Studer Vista 5 M2

Digital Mixing System, SW V4.5

1.
2.
3.
4.
5.
6.
7.
8.
9.
10.

Introduction, Operating Features

Desk Operation
Parameter Description
Graphical Controller (GC) Operation
AutoTouch+ Dynamic Automation
(currently empty)
Session Configuration Tool (Option)
SCore Live
Application Notes
Update Information

Operating Instructions

Disclaimer
The information in this document has been carefully checked and is believed to be accurate at the time of publication. However, no responsibility is taken by us for inaccuracies, errors, or omissions, nor is any liability assumed for
any loss or damage resulting either directly or indirectly from use of the information contained within it.

Prepared and edited by

Studer Professional Audio GmbH
Technical Documentation
Riedthofstrasse 214
CH-8105 Regensdorf - Switzerland
http://www.studer.ch
Studer is a registered trade mark of Studer Professional Audio GmbH, Regensdorf

Copyright by Studer Professional Audio GmbH

Order no. BD10.275150-B (1211)
Subject to change

Safety Information

Safety Information
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN

ATTENTION
RISQUE DE CHOC ELECTRIQUE
NE PAS OUVRIR

ACHTUNG
GEFAHR: ELEKTRISCHER SCHLAG
NICHT FFNEN

To reduce the risk of electric shock, do not remove covers. No user-serviceable parts inside. Refer servicing to qualified service personnel (i.e.,
persons having appropriate technical training and experience necessary
to be aware of hazards to which they are exposed in performing a repair
action, and of measures to minimize the danger of themselves).
This symbol alerts the user to the presence of un-insulated dangerous voltage within the equipment that may be of sufficient magnitude to constitute
a risk of electric shock to a person.
This symbol alerts the user to important instructions for operating and
maintenance in this documentation.

CLASS 1
LED PRODUCT
CLASS 1
LASER PRODUCT

A1

Assemblies or sub-assemblies of this product can contain opto-electronic devices. As long as these devices comply with Class I of laser or
LED products according to EN 60825-1:1994, they will not be expressly
marked on the product. If a special design should be covered by a higher
class of this standard, the device concerned will be marked directly on the
assembly or sub-assembly in accordance with the above standard.

First Aid

In Case of Electric Shock:

Separate the person as quickly as possible from the electric power source:
By switching the equipment off,
By unplugging or disconnecting the mains cable, or
By pushing the person away from the power source, using dry insulating
material (such as wood or plastic).
After having suffered an electric shock, always consult a doctor.

Warning!

Do not touch the person or his clothing before the power is turned off,
otherwise you stand the risk of suffering an electric shock as well!

If the Person is Unconscious:

Lay the person down

Turn him to one side
Check the pulse
Reanimate the person if respiration is poor
Call for a doctor immediately.

Installation

General Installation Instructions

Please consider besides these general instructions also any product-specific
instructions in the Installation chapter of this manual.

B1

Unpacking
Check the equipment for any transport damage. If the unit is mechanically
damaged, if liquids have been spilled or if objects have fallen into the unit,
it must not be connected to the AC power outlet, or it must be immediately
disconnected by unplugging the power cable. Repair must only be performed
by trained personnel in accordance with the applicable regulations.

B2

Installation Site
Install the unit in a place where the following conditions are met:
The temperature and the relative humidity of the environment must be
within the specified limits during operation of the unit. Relevant values
are the ones at the air inlets of the unit (refer to Appendix 1).
Condensation must be avoided. If the unit is installed in a location with
large variation of ambient temperature (e.g. in an OB-van), appropriate
precautions must be taken before and after operation (refer to Appendix
1).
Unobstructed air flow is essential for proper operation. Air vents of the
unit are a functional part of the design and must not be blocked in any
way during operation (e.g. by objects placed upon them, placement of the
unit on a soft surface, or installation of the unit within a rack or piece of
furniture).
The unit must not be heated up by external sources of heat radiation (sunlight, spotlights).

