON AIR buttons(flashing red).

GPIO Input 4 Unused.


GPIO Input 6 Hybrid 1 Signaling Lights the RING MF Key on the Hybrid 1 source to signal an incomingcall.

GPIO Input 7 Hybrid 2 Signaling Lights the RING MF Key on the Hybrid 2 source to signal an incomingcall.

GPIO Input 8 DSP disable (see below) Disables the ACCESS key so that DSP parameters are locked duringnormal operation.

GPIO Output 1 Return TB Signalisation

DJ Mic to Guest

Signals that return talkback is active.


DJ Mic to EXT


GPIO Output 3 TB in use Signals that a talkback button (TB or TB EXT) is active.

GPIO Output 4 Fader start For the source AES 1.


GPIO Output 6 Hybrid 1 Call Pickup Press the RING MF Key on the Hybrid 1 source to pick up an incomingcall.

GPIO Output 7 Hybrid 2 Call Pickup Press the RING MF Key on the Hybrid 2 source to pick up an incomingcall.

GPIO Output 8 On-Air Signals that the console’s Mic on-air state (ON AIR red) is active.

Emergency mute

This state can be triggered by an external switch connected to GPI input 3.

When active, the programme (PGM) bus is muted. This is indicated by flashing red ON AIR buttonson the second monitor module.



DSP Disable


When active, a source cannot be put into access; you cannot select the ACCESS button. This locksthe console’s DSP parameters so that the operator cannot adjust Input, Dynamics, Limiting, Delay orEQ.

Fader Starts

A fader start is programmed for each of the sources AES 1 and AES 2. On these sources, open thefader to activate a GPI; the GPI will then action the playback device.


Chapter 4: The Standard TemplatesRadio RAS

Radio RAS

The Radio RAS template can be downloaded to any crystal console. It is designed for RadioAutomation System (RAS) and DJ-operated setups.


Signal Flow

Sources

Summing Busses

Fader Strip MF Keys


o DJ Monitoring (Speaker & Headphones)

o Guest Headphone Monitoring

Talkback & Return Talkback Functions

Additional MF Key Functions and Unlock Functions


GPIO Connections



Signal Flow

For signal flow diagrams of the Radio RAS template, please refer to the crystal downloads area atwww.lawo.de (click on Login).

http://www.lawo.de



Sources

SourceLabel



MIC 1 Input 1 (Mic) Mic/Line Input (rear) Mono Redlight

(GPO 5)

MIC 2 Input 2 (Mic) “ Mono Redlight

(GPO 5)


(GPO 5)


(GPO 5)

HYB 1 Input 5 (Line) “ Mono

HYB 2 Input 6 (Line) “ Mono

RAS 1 Inputs 1&2 AES3 Input (rear) Stereo Fader start(GPO 1)

RAS 2 Inputs 3&4 “ Stereo Fader start (GPO 2)

RAS 3 Inputs 5&6 “ Stereo Fader start (GPO 3)

CD Inputs 7&8 “ Stereo Fader start (GPO 4)


Line Input 7 is reserved for an external talkback input. This input is switched by the returntalkback functions.

Line Input 8 is spare.



Summing Busses

Name Mono/

Stereo

Assign

to Strip


PGM Stereo

Mono

PGM Line Outputs (rear) 1&2


Line Out (rear) 7.

REC Stereo REC AES Outputs (rear) 3&4


DJ

MixMinus

Stereo n/a Internal mix minus bus for the sourcelabelled MIC1.

Guest

MixMinus

Stereo n/a Internal mix minus for the sourceslabelled MIC2, 3, 4 .

Hybr1

MixMinus

Mono n/a Mix minus bus for the source labelledHYB1.


Hybr2

MixMinus

Mono n/a Mix minus bus for the source labeledHYB2.



A mono sum of the programme (PGM) output is provided on Line Output 7.



Fader Strip MF Keys

The diagram below shows the MF Key and default source assignments for fader strips 1 to 4. Otherfader strips are configured in a similar manner.

All source channels have ON/OFF and PFL buttons below the fader. Some also have TB (talkback)and CONF (conference) buttons, above the MF Key display, depending on the source.

ON/OFF Button (MF Key 3)

The ON/OFF button controls the channel on/off switch. On RAS channels it controls the remote faderup/down to start/stop the RAS playout.

Internally all channels have two faders in serial: a manual fader, operated from the desk,and a RAS fader. Both faders have to be open to get audio through the channel.

The ON/OFF buttons control the RAS fader (fully open or fully closed) in order to achieve the manualon/off switch. In addition, the RAS fader can be controlled by the automation system. This allows allchannels to be switched on/off from the desk or from the RAS.



PFL Button (MF Key 4)

The PFL button actions pre-fade listen.

PFL cannot be selected on bus masters: PGM, REC or AUX.

TB Button (MF Key 1)

The DJ can talk with his microphone (MIC 1), pre-fader to:

Hybrid 1 and Hybrid 2 – press the TB button on the DJ (MIC 1) channel.

The Guest Headphones – press the TB buttons on the MIC 2, MIC 3 or MIC 4 channels.

The Aux Output – press the TB button on the AUX master channel.

CONF Button (MF Key 1b)

For communication, each of the following sources may take part in an off-air conference: the DJ (MIC1), any Guest (MIC 2, 3 and 4), and the Hybrids (HYB 1 and HYB 2). See Conference Bussing.

Press the CONF button on each participant’s channel to activate the conference. The participantsare able to talk to each other, pre-fader, providing their faders remain closed. As soon as a faderopens, the participant is removed from the conference.

The feeds to the DJ Speakers/Headphones, Guest Headphones and Hybrid returns areautomatically switched to receive the conference bus as soon as the relevant conferencepartners are connected.




The Radio RAS template defines functions for two monitor modules.

The second Monitor Module (E) is not fitted to 4-fader consoles.

The configuration provides:

1 x stereo Speaker output - with volume control from Monitor Module F (SPK Volume).

2 x Headphone outputs for the DJ and Guest – with volumes controlled from HP DJ(Monitor Module F) and HP GUEST (Monitor Module E).

The two meters are assigned as follows:

Meter A (Left) – automatically follows the DJ Monitor source selector.

Meter B (Right) – always meters programme (PGM).



DJ Monitoring (Speaker & Headphones)

The DJ monitoring feeds both the Speaker and DJ Headphone outputs.

Monitor Source Selection

The monitor source is selected from middle set of buttons onMonitor Module F:

PGM – the Main bus. Note that this includes tone if Toneto PGM is active.

REC – the Record Bus (stereo)

AUX – the Aux Bus (stereo)

RAS 1 – the AES input from RAS 1 (stereo)



HYB 1 – the analogue input from Hybrid 1 (mono)

HYB 2 – the analogue input from Hybrid 2 (mono)

CD – the AES input from the CD player (stereo)

Mono, Phase and Side

The selected monitor source can also be heard in mono (pressMONO), with the phase changed (press PHASE) or with theside changed (press SIDE).

Speaker Level, Mute and Dim

The SPK Volume rotary control, and MUTE and DIM buttonsadjust the level of the Speaker output. DIM will dim the output by20dB.

In addition, the Speaker output is automatically dimmed by 20dB if TB Ext is active. This preventsfeedback occurring when talking and listening to the external talkback feed.

If both the DIM button and talkback dim (triggered by TB EXT) are active, then the amount of dim isadded and the outputs are dimmed by 40dB.

DJ Headphone Level

The HP DJ rotary control adjusts the level of the DJ Headphone output.

The DJ Headphone output is automatically dimmed by 20dB if TB Ext is active. There is no manualmute or dim for the Headphone output.

Red Light

The Speaker output will mute automatically when the Red Light is active. The Red Light is active ifany of the MIC 1 (DJ), MIC 2, MIC 3 or MIC 4 faders are open, or if the Redlight button is active.



Conference and PFL

The off-air conference bus is automatically switched to the Speaker and DJ Headphone outputs whenthe DJ is in connected to one or more conference partners (CONF active and faders closed). SeeConference Bussing.

The PFL bus is automatically switched to the Speaker and DJ Headphone outputs whenPFL is active.

If both PFL and conference are active, then PFL takes priority.

PFL and conference appear on both left and right monitor outputs. Once PFL and conference aredeactivated, then the monitor source returns to the current selection.



Guest Headphone Monitoring

Monitor Source Selection

The monitor source for the Guest Heaphone output is selectedfrom middle set of buttons on Monitor Module E:

PGM – the Main bus. Note that this includes tone if Toneto PGM is active.

REC – the Record Bus (stereo)

AUX – the Aux Bus (stereo)

Guest Headphone Level

The HP Guest rotary control adjusts the level of the GuestHeadphone output.

There are no buttons to Mute, Dim or return Talkback to theGuest Headphones.

Conference and PFL

The off-air conference bus is automatically switched to theGuest Headphone output when at least one guest (MIC 2, MIC 3or MIC 4) is in conference (CONF active and faders closed).See Conference Bussing.

Once the conference is deactivated, then the monitor sourcereturns to the current selection.

If Monitor Module E is not fitted, then the Guest Headphones receive either PGM or theconference signal (n-1) if conference is active.

Audio is routed at unit gain so please use an external volume control for the Guestheadphones in this case.



Talkback & Return Talkback Functions

The Radio RAS template defines the following talkbackfunctions:

Talkback from External to DJ

Talkback from an external feed (Line in 7) is received on the DJHeadphones and Speaker outputs (left and right) when theExternal Talkback GPI (GPI 1) is active.

When talkback is received, it is mixed with the selected monitorsource on both left and right monitor outputs. The monitorsource is dimmed by 20 dB while talkback is being received.

Talkback from DJ to External

The DJ can talk to the external feed (Line out 8) by pressing theTB Ext button.

While TB Ext is active, the Line out receives the DJ channel(MIC 1) pre-fader. At all other times, the external talkback feed ismuted.

Talkback from DJ to Guest

The DJ can talk to the Guest Headphones (left and right) bypressing any of the TB buttons on the Guest channels (MIC 2, 3or 4).

Talkback from DJ to Hybrid 1 or 2

The DJ can talk to Hybrid 1 or Hybrid 2 by pressing the TBbuttons on either of the Hybrid channels (HYB 1 or HYB 2).

Normally, each Hybrid output receives its mix minus/conferencesignal. When talkback is active, the conference signal isreplaced by the DJ channel (MIC 1) pre-fader.

Talkback from DJ to Aux

The DJ can talk to the Aux output by pressing the TB button onthe Aux channel (AUX).

Normally, the Aux outputs are fed from the AUX bus. Whentalkback is active, the Aux bus is replaced by the DJ channel(MIC 1) pre-fader.




The second Monitor Module (E) provides a number of additional functions. (Note that the secondMonitor Module is not fitter to 4-fader consoles).

Ext Sync

This button lamp illuminates to indicate the active sync source:

Green = sync from AES Input 1

Blue = sync from Wordclock Input

Off = internal sync

If both Wordclock and AES sync sources are connected, thenWordclock takes priority.

Global Alarm

This button lamp flashes if any of the following system alarmsare active: Temperature Base Unit, Temperature Proc Unit, Fan1 low, Fan 2 low.

Press the button to acknowledge the alarm. If the alarm remainsactive, then the button stays lit (steady state). If the alarm hasbeen cleared, then the lamp goes out, reflecting that all is ok withthe system.

Redlight

This button switches the Red Light (GPO 5) on or off manually.The button lamp illuminates when Red light is active.

PFL Clear

This button lamp illuminates when PFL is active. Press thebutton to clear all active PFLs.

TB Ext

This button activates external talkback to the DJ Speaker outputsand Headphones.



Unlock Functions

Each of the buttons at the top of Monitor Module E must be “unlocked” by using the UNLOCK button(MF Key 24):

1. Press and hold UNLOCK.

2. While holding UNLOCK, select the required function.

The functions which must be unlocked are:

SAVE Clip. (MF Key 17)

Press this button, while holding UNLOCK, to save DSP settings(EQ, DYN, LIM) from the selected channel (in access) to theclipboard.

This function allows you to copy settings so that they may beloaded to another channel.

LOAD Clip. (MF Key 18)

Press this button, while holding UNLOCK, to load DSP settings(EQ, DYN, LIM) from the clipboard to the selected channel (inaccess).

RESET Clip. (MF Key 19)

Press this button, while holding UNLOCK, to reset the DSPsettings (EQ, DYN, LIM) on the selected channel (in access) totheir default values.

DELETE Clip. (MF Key 20)

Press this button, while holding UNLOCK, to delete the DSPsettings (EQ, DYN, LIM) from the clipboard.

Tone to PGM (MF Key 21)

Press this button, while holding UNLOCK, to switch tone to theprogramme bus (PGM). When active, the button lamp flashes inred. This function toggles so press and hold UNLOCK, andpress Tone to PGM again to cancel the tone.

Ambient Sensor (MF Key 22)

Press this button, while holding UNLOCK, to enable the ambientlight sensor. When enabled, the brightness of displays andlamps across the surface is automatically adjusted according tothe ambient light level.

This function toggles, so press and hold UNLOCK, and pressAmbient Sensor again to disable the function. When disabled,the brightness of displays and lamps is set to maximum.




Name Mono/Stereo


TB EXT Mono Line Input 7 (rear) Connect an external talkback source for use with return talkback.

TB Send Mono Line Output 8 (rear) Connect this output to your externalcommunications feed. Active when the TB EXT MFKey is used.

SPEAKER Stereo Line Outputs (rear) 3&4 Connect your control room loudspeakers here.Sources are assigned from the DJ Monitor sourceselector with level, mute and dim.

HP DJ Stereo Headphone Output 1 (rear) Connect the “DJ” headphones here. The monitorsource follows the DJ Monitor selector. Separatelevel is provided by the HP DJ control. There is nomute or manual dim.

HP Guest Stereo Headphone Output 2 (rear) Connect the “Guest” headphones here. Themonitor source follows the Guest Monitor selectoron Monitor Module E. Separate level is provided bythe HP Guest control.

If Monitor Module E is not fitted, then the GuestHeadphones receive either PGM or the conferencesignal (n-1) if conference is active.

AES Outputs 5 & 6 provide a "Follow monitor" feed which outputs the DJ Monitor sourceselection. Use these to connect to an external PPM.



GPIO Connections

PhysicalConnection


GPIO Input 1 TB from External Talkback from an external feed (Line in 7) is received on the DJHeadphones and Speaker outputs (left and right) when this GPI isactive.

GPIO Input 2 Emergency Mute (seebelow)

Mutes any on-air feeds.

GPIO Input 3 External SPKR Mute Mutes the SPEAKER outputs when active.

GPIO Input 4 External SPKR DIM Dims the SPEAKER outputs when active.





GPIO Output 1 Fader start For the source RAS 1.



GPIO Output 4 Fader start For the source CD.

GPIO Output 5 Redlight The relay closes automatically when any mic fader is open (MIC 1, 2,3 or 4), and the on/off button is switched to ON. The relay also closesif the Redlight MF Key is active.

GPIO Output 6 Unused.



Emergency Mute (GPI Input 2)

GPI input 2 is configured for an “Emergency Mute”. When the GPI is activated, all PGM outputs aremuted for as long as the GPI remains high.

There is no signaling on the surface to reflect the “Emergency Mute” status, and themonitoring of PGM signals continue as normal. This is done deliberately to deal with anunauthorized break-in! Should the studio be compromised, the Emergency Mute can beactivated (from outside the studio) without the unauthorised personnel knowing they areoff-air.

Fader Starts (GPI Outputs 1 to 4)

Each relay closes (no pulse relay) when the fader is open (fader opened manually and on/off buttonswitched to ON). The relay opens when the fader is closed (fader closed manually or on/off buttonswitched to OFF).


Chapter 4: The Standard TemplatesEdit Suite

Edit Suite

The Edit Suite configuration can be downloaded to any crystal console. It is designed for TV or radioedit studios.


Sources

Summing Busses

Fader Strip MF Keys


Talkback Functions



GPIO Connections



Signal Flow

For signal flow diagrams of the Edit Suite template, please refer to the crystal downloads area atwww.lawo.de (click on Login).

http://www.lawo.de



Sources

SourceLabel



MIC 1 Input 1 (Mic) Mic/Line Input (rear) Mono On-Air (GPO 8)

MIC 2 Input 2 (Mic) “ Mono On-Air (GPO 8)

TB EXT Input 3 (Mic) “ Mono Talkback

TEL 1 Input 4 (Mic) “ Mono GPI (hybridsignalling)



AES 1 Inputs 1&2 AES3 Input (rear) Stereo Fader start(GPO 4)

AES 2 Inputs 3&4 “ Stereo Fader start(GPO 5)



LINE 3 Inputs 1&2 Expansion Slot 1


Stereo

LINE 4 Inputs 3&4 " Stereo

LINE 5 Inputs 5&6 “ Stereo Ext 1 monitorsource

LINE 6 Inputs 7&8 “ Stereo Ext 2 monitorsource

SDI 12 Inputs 1&2 Expansion Slot 2


Both

SDI 34 Inputs 3&4 " "






Summing Busses

Name Mono/

Stereo

Assign

to Strip


Sum 1 Stereo SUM1 Line Outputs (rear) 1&2


Sum 2 Stereo SUM2 Line Outputs (rear) 3&4






SDI

1&2

Stereo SDI12 Expansion Slot 2,SDI Outs 1&2(optional, front panel)

SDI

3&4


SDI

5&6


SDI

7&8


Mic1

MixMinus

Stereo n/a Internal mix minus bus for the sourcelabelled MIC1.