B3

Earthing and Power Supply

Earthing of units with mains supply (class I equipment) is performed via
the protective earth (PE) conductor integrated in the mains cable. Units with
battery operation (< 60 V, class III equipment) must be earthed separately.
Earthing the unit is one of the measures for protection against electrical shock
hazard (dangerous body currents). Hazardous voltage may not only be caused
by a defective power supply insulation, but may also be introduced by the
connected audio or control cables.
If the unit is installed with one or several external connections, its earthing
must be provided during operation as well as while the unit is not operated.
If the earthing connection can be interrupted, for example, by unplugging
the mains plug of an external power supply unit, an additional, permanent
earthing connection must be installed using the provided earth terminal.
Avoid ground loops (hum loops) by keeping the loop surface as small as
possible (by consequently guiding the earth conductors in a narrow, parallel
way), and reduce the noise current flowing through the loop by inserting an
additional impedance (common-mode choke).

II

Installation / EMC

Class I Equipment (Mains Operation)

Should the equipment be delivered without a matching mains cable, the
latter has to be prepared by a trained person using the attached female plug
(IEC 320 / C13 or IEC 320 / C19) with respect to the applicable regulations
in your country.
Before connecting the equipment to the AC power outlet, check that the local
line voltage matches the equipment rating (voltage, frequency) within the
admissible tolerance. The equipment fuses must be rated in accordance with
the specifications on the equipment.
Equipment supplied with a 3-pole appliance inlet (protection conforming to
class I equipment) must be connected to a 3-pole AC power outlet in such a
way that the equipment cabinet is connected to the protective earth.
For information on mains cable strain relief, please refer to Appendix 2.
Female Plugs (IEC320), Front-Side View:
L

PE

PE
IEC 320 / C13

IEC 320 / C19

European Standard
(CENELEC)
Brown
Blue
Green/Yellow

North American Standard

(NAS)
L (Live)
N (Neutral)
PE (Protective Earth)

Black
White
Green (or Green/Yellow)

Class III Equipment (Battery Operation up to 60 VDC)

Equipment of this protection class must be earthed using the provided earth
terminal if one or more external signals are connected to the unit (see explanation at the beginning of this paragraph).
B4

Electromagnetic Compatibility (EMC)

The unit conforms to the protection requirements relevant to electromagnetic
phenomena that are listed in guidelines 89/336/EC and FCC, part 15.
The electromagnetic interference generated by the unit is limited in such
a way that other equipment and systems can be operated normally.
The unit is adequately protected against electromagnetic interference so
that it can operate properly.
The unit has been tested and conforms to the EMC standards of the specified electromagnetic environment, as listed in the following declaration.
The limits of these standards ensure protection of the environment and corresponding noise immunity of the equipment with appropriate probability.
However, a professional installation and integration within the system are
imperative prerequisites for operation without EMC problems.
For this purpose, the following measures must be followed:
Install the equipment in accordance with the operating instructions. Use
the supplied accessories.
In the system and in the vicinity where the equipment is installed, use only
components (systems, equipment) that also fulfill the EMC standards for
the given environment.

III

EMC / Maintenance / ESD

Use a system grounding concept that satisfies the safety requirements

(class I equipment must be connected with a protective ground conductor) and that also takes into consideration the EMC requirements. When
deciding between radial, surface, or combined grounding, the advantages
and disadvantages should be carefully evaluated in each case.
Use shielded cables where shielding is specified. The connection of the
shield to the corresponding connector terminal or housing should have a
large surface and be corrosion-proof. Please note that a cable shield connected only single-ended can act as a transmitting or receiving antenna
within the corresponding frequency range.
Avoid ground loops or reduce their adverse effects by keeping the loop surface as small as possible, and reduce the noise current flowing through the
loop by inserting an additional impedance (e.g. common-mode choke).
Reduce electrostatic discharge (ESD) of persons by installing an appropriate floor covering (e.g. a carpet with permanent electrostatic filaments) and
by keeping the relative humidity above 30%. Further measures (e.g. conducting floor) are usually unnecessary and only effective if used together
with corresponding personal equipment.
When using equipment with touch-sensitive operator controls, please take
care that the surrounding building structure allows for sufficient capacitive
coupling of the operator. This coupling can be improved by an additional,
conducting surface in the operators area, connected to the equipment
housing (e.g. metal foil underneath the floor covering, carpet with conductive backing).