Hybrid

MixMinus

Mono n/a Mix minus bus for the source labelledTEL1.



Expansion Slot 1, Line Outs 7&8(optional, front panel)

FollowAccess

Stereo n/a Internal bus – used for Follow Accessmonitoring.



Fader Strip MF Keys

MF Keys 3 & 4

The two large MF Keys on an Edit Suite console perform the following functions across all faderstrips:

MUTE

When enabled (red) the post-fader output of the source is muted.

PFL (Pre-fade Listen)

When enabled (yellow) the source is routed onto the PFL bus, see PFL (Pre Fade Listen).

MF Keys 1, 1b, 2 & 2b

The four small MF Keys perform different functions depending on the source assigned to the faderstrip:

Bus Assign

Sources can be assigned to SUM 1 and SUM 2 by pressing the upper MF Keys.

The MIC 1 and TEL 1 sources can also be assigned onto the CONF bus for mix minus monitoring,see Conference Bussing.

Signalling

The TEL 1 source has an extra button – GPI. This button lights (red) when an incoming call isreceived (activated by GPI in 6). Press GPI to take the call. (This activates GPI output 6.)




The Edit Suite template defines a single monitor module. You can download the Edit Suite template toconsoles with two monitor modules. However, the second module will be unused (blank).

Metering

The stereo peak and correlation meter will automatically followyour monitor source selection.

Monitoring

HP Main

The HP MAIN rotary control adjusts the level of the mainheadphone output (Headphone 1).

Press the HP MAIN MF Key to mute the headphone output (HPMAIN turns red).

Monitor Source Selector

The first three rows of small MF Keys provide monitor sourceselection for the HP MAIN and CR MONITOR outputs. You canselect from:

SUM 1 – stereo summing bus.

SUM 2 – stereo summing bus.



EXT 1 – the inputs connected to the source LINE 5(Expansion Card Slot 1 Line Inputs 5&6).

EXT 2 – the inputs connected to the source LINE 6(Expansion Card Slot 1 Line Inputs 7&8).

Follow Access – the follow access bus, see FollowACCESS Monitoring.

CONF – the mix minus bus for the source MIC 1, seeConference Bussing.

CR Monitor

The CR MONITOR rotary control adjusts the level of the controlroom monitor output.

Press the CR MONITOR MF Key to mute the output. PressDIM to dim the control room monitor output by 20dB.

Note that the CR Monitor output will automatically be dimmedwhen talkback is active, and muted when the console is on-air.



PFL to Mon

Press the PFL to MON key to switch the stereo PFL bus to theheadphone and control room monitor outputs:

The key lights fully bright if PFL is active on a source. If no PFLbuttons are active, then the key is half lit.

Note that PFL replaces the current monitor source selection;when you deselect PFL to MON, you will return to your previousselection – in our example, SUM 1.



Talkback Functions

TB EXT

Press TB EXT to talk to an external communications output.This routes the MIC 1 source (pre-fader) to the output called TBSend (Line Output 6).

The TB EXT button lights (yellow) when talkback is active andthe control room monitor output is automatically dimmed.

Note that the TB EXT button will also light (red) when someoneis attempting to talk to you – see Return Talkback.

TB

Press TB to talk to the second headphone output. This routesthe MIC 1 source (pre-fader) to the Headphone 2 output.

The TB button lights (yellow) when talkback is active and thecontrol room monitor output is automatically dimmed.

Note that the TB button will also light (red) when a guest isattempting to talk to you – see Return Talkback.




Two return talkback functions are programmed by the Edit Suite configuration. Both functions areactioned by GPI inputs:

Talkback from MIC 2 (Guest) to HP MAIN

This function can be programmed onto an external button so that a guest can talk to the mainheadphone output. The function is triggered by GPI input 1.

When GPI input 1 is active, the TB button on the monitor module lights (red) and the MIC 2 source(pre-fader) is routed to the Main HP (Headphone 1) output.

Talkback from TB EXT to HP MAIN

This function can be programmed onto an external button in order to talk to the main headphoneoutput (Headphone 1) from another location. The function is triggered by GPI input 2.

When GPI input 2 is active, the TB EXT button on the monitor module lights (red) and the TB EXTsource (pre-fader) is routed to the Main HP (Headphone 1) output.




Name Mono/Stereo


TB EXT Mono Line Input (rear) 3 Connect an external talkback source for use with return talkback.

TB Send Mono Line Output (rear) 6 Connect this output to your externalcommunications feed. Active when the TB EXT MFKey is used.

CR Monitor Stereo Line Outputs (rear) 7&8 Connect your control room loudspeakers here.Sources are assigned from the CR Monitor sourceselector with level, mute and dim.

PFL Stereo Expansion Slot 1, Line Outs 7&8


Connect an external PFL speaker here. There is noPFL level.

MainHeadphone

Stereo Headphone Output 1 (rear) Connect the “DJ” headphones here. The monitorsource follows the CR Monitor selector. Separatelevel is provided by the HP MAIN control.

SecondHeadphone

Stereo Headphone Output 2 (rear) Connect the “Guest” headphones here. This outputis identical to the main headphone output, butwithout level or mute. Please use an externalvolume control for the Guest headphones.



GPIO Connections

PhysicalConnection



MIC 2 to HP MAIN

Routes the source MIC 2 to the main headphone output and lightsthe TB MF Key (red).


TB EXT to HP MAIN

Routes the source TB EXT to the main headphone output and lightsthe TB EXT MF Key (red).




GPIO Input 6 TEL 1 Signaling Lights the GPI MF Key on the TEL 1 source to signal an incoming call.


GPIO Input 8 DSP disable (see below) Disables the ACCESS key so that DSP parameters are locked duringnormal operation.


MIC 2 to HP MAIN



TB EXT to HP MAIN





GPIO Output 6 TEL 1 Call Pickup Press the GPI MF Key on the TEL 1 source to pick up an incomingcall.


GPIO Output 8 On-Air (see below) Signals that the console’s on-air state is active.

DSP Disable


When active, a source cannot be put into access; you cannot select the ACCESS button. This locksthe console’s DSP parameters so that the operator cannot adjust Input, Dynamics, Limiting, Delay orEQ.

Fader Starts

A fader start is programmed for each of the sources AES 1 and AES 2. On these sources, open thefader to activate a GPI; the GPI will then action the playback device.



On-Air

The console is on-air when the following conditions are true for either the MIC 1 or MIC 2 sources:

Faders open.

MUTE buttons off.

Note that the sources do not have to be assigned to a summing bus for the on-air state to be active.

When the console is on-air, GPI output 8 is active.


Chapter 5: VisTool Operation

Chapter 5: VisTool Operation

Introduction

This chapter deals with the real time operation of VisTool MK2 (VisTool runtime). Please refer to thecrystal Technical Manual for details on VisTool installation, and creating custom configurations usingVisTool Edit.

VisTool may run with sapphire, zirkon/Nova17, crystal and Nova29 systems.Screenshots from a variety of products are used to illustrate this chapter.


What is VisTool?

VisTool Licences


VisTool Standard: Elements

o Buttons

o Metering

o ‘Access’ Source Information

o Clock & System Time

o Timers

VisTool Snapshots (PC Snapshots)

User Rights Management

VisTool Unlimited: Application Examples


Chapter 5: VisTool OperationWhat is VisTool?

What is VisTool?

VisTool MK2 is a software application which runs on an external PC and works in real time withLawo's crystal, sapphire, zirkon, Nova17 and Nova29.

Elements such as metering, timers, MF Keys, signaling and parameter displays can be viewed andcontrolled from an external monitor connected to the VisTool PC:

Stand-alone Monitor

The VisTool PC is not included and must be provided by the customer.

You must install a VisTool PC in order to use VisTool snapshots and user rightsmanagement.


Chapter 5: VisTool OperationVisTool Licences

VisTool Licences

To operate VisTool in real time (known as runtime), you must activate one of the following softwarelicences:

VisTool Standard – included free of charge with crystal and sapphire, and activated by theactivation process. This licence runs the standard configuration for your product with a fixedset of pages and elements.

VisTool Unlimited – a paid upgrade available from www.lawo.de. This licence runs anyVisTool start script, including custom configurations designed by VisTool Edit.

http://www.lawo.de


Chapter 5: VisTool OperationOperating Principles


Starting VisTool

VisTool automatically starts in "runtime" when you open a start script.

If you have a VisTool Unlimited licence, then you may open any start script includingcustom configurations created by VisTool Edit. For example, you may have a choice ofstart scripts for different types of show.

If you have a VisTool Standard licence, then you must open the standard configurationstart script. The start script must be generated from the VisTool .mdb file supplied with thesystem by your system administrator.

1. Double-click on the VisTool start script icon on your computer's desktop:

VisTool loads the data and automatically starts up in runtime. You should see your VisTool screen(s) come to life. For example:

Stand-alone Monitor

If not, then check the following:

Do you have a valid software licence for the start script? To open a custom start script, youmust purchase a VisTool Unlimited licence from www.lawo.de.

Do you have a valid network connection between the VisTool PC and the Lawo system? If not,then dynamic elements, such as meters, cannot interact with the system.

Is VisTool correctly installed and configured? See the crystal Technical manual for details.

http://www.lawo.de



Closing VisTool

VisTool runtime pages open in full screen mode or frame-less windows (frame-less windows aresupported from Version 4.2 software onwards).

Note that there is no menu bar or exit/resize options.

To close VisTool:

1. Press ALT + F4 on your PC keyboard.

If a "close password" is enabled for the configuration, then you cannot close VisToolwithout entering the password. This prevents you accidentally closing VisTool during anon-air transmission. Please ask your systems engineer if you wish to bribe them for thepassword!



Page Navigation

If your VisTool configuration supports multiple pages, then you may change pages as follows:

1. Press the PAGE UP or PAGE DOWN keys on your VisTool PC’s keyboard.

2. OR press a physical MF Key on the console control surface – this option must beprogrammed within the console configuration.

3. OR select the on-screen VisTool page buttons. In our example, there are 4 page selectbuttons on the right hand side of the display; the current page button (MAIN) is illuminated in red:



Touch Screen Operation

If you have a touch-screen interface fitted to your VisTool PC then you can touch on-screenelements, such as buttons and timers, to operate them.

If not, use your mouse to select on-screen elements.

Or, for common functions, ask your systems engineer to programme a physical MF Key!


Chapter 5: VisTool OperationVisTool Standard: Elements

VisTool Standard: Elements

The following elements are included in the VisTool Standard configuration. These elements mayalso be included in VisTool Unlimited configurations (supported by sapphire, zirkon/Nova17,crystal and Nova29 systems).

VisTool Standard (for crystal)


Chapter 5: VisTool OperationButtons

Buttons

Buttons on VisTool come in a variety of shapes and sizes, and may operate as MF Keys.



MF Keys

These buttons action a function when touched, orpressed. Typical applications include:

Changing the Timer mode

Changing meter sources for a VisTool Meter

Access to system options, such as PFL modes,ambient sensor on/off, etc.

Selecting SDI streams for SDI channels.

Snapshot management.



PFL Modes

On crystal, you can change the console's PFL mode from VisTool MF Keys:

The available options are:

SUM (default mode) – multiple PFL buttons may be selected. Where faders are closed,sources are summed onto the PFL Bus; when a fader is opened, PFL is cancelled. Wherefaders are open, sources are put into ‘PFL Prepare’ and will be summed onto the PFL Busonce the fader is closed.

SUM R – identical to PFL Mode SUM but PFL recurs if you open the fader (cancel the PFL)and then close the fader. In this mode, PFL is only cancelled by deselecting the PFL button.

PFL – identical to PFL SUM, but PFL buttons intercancel such that only one source may everbe in PFL or PFL prepare.

PFL R - identical to PFL Mode PFL but PFL recurs if you open the fader (cancel the PFL)and then close the fader. In this mode, PFL is only cancelled by deselecting the PFL button.

PFL A - this mode is called PFL Always and is identical to PFL Mode SUM with the exceptionthat it allows open faders to be put into PFL rather than PFL Prepare.

PFL AR - this mode is a combination of PFL Always and PFL Recurring which means thatPFL is never cancelled by opening a fader.

PFL PUSH – PFL is momentary. This means PFL is active when you press the PFL button,and cancels on release.

PFL DJ - allows you to prepare a fader level which is applied when you put the fader on-air.Press PFL and adjust the fader level. Then deselect PFL and press START to put the faderon-air - the fader jumps to the prepared level. (Note that the prepared level is applied onlyonce. So, if you take the fader off-air, and then press START again - the fader jumps to 0dBas normal.)



SDI Group Selectors

If you have an SDI SD or HD embedder/de-embedder card fitted to your system, then you can selectthe SDI stream from VisTool MF Keys.

SDI streams can contain up to 16 audio channels (mono) whichare divided into four 4-channel Groups:

Group 1: SDI channels 1-4.

Group 2: SDI channels 5-8.

Group 3: SDI channels 9-12

Group 4: SDI channels 13-16

The crystal SDI module is able to route a maximum of 8 monochannels to/from the 16-channel SDI stream.

The 8 channels available from the SDI card are split into twoBlocks:

SDI In 1-4 – available as sources.

SDI In 5-8 – available as sources.

Similarly, the 8 channels returning to the SDI card are dividedinto two Blocks:

SDI Bus 1-4 – available as busses.

SDI Bus 5-8 – available as busses.

Each block can receive signals from any one of four SDI Groups(Group 1 to 4).

Use the Group select buttons to decide which incoming group of channels feeds SDI In 1-4 and 5-8,and which outgoing group is fed from SDI Bus 1-4 and 5-8. The buttons are colour coded to indicate:

Red – the group is assigned to the SDI block.

Yellow – the group is assigned to another SDI block.

Green – the group is not assigned.

In our example, Group 1 (SDI channels 1-4) is assigned to SDI In 1-4, and Group 2 (SDI channels 5-8) to SDI In 5-8.


Chapter 5: VisTool OperationFaders

Faders

From Version 4.2 software, VisTool supports faders in choice of size, scale and style. An on-screenfader may be linked to any physical fader on the console:


Chapter 5: VisTool OperationMetering

Metering

VisTool supports several different types of meter element: PPM, VU, Loudness, Channel State andGain Reduction.



PPMs

PPMs may be configured for channel metering, main metering, for the source in access or as DMSmeters:

Channel Meter Main Meters

Channel Meters (1 to 60) - meter the source or bus assigned to the channel fader strip. Theyare mono, stereo or 5.1 according to the fader strip assignment, and include the Displayname of the source or bus - in our example, LINE 1.

Main Meters (A, B, and 1 to 4) - the sources for these stereo main meters are defined by thesystem configuration and include the Display name of the source or bus - in our example,PGM and REC.

Access Input, Access PreComp, Access PostComp, etc. - these meters show the level atdifferent signal flow points for the channel in access. They are usually included in pagesshowing Access_Source_Information.

DMS Meters (256 presented in 4 groups of 1 to 64) - these meters are defined by the systemconfiguration, and can be used to meter any source, mono, stereo, 5.1 or 5.1+2 channel.They include the label defined by the configuration.

The PPM meter scale can be DIN, UK, NORDIC or DIG, and is configured by VisTool Edit.



VUs

VUs may be configured using the same options as for PPMs.

The meter scale and characteristics are modelled on an analogue VU.



Loudness Metering

Loudness Bargraph (as an Add-On to a PPM) Integrated Loudness Measurement

From Version 4.2 software, the console supports loudness metering conforming to the ITU-RBS1770.

Loudness meters may be assigned to a main meter, to the source in access or DMS meter, andwork in parallel to the regular PPMs. See the PPM assignment options for details.

Loudness Metering Bargraphs

When using bargraphs, a single bargraph represents the average energy of the summed componentchannels: mono, stereo or surround. The average is measured using either a Momentary (400mssliding window) or Short term (3s sliding window) integration time.

The bargraph colour indicates whether loudness is above or below the Target Level. Scale markersindicate a tolerance of +/- 1 LU/LK.

Integrated Loudness Measurement

The integrated loudness measurement provides a very useful tool for measuring loudness over longperiods of time. For example to measure the loudness of a complete programme transmission.

The measurement can usually be started, stopped, paused or reset from buttons beside the display.In our example, the integrated loudness measurement is reading -23 LUFS (Loudness Units FullScale).



Channel State & Channel State 10

This element is designed to fit alongside the channel PPM, and provides an overview of channelstatus.

The element is configured to a specific fader strip by VisTool Edit, and includes:

DSP Status (EQ, DYN, COMP, EXP, GATE, LIM, DELAY) – these indicators turn from greento red whenever the DSP module is on. DYN is the status of the master dynamics on/off;COMP, EXP and GATE show the status of the individual sections.

Bus assignments – show the name and status of the first 10 (or 20) bus assignments asdefined within the system configuration:

o Red – indicates a pre-fader assignment.

o Yellow – indicates a post-fader assignment.

o Green – indicates no assignment.

Gain Reduction - these three meters show gain reduction for:

o D = Dynamics

o L = Limiter

o S = De-esser



Gain Reduction

This element can exist by itself, separate from the Channel State. The elementis configured to a specific fader strip by VisTool Edit. The three meters showgain reduction for the:

D = Dynamics

L = Limiter

S = De-esser


Chapter 5: VisTool Operation‘Access’ Source Information

‘Access’ Source Information

VisTool supports several elements to provide feedback on the source ‘in access’.

The elements shown are configured by VisTool Edit , and may include:

SourceName – displays the name of the source ‘in access’ (e.g. mic mo).

SourceName_Alt – as above, but uses the "old" design of the element (used by previousversions of VisTool).

Source - displays the status of input parameters (e.g. Mic Gain, 48V, etc.) for the source inaccess:

Bus (or Bus 20) - show the name and status of the first 10 (or 20) bus assignments asdefined within the system configuration:

o Red – indicates a pre-fader assignment.

o Yellow – indicates a post-fader assignment.

o Green – indicates no assignment.

Delay – delay time.

Dynamic – Expander, Gate and Compressor graph and parameters.

Eq – EQ graph and parameters.

Limiter – Limiter graph and parameters.

Panning - XY pan position and surround parameters.

PWB – Pan, Balance or Width parameters.

When a DSP module is in circuit, its parameter graph is shown in red. When a DSPmodule is out of circuit, the graph is shown in green.


Chapter 5: VisTool OperationClock & System Time

Clock & System Time

The VisTool clock shows the internal time of your PC, and is configured by VisTool Edit:

Or, you can use VisTool Edit to add the System Time as a text element within any VisTool page:


Chapter 5: VisTool OperationTimers

Timers

VisTool Standard includes timers; VisTool Unlimited can support up to 6 timers configured byVisTool Edit.



Timer Mode & Name

Timers can run in Count-Up/Count-Down mode, or beconfigured to follow a source. If so, you may be able to selectthe Timer mode from MF Keys – for example:

Follow Mic – the timer automatically runs when at leastone mic is on air.

Follow OnAir – the timer runs when at least onesource (mic, line, etc) is On Air.

Free – the timer is controlled by the Start, Stop andReset buttons shown opposite.

Each timer is named, so if you have mode buttons it will berenamed accordingly. - in our example, TIMER 1 Up.



Free Mode: Count Up/Count Down

If the timer is set to Free mode, then it is operated from the Start, Stop and Reset buttons, and canCount-Up or Count-Down:

Count-Up

1. Select the + sign on the VisTool screen to use the timer in count-up mode:

2. Press Start to start the timer.

The timer starts counting up from 00:00.

3. Press Stop and the timer will stop at the current time.

4. Press Start again and the timer will restart from the current position.

5. You can reset the Timer clock to 00:00 either by:

Selecting the + sign while the timer is running.

Pressing the Reset button.



Count-Down

1. Select the - sign to change the timer to count-down mode.

2. Click on the timer to open its properties:

The Preset time is the reset value. In other words, when you reset the timer, it will return tothis setting.

The Alarm value is the time below which the timer number turns red.

Use the + and - buttons to adjust each field.

3. Select OK to confirm the new settings.

4. Now press Start to start the timer.

The timer starts counting down from the Preset time.

When the timer reaches the Alarm value, the numbers turn red to warn you that you are almostout of time!

5. You can stop and start the timer as before.

6. You can reset the timer clock to the Preset time either by:

Selecting the - sign while the timer is running.

Pressing the Reset button.

If the timer counts down to 00:00 and no stop signal arrives, it will then start to count upshowing how many seconds you are overrunning! In this case, the Alarm status remainsactive until the timer is reset.


Chapter 5: VisTool OperationVisTool Snapshots (PC Snapshots)

VisTool Snapshots (PC Snapshots)

VisTool Snapshots are snapshots which are saved and loaded to/from a PC file..

For details on what may be stored and recalled in snapshots, see Console Operation: Snapshots.

Snapshots save settings for all sources and summing busses even if they are notassigned to a fader. You may you specify whether snapshots save and load parametersfor all faders of the console, or only up to a certain fader number. (Use Snapshotfaderoffset in System -> Definition -> Parameter = Fader to set this option.)

Warning

It is not recommended that snapshots are loaded during a live broadcast as to do so mayreset matrix connections or take sources off air!

MF Keys either on the console front panel or on a VisTool page may provide access to the save, loadand erase PC snapshot functions.



To load a VisTool snapshot

1. Select the Load PC Snap button. This MF Key could be on the front panel or VisTool touch-screen.

The Snapshot load window appears.

2. Select a Group from the top of the window (e.g. TomsSnaps):

If your system is configured with User Rights Management, then the snapshot groups youcan access are defined by your administrator.

In addition, your administrator can set your default snapshot group (this is the group whichis automatically selected whenever you Save, Load or Erase a PC snapshot.)

3. Then select a snapshot from the list (e.g. Talk Show):

4. Before you select OK, check the snapshot Type:

Full snapshots store and recall all settings.

Source snapshots store settings for the source in access only (crystal & sapphire only).

5. To load a Full snapshot, select it and OK.

The snapshot settings are loaded to the system.

6. Before loading a Source snapshot, check if there is a source in access:



If yes, then the Source snapshot settings are recalled to the source in access. Onlyparameters which are available on the source are loaded.

If no, then the Source snapshot settings are recalled to the original source. This is the sourcewhich was in access when the Source snapshot was saved.

7. Select the Source snapshot and OK to load it.

The snapshot settings are loaded accordingly.

If you are working from VisTool, and the Display SnapShotName MF Key function is configured,then the name of the current snapshot will appear on the display.



To save or erase a VisTool snapshot

You can save and erase PC snapshots in a similar manner.

If your system is configured with User Rights Management, then the snapshot groups youcan access are defined by your administrator.

In addition, your administrator can set your default snapshot group (this is the group whichis automatically selected whenever you Save, Load or Erase a PC snapshot.)

When saving snapshots, your system may be configured with one or both of the following MF Keys:

Save snap – saves a Full snapshot.

Save source snap – saves a Source snapshot with settings for the source in access(crystal & sapphire only).

When you save, you will be asked to enter a name for the snapshot and a comment.

Similarly, your system may be configured with an Erase Snap MF Key.

If you are working from VisTool, and the Display SnapShotName MF Key function is configured, thenthe name of the current snapshot will appear on the display.


Chapter 5: VisTool OperationUser Rights Management

User Rights Management

The User Rights Management system brings more security to the installation, since different usersmay have different levels of access to specific functions. In addition, it can simplify the console’soperation – snapshots which load when the user logs in can reset the console for their show.

The system allows administrators to define user groups, users and snapshot groups. A user maybelong to one or more user groups, and snapshot groups are available to all users within each group.When a user logs in, they have access to the snapshot groups defined for their user group. In ourexample, the DJs have access to the "Music" snapshot group, while the Newsreaders have accessto "News". Tom is a member of both the DJs and News user groups, and therefore can access both"Music" and "News" snapshot groups:

Any user group can have administrator access - in our example, the group called "Administrators".Administrators can create and edit user groups, and define their user rights. This determines whichoperations users may access – for example, whether they can save, load or delete snapshots,whether they can control DSP parameters, whether snapshots are loaded when they login, and soon. See The Admin Pages for more details.

User rights management data is saved along with VisTool snapshots to/from a file on your PC(VisConfigurations.mdb)..



User Login

If your console is configured with user rights management, then you will have access to a "Login" MFKey. To login to the console, you will need your user name and password, as defined by anadministrator.

If this is the first time anyone has logged in to the system, then the initial administrator useris called "admin" and the password is "default".

If an administrator has reset your password, then it will be "0000".

1. Select the Login button. This MF Key could be on the front panel or VisTool touch-screen. Itmay require you to press and hold an Unlock MF Key in order to access the function.

The 'Login' window appears (either on your external VisTool display or the Visual Extension):



2. Enter your User name (e.g. sue) and Password:

3. Then select Login:

Providing your user name and password are correct, you are logged in to the console, and the'Login' window closes.

One or more snapshots may automatically load when you login to reset the console foryour show. Administrators, please see User Snapshot Properties.

After login, your user rights affect the following operations:

Snapshots - which VisTool snapshot groups you can access, and whether you cansave, load and/or delete snapshots.

Other console operations - such as Source Parameter Control, Channel ParameterControl, Fader Strip Assignment, etc.

Administrators, please see User Group Snapshots and User Group Rights for moredetails.



Logout

You can also use the 'Login' window, to "log out". This will leave the console in a default or safe state,as defined by the console configuration.

1. Select the Login button to open the 'Login' window.

2. Select Logout.

The console may reset, for example to a safe (blank) state.

The 'Login' window, if re-opened, shows that the Current User is Nobody:

To operate the console from this state, you must log back in, see User Login.

The logout state is controlled by the Administrator settings for the user called "Nobody".Therefore the operation on your console may vary from that described above. In ourexample, it is the login snapshot for the user "Nobody" which resets the console to a blankstate, and the user rights for "Nobody" which prevent access to console operation.

To change this behaviour, you must login as an Administrator and edit the login snapshotand user rights for the user "Nobody" in the usual manner. See the Admin Pages.



Changing Your Password

Once you are logged in, you may change your password as follows:

1. Select the Login button to re-open the 'Login' window.

You should see that you are logged in as the Current User.

You cannot change your password if you are not logged in!

If you have forgotten your password, then an Administrator can reset it to 0000.Administrators, please see Password Reset.

There are no restrictions on the characters used for a password.

2. Select Change Password:

3. Enter your new Password twice and select OK:

4. Test the new password by logging out and logging in.



Administrator Login

In order to create or edit users, user groups and snapshot groups, you must login as anadministrator.

To login as administrator for the first time:

1. Enter the following details at the Login window:

User name = "admin"

Password = "default"

2. Select Login:

Providing the user name and password are correct, you are logged in to the console as anadministrator, and the Login window closes.

To change the administrator password:

Having logged in as "admin", you can change the "admin" password at any time, see Changing YourPassword.

To login as a user with "administration" rights

If your user group has "administration" access, then you can use your normal user login to accessthe Admin pages.



The Admin Pages

1. To access the Admin pages, re-open the Login window, and select Admin:

The three options allow you to:

Edit Snap Group - create or rename snapshot groups.

Edit Group - create user groups and define:

o which snapshot groups can be accessed, and whether users can load, save and deletesnapshots.

o whether the user group has Admin page access.

o which console operations ("rights") are available to the users within the group.

Edit User - create users and define:

o which user groups they belong to.

o their user name and password.

o their default snapshot group (opens when they choose to load or save snapshots).

o their login snapshots (load after the user logs in).

2. Select OK to exit the 'Login' window without making any changes.

If the Admin page options are greyed out, then you are not logged in as an administrator:



Edit Snap Group

This option is used to create and rename snapshot groups.

1. From the Admin page options, select Edit Snap Group:

The 'Edit Config Group' window opens, with a list of snapshot groups on the left (Snap Group),and snapshots stored within each group on the right (Snaps):

2. To create a new snapshot group, select New. (Or, to edit an existing group, select a name andthen Properties).

The 'Snap Group Properties' window appears:



Caption - enter a name for the snapshot group, e.g. Music Shows.

Comment - you can enter comments if you wish.

3. When you have finished editing, select OK.

The 'Edit Config Group' window updates to show the new snapshot group - Music Shows:

4. Continue selecting OK to confirm and close all the Admin windows.

For users to access the new snapshot group, you must add it to a user group. Allmembers of the user group will then be able to access the snapshot group, according tothe snapshot group access options.



Edit Group

This option is used to create and edit user groups. You can define:

which snapshot groups can be accessed, and whether users can load, save and deletesnapshots.

whether the user group has Admin page access.

which console operations ("rights") are available to users within the group.

To Create or Edit a User Group

1. From the Admin page options, select Edit Group:

The 'Edit User Group' window appears, with a list of user groups on the left (Group), and thesnapshot groups they may access on the right (Snap Group):

2. To create a new user group, select New. (Or, to edit an existing group, select its name andthen Properties).

The 'User Group Properties' window appears.



General Properties

1. Select the General tab to edit the:

Caption - enter a name for the user group, e.g. DJs.


Admin - tick this box to enable Admin access. This allows all users within the group to openand edit the Admin pages.

Snap Groups - this area defines the snapshot groups which users can access (see nextpage). On the left are all snapshot groups defined in the VisTool snaphots database. On theright are the snapshot groups which are available to the user group.



To Add Snapshot Groups to the User Group

1. Select a snapshot group from the list on the left - e.g. TomsSnaps:

2. Select Add:

TomsSnaps moves to the right. This will make it available to all users within the DJs user group:

3. Select which snapshot operations are allowed for TomsSnaps by ticking, or unticking, therelevant boxes:

Load Access - users can load source snapshots.

Save Access - users can save source snapshots.

Load - users can load full snapshots.

Save - users can save full snapshots.

Delete - users can delete snapshots.



4. Repeat steps 2 and 3 to add more snapshot groups to the user group:

5. Or, use Del to remove a snapshot group from the user group's access.

By creating multiple snapshot groups, and defining different snapshot operations for eachuser group, you can control which users can save and delete important snapshots.

The Snap Groups list shows all snapshot groups defined in the VisTool snaphotsdatabase. If you have not yet created any snapshot groups, then this list will be empty. Goto Edit Snap Group to create some snapshot groups.



User Group Rights

1. Select the Rights tab to edit the user group rights.

What you see in this window depends on your system configuration. Up to 32 "rights" may benamed and defined by the configuration. Our example includes 4 "rights":

2. Tick, or untick, the boxes to activate each option - in our example:

DSP Parm - source parameter control.

Channel Parm - channel parameter control.

Assign Enable - fader strip assignment.

Local Snap save - the ability to save (overwrite) the 5 local snapshot memories.

In our example, all users within the DJs user group will be able to control source parameters,channel parameters and assign fader strips. They will not be able to save settings to the 5 localsnapshot memories.

To Close and Save Your Changes

1. When you have finished editing both the General properties and the user group Rights, selectOK.

The 'Edit User Group' window updates to show the new user group - DJs - and its availablesnapshot groups - TomsSnaps:




Other Edit Group Operations

The following operations are available from the 'Edit User Group' window:

Copy - select a user group from the list plus Copy to make a copy of an existing user group.All General properties and Rights are copied into the new user group name.

Delete - select a user group and Delete to delete an existing user group.

Warning

The Delete user group operation cannot be undone, so take care when using this function.



Edit User

This option is used to create and edit users. You can define:

which user groups they belong to (and therefore which snapshot groups they can access.)

their user name and password.

their default snapshot group (opens when they choose to load or save snapshots).

their login snapshots (these are snapshots which load automatically after the user logs in).

To Create or Edit a User

1. From the Admin page options, select Edit User:

The 'Edit User' window appears, with a list of users on the left (User), and the user groups theybelong to on the right (Group):

2. To create a new user, select New. (Or, to edit an existing user, select a name and thenProperties).

The 'User Properties' window appears.



General Properties

1. Select the General tab to edit the:

Caption - enter a name for the user, e.g. Sue.

Password - enter a password for the user (the default is 0000). This can be changed by theuser once they login, see Changing Your Password.

Reset - resets the user's password to 0000. (Very useful if a user forgets their password).


User Groups and Member of - defines which user groups the user belongs to (see nextpage).



To Add the User to a User Group

1. Select a user group from the list on the left - e.g. DJs:

2. Select Add.

DJs moves to the Member of list on the right; Sue is now a member of the DJs user group:

3. Repeat steps 1 and 2 to add the user to more user groups:

4. Or, use Del to remove a user group.

Each user can belong to several user groups. In our example, Sue is a member of the DJsand Sendung user groups. This means that she can see all snapshot groups assigned tothese user groups, and access their user group rights.



Snapshot Properties

1. Select the Snapshots tab to edit the default snapshot group, and order of any login snapshots,for the user:

Default Snap Group - select a snapshot group from the drop-down menu - in our example,Music Shows. This becomes the group which is automatically selected whenever the userattempts to Save, Load or Erase a VisTool snapshot.

Snapshot Order - snapshots entered in this list are loaded immediately after the user logs in.This can be used to automatically reset the console for the user's show, or type of work,whenever they login to the console.

2. To configure the console to load snapshots after login, use the Add and Del buttons to moveentries from the Snapshots list (on the left) to the Snapshot Order list (on the right):

The Snapshots list (on the left) shows everything available in the user's snapshot groups.Remember that the available snapshot groups are defined by editing the user group.

3. Use the Up and Down buttons to change the order in the Snapshot Order list (on the right).Snapshots load from top to bottom after the user successfully logs in.

In our example, the system will load the full snapshot for the talk show, followed by thesource snapshot for the DJ - Tom. By entering multiple snapshots in this list, you caneasily configure the console for individual users.



To Close and Save Your Changes

1. When you have finished editing both the General and Snapshots properties, select OK.

The 'Edit User' window updates to show the new user - Sue - and their user groups - DJs andSendung:



Chapter 5: VisTool OperationVisTool Unlimited: Application Examples

VisTool Unlimited: Application Examples

This section looks at functions which can only be supported by VisTool Unlimited. There are manypossibilities, but the most common applications include:

Matrix Control



Chapter 5: VisTool OperationMatrix Control

Matrix Control

A common application for VisTool is to create a matrix control panel using on-screen buttons. Theexample below shows three rows of buttons:

The top row selects the source using MF Buttons.

The middle row selects the destination using MF Buttons.

The bottom row displays the name of the source connected to the destination using TextButtons.

The icon represents the mute source (silence).

Routes are first selected using the top and middle rows, and then confirmed using the TAKE MFButton. This method provides the advantage that several assignments can be pre-selected and thenconfirmed with one TAKE operation.



To make a route:

1. Select a source from the top row of buttons (e.g. in01L):

The selected source button blinks in yellow.

2. Now select a destination (e.g. out02L):

The pre-selected source blinks in yellow on the third row of buttons below the selected destination.

3. To confirm and make the route, press TAKE:

The route is made, and the source and destination buttons turn red to show that they are nowassigned. The name of the source assigned to out02L is shown in the text button beneath it.



4. Using this method, you can make multiple assignments by selection a source and then adestination several times:

The pre-selections blink in yellow.

5. To confirm and make the routes, press TAKE:

The amount of time for which a pre-selection is active is set within the configuration.Therefore if you wait too long before pressing TAKE, the pre-selections will cancel.

In our example, we have used a Screen Module MF Key (TAKE1). However, the Takecontrol signal can be any logic control signal – GPI, MF Key, etc.

You can also configure a matrix control system without a TAKE function. For example, ifyou wish routes to be made by selecting a source and then a destination. This will alter theoperation such that only one route can be made at a time – first select the source, then thedestination and the route is made.


Chapter 5: VisTool OperationSource Parameter Control (PARM)

Source Parameter Control (PARM)

VisTool can be used to provide on-screen buttons (PARM) to control processing modules such asEQ, Dynamics, etc.

The PARM control buttons always adjust parameters for the source in access.

The example below shows EQ ON, GAIN + and GAIN – PARM buttons, along with Access Keys toallow source selection. The VisTool screen also incorporates an EQ graph so that you can see whatyou are adjusting:

To control parameters for a source:

1. Select a source, either by pressing a VisTool Access Key (e.g.mono), or pressing ACCESS 1or ACCESS 2 on the console surface.

2. Select the EQ ON button to turn the equaliser on or off.

For switched functions such as EQ On/Off, red indicates that EQ is on; green indicates that EQ isoff.

3. Select the Gain + or Gain – buttons below each equaliser band to boost or cut the currentfrequency.

For variable functions such as EQ Gain, use the + and – buttons to increase or decrease theparameter value.

The list of PARM control functions is very comprehensive and provides access to virtuallyall source parameters.


Glossary

Glossary

48kHz or 44.1kHz See Sample Rate.

Access On crystal and sapphire consoles, much of the source parameteroperation is performed by selecting a fader strip. This is otherwise knownas putting a source ‘in access’.

Attack Time In the context of dynamics processing (compressor, limiter, gate orexpander), the attack time defines the duration over which an input signal ismeasured. The longer the attack time, the slower the processor will react.For example, when using a gate, a fast attack time causes the gate to openquickly when signal exceeds the gate threshold.

Aux Auxiliary

An Aux is a general purpose mono, stereo or multi-channel summing buswhich can be used for a variety of applications such as sending to outboardeffects devices.

Aux Send Auxiliary Send

Source channels feed onto each aux via their Aux Send. The aux send fromeach channel can be either pre or post fader and has variable level control.

Aux Master Auxiliary Master

The Aux Master is a master source channel used to control the level andprocessing of the Aux output. The direct output of the Aux Master is thesignal routed to the outboard effects send.

Aux Return Auxiliary Return

The Aux Return is the name given to the return channel from the outboardeffects device. This channel controls the level and processing of the effectas it is summed into the rest of the mix.

Band Pass Filter See Filters.

Balance Balance is applied to the input of a stereo channel and is the ratio betweenthe left and right input levels. When Balance is set to its default value, thelevel of left and right inputs are equally weighted.

Bargraph An optical display instrument in the shape of a LED bar for displaying signallevel.

Clean Feed See Mix Minus.

Compressor A dynamics processor used to smooth out uneven signal levels. Forexample, when a presenter shouts and then whispers, they are producingsound which has a wide dynamic range; one moment it is very loud and thenext very quiet. This can mean that if we listened to this signal on our radiowithout compression, we would forever be turning the level up and down! Acompressor smooths the signal such very loud audio is reduced in leveland very quiet audio is increased in level. This results in smaller dynamicrange ideal for radio transmission.


Glossary

Configuration The console configuration is a file created by the zirkon Configuration Toolsoftware. This file is then transferred to the console’s system unit where itis then loaded every time the console powers on. The configuration defineskey elements of the system such as sources, summing busses, signalprocessing, MF Key functions.

DALLIS Lawo’s modular I/O interfacing system based on 19” frames using plug-incards for different interfaces.

dB deciBel

A unit of transmission giving the ratio of two powers.

The number of bels is the logarithm to the base 10 of the ratio of the twopowers. One decibel equals one tenth of a bel.

dBu dBu is used to describe levels within the analogue domain, and is ameasure of absolute voltage level based on 0dBu = 0.775 Volts (RMS). dBuis often used to indicate nominal broadcast operating levels. For example,in the EBU normal broadcasting level = +6dBu.

dBFS dB Full Scale

dBFS is used to describe levels within the digital domain. 0dBFS describesthe system’s internal clipping point; this is the maximum level which may behandled by the system without signal distortion. For example, your systemmay be set for +18dBu = 0dBFS. If your normal broadcast level is +6dButhen this leaves an operating headroom of 12dB.

Delay The signal output from a delay module is x ms behind the signal input to themodule. Delay is often applied to audio sources whose video hasundergone digital video processing; delay is required such the audioremains in sync with the video.

Direct Out Direct Output

The direct output of a source channel is the output of the individual source.Direct Outputs are often used to provide a record or ‘snoop’ feed of a singlesource, and may be taken from various points within signal flow: pre fader,post fader, etc.

DSP Digital Signal Processing

Digital signal processing (DSP) is the study of signals in a digitalrepresentation and the processing methods of these signals.

Within crystal, DSP is also used as the collective name given to theprocessing chips, within the system unit’s Master Board, which provideaudio signal processing such as equalization, dynamics and delay.

Dynamics Dynamics is the collective terms given to audio processing which respondsto changes in signal level. For example, a Compressor, Limiter, Gate orExpander.

In crystal and sapphire, Dynamics is also used to describe the dedicatedDSP module containing the three sections – Gate, Expander andCompressor.

EQ Equaliser.


Glossary

An equaliser is a processor which changes the frequency characteristics ofa signal, for example to increase the amount of treble or bass componentsin the signal.

Expander A dynamics processor used to magnify changes in the dynamic range ofthe input signal. For example, to reduce noise in speech pauses. See alsoCompressor.

Fader A potentiometer used to adjust the gain of a signal.

Filters Filters are equaliser sections which are used to cut out or reduce specificfrequency bands within the signal. For example, a Low Pass Filter cuts outhigh frequencies so will result in less treble to the sound. A High Pass Filtercuts out low frequencies, for example you may use this to removeunwanted low frequencies like hum or rumble. A Band Pass Filter cuts outboth high and low frequencies allowing frequency components within theband to pass through the signal; for example, you may use this type of filterto create a telephone effect on a normal voice.

Gain Adjusting the gain of a signal results in a change in the perceived level oramplitude. An increase in gain (positive values) results in amplification anda reduction in gain (negative values) in attenuation.

Gate A dynamics processor used to remove unwanted signals below a certainthreshold level. For example, if a gate is applied to a presenter’smicrophone source, then when they speak signal level exceeds the gatethreshold and the gate opens, while if they make a low level sound, likeshuffling in their seat, the gate remains closed. The result is that only thesignal we want to hear is output from the source channel!

GPI General Purpose Interface (IEEE488) is a standardised platformindependent short-range digital interface, to allow switching connectionsbetween broadcast equipment from different manufacturers.

Headroom The amount of operating level which is in reserve between normal operatinglevel and 0dBFS.

High Pass Filter See Filters.

Insert Point A connection point within the source channel which interrupts the signalflow and routes out to a piece of external equipment and returns back to thesource channel.

Insert send = route out from the source channel to the external device.

Insert return = input to the source channel from the external device.

Limiter A dynamics processor used to stop signals exceeding a certain thresholdlevel. For example, you may place a limiter across the main output of theprogramme to prevent a sudden increase in level exceeding the clippingpoint of your transmission feed and causing signal distortion.

Low Pass Filter See Filters.

Mix Minus Mix Minus, Clean Feed and N-1 are all terms used to describe a feed whichis created from a number of channels minus a particular channel orchannels. For example, to provide telephone hybrids with a feed of theprogramme minus the incoming phone call.


Glossary

MF Key Multi Function Key

Programmable keys which can be used for a variety of functions as set inthe console’s configuration.

Module Within crystal and sapphire, this term is used to apply to the controlsurface Fader, Central and Extension modules, or to the different sectionsof signal processing (EQ, Dynamics, etc.)

Monitor Term used to describe the outputs and functionality of feeds toloudspeakers or headphones for the purpose of listening to a mix.

ms milliseconds

Unit of time measurement.

M-S Middle and Side Stereo

Used to describe an arrangement of two coincident microphones, onepointing to the front (Middle) and the other (bidirectional) at right anglesproviding a Side signal. crystal and sapphire provide M-S to X-Y decodingto turn the Middle and Side signal into normal Left and Right stereo.

Nova17 A stand alone routing matrix with networking capabilities; the name given tothe sapphire system unit without a control surface.

Nova29 A stand alone routing matrix with networking capabilities; the name given tothe crystal Base Unit without a control surface.

Nova73 A stand alone routing matrix with networking capabilities; this is a largematrix related to the mc2 series of Lawo consoles.

N-1 See Mix Minus.

On-Air Term used to indicate that a radio or TV programme is being broadcast.

Overload Occurs when the signal level is too large for the system, resulting in signaldistortion.

Panning Used to control the left/right position of a mono source when routed to astereo or multi-channel output. For example, if a source is panned left, theentire signal from the source is routed to the left side of the summing bus. Ifa source is panned centre, equal levels are applied to the left and rightsides of the summing bus, etc.

PFL Pre Fade Listen

Used to listen to signals before the application of fader level. Provides away of listening to a source when the fader is closed to check its signalbefore the fader is opened to route it onto the programme output.

Phantom Power This is the power supply required when working with condensermicrophones. The console supplies 48V to the microphone via the audioconnector.

Programme The main output of a live broadcast console. This is the mix which feedsthe transmission chain.

RAS Radio Automation System control protocol is Lawo’s universal protocol forcommunication between a mixing console (MIXER) and a radio automationsystem (RAS).


Glossary

Ratio In the context of a compressor or expander, the ratio defines how muchcompression or expansion is applied. For example, the high thecompressor ratio, the more signal levels above the compressor thresholdwill be compressed.

Release Time In the context of dynamics processing (compressor, limiter, gate orexpander), the release time defines the time taken for the action of theprocessor to subside. For example, when using a gate, a short releasetime will cause the gate to close quickly after signal falls below the gatethreshold.

Remote MNOPL The remote control protocol RemoteMNOPL is a LAN based client-servernetwork byte order protocol to enable third party systems to control Lawo’sdigital mixing consoles or standalone routers.

Roll-off Frequency See Shelving EQ.

Routing Signal Routing

Term used to describe the connection made between an input and output.

RS422 Type of serial interface used by the crystal to communicate with externaldevices such as radio automation systems.

Rumble Filter Name given to the High Pass Filter which can be inserted in the analoguemicrophone preamplifier. Used to cut out or reduce unwanted lowfrequencies, such as rumble, before analogue-to-digital conversion.

Sample Rate The speed at which the internal processing of the system takes samplesrespective to values from a continuous, analogue audio signal to make adiscrete, digital one. For example, when running at 48kHz, incominganalogue audio is sampled at a rate of 48000 values per second.

Shelving EQ A shelving equaliser band is used to increase or decrease high or lowfrequency components of a signal. The slope of the shelf defines howsteeply the gain increase/decrease is applied. The roll-off frequency definesthe frequency at which signal level is reduced by 3dB.

Slope See Shelving EQ.

Source Used within the crystal and sapphire to describe a channel settingincluding input signal and associated attributes (e.g. DSP parameters, MFKey functions, etc). Becomes active when assigned to a fader channel.

Different to “Input” - the term for a pure input (the physical interface).

Sum Summing Bus

The result of several audio signals mixed together within the console.

Telephone Hybrid Device which deals with bi-directional signals to/from a 2-wire phone line.One line provides an incoming feed from the phone line (e.g. the guestsvoice), and the other sends signal back to the receiver (e.g. the mix minusfeed).

Threshold In the context of dynamics processing (compressor, limiter, gate orexpander), the threshold defines the signal level at which the processorstarts to act. For example, the gate threshold sets the level at which thegate will open and then close.

Index

202 V4.2/1 crystal Operators Manual

Index Directory

- 4 -

44.1kHz 74

48kHz 74

48V phantom power 64

- A -

ACCESS keys 39, 61

ACCESS source 157, 162

Administrator login 177

ALARM 109, 127

Ambient sensor 95, 128

Assigning fader strips 53

Aux busses 79

- B -

Balance 36, 64

Basis (width control) 64

Bus assignment 79, 160

- C -

Channel meters 157

Channel ON 38, 104, 120

Channel signal flow 17, 59

Clearing a fader strip 56

Clipboard 128

Clock 163

Compressor 68

Conference busses 38, 78, 81, 104, 120, 123, 135

Configuration templates 98

Configuration Tool 15

Control surface frame options 11

Copy & Paste DSP 128

- D -

DALLIS 12

De-esser 72

Delay 59, 74

Diagnostics 22

DIM 107, 123, 136

Direct Out 59

DJ monitoring 123

DMS meters 157

DSP Disable 141

Dynamics 59, 67, 160

- E -

Edit Suite template 131

Emergency mute 96, 130

EQ 59, 75

Expander 70

- F -

Fader labels 42

Fader scale 40

Fader start 114, 130, 141

Fader strip overview 33

Fader strip source assign 53

Filters 77

Follow ACCESS Monitoring 91

- G -

Gain 34, 35, 64

Gain reduction metering 160, 161

Gate 71

Global PFL off 109, 127

GP sums 78

GPIO functions 96, 114, 130, 141

Guest monitoring 107, 125

- H -

Headphones 107, 123, 136, 140

High pass filter 64, 77

- I -

Input control (INP) 64

Inserts 59

- K -

Key Panels 14

- L -

Labels 42

LAWO backlight 41

Left/right input control 64

LFE level 36, 64

Limiter 59, 73

Login 173

- M -

Main meters 157

Master Board 12

Index


Matrix control 193

Meter scale 157

Metering 97, 107, 122, 129, 136, 156

MF keys 38, 89, 95, 104, 109, 120, 127, 135

Mic gain 34, 35, 64

Mix minus 38, 78, 81, 104, 120, 135

Monitor Module 57, 89, 107, 122, 136

Monitoring 89, 107, 113, 122, 129, 136, 140

Mono (a stereo input) 64

MUTE 38, 107, 123, 135, 136

- N -

N-1 38, 78, 81, 104, 120, 135

Networking 20

- O -

On-air 95, 109, 141

- P -

PAD 64

Pan 36, 64

Parametric Equaliser 76

Password 176

PC snapshots 19, 168

PFL (Pre Fade Listen) 38, 78, 90, 104, 120, 123,135

Phase reverse 64

Pool sources 37, 93

Powering on 26

PPMs 157

- R -

Radio On-Air template 100

Radio RAS template 116

REC Mode 109

Red light 96, 123, 127, 130

Reset DSP 128

Return talkback 95, 112, 126, 139

- S -

Signal flow 17, 101, 117, 132

Signal present (LAWO) 41

Slope (pan control) 36

Snapshot groups 179

Snapshots 19, 84, 168

SoP Explorer 22

Source parameters 59, 60, 196

Sources 17, 58, 102, 118, 133

Standard templates 98

START fader 38

Stereo sources 64

Studio monitoring 107

Subwoofer level 36, 64

Summing busses 17, 78, 103, 119, 134

Surround downmix 64

Surround pan 36, 64

Surround sources 64

Sync 127

System components 10

System configuration 15

System time 163

System Unit 12

- T -

Talkback 38, 95, 104, 109, 113, 120, 126, 127, 129,130, 138, 140

Telephone hybrid (GPI) 135

Telephone hybrid (RING) 38, 104

Templates 98

Timers 164

Tone 95, 128

- U -

Unlock 95, 128

User Labels software 43

User rights management 19, 172

- V -

VCA grouping 160

VisTool licensing 145

VisTool operation 143

VisTool snapshots 19, 168

VUs 158

- W -

Web browser interface 22

Width control 64

lawo crystal operators manual v4.2 1

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