Maintenance
All air vents and openings for operating elements (faders, rotary knobs) must
be checked on a regular basis, and cleaned in case of dust accumulation. For
cleaning, a soft paint-brush or a vacuum cleaner is recommended.
Cleaning the surfaces of the unit is performed with a soft, dry cloth or a soft
brush.
Persistent contamination can be treated with a cloth that is slightly humidified
with a mild cleaning solution, such as dishwashing detergent.
For cleaning display windows, commercially available computer/TV screen
cleaners are suited. Use only a slightly damp (never wet) cloth.
Never use any solvents for cleaning the exterior of the unit! Liquids must
never be sprayed or poured on directly!
For equipment-specific maintenance information please refer to the corresponding chapter in the operating and service manuals.

D
Caution:

IV

Electrostatic Discharge during Maintenance and Repair

Observe the precautions for handling devices sensitive to electrostatic discharge!
Many semiconductor components are sensitive to electrostatic discharge
(ESD). The lifespan of assemblies containing such components can be drastically reduced by improper handling during maintenance and repair. Please
observe the following rules when handling ESD sensitive components:
ESD sensitive components should only be stored and transported in the
packing material specifically provided for this purpose.

ESD / Repair

When performing a repair by replacing complete assemblies, the removed

assembly must be sent back to the supplier in the same packing material
in which the replacement assembly was shipped. If this should not be the
case, any claim for a possible refund will be null and void.
Unpacked ESD sensitive components should only be handled in ESD
protected areas (EPA, e.g. area for field service, repair or service bench)
and only be touched by persons wearing a wristlet connected to the ground
potential of the repair or service bench by a series resistor. The equipment
to be repaired or serviced as well as all tools and electrically semi-conducting work, storage, and floor mats should also be connected to this ground
potential.
The terminals of ESD sensitive components must not come in uncontrolled
contact with electrostatically chargeable or metallic surfaces (voltage
puncture, discharge shock hazard).
To prevent the components from undefined transient stress and possible
damage due to inadmissible voltages or compensation currents, electrical
connections should only be established or separated when the equipment
is switched off and after any capacitor charges have decayed.

Repair
By removing housing parts or shields, energized parts may be exposed. For
this reason the following precautions must be observed:
Maintenance may only be performed by trained personnel in accordance
with the applicable regulations.
The equipment must be switched off and disconnected from the AC power
outlet before any housing parts are removed.
Even if the equipment is disconnected from the power outlet, parts with
hazardous charges (e.g. capacitors, picture tubes) must not be touched until
they have been properly discharged. Do not touch hot components (power
semiconductors, heat sinks, etc.) before they have cooled off.
If maintenance is performed on a unit that is opened while being switched
on, no un-insulated circuit components and metallic semiconductor housings must be touched, neither with bare hands nor with un-insulated
tools.
Certain components pose additional hazards:
Explosion hazard from lithium batteries, electrolytic capacitors and power
semiconductors (Observe the components polarity. Do not short battery
terminals. Replace batteries only by the same type).
Implosion hazard from evacuated display units.
Radiation hazard from laser units (non-ionizing), picture tubes (ionizing).
Caustic effect of display units (LCD) and components containing liquid
electrolyte.
Such components should only be handled by trained personnel who are properly protected (e.g. protection glasses, gloves).

Repair / Disposal
E1

SMD Components
Studer has no commercially available SMD components in stock for service purposes. For repair, the corresponding devices have to be purchased
locally. The specifications of special components can be found in the service
manual.
SMD components should only be replaced by skilled specialists using appropriate tools. No warranty claims will be accepted for circuit boards that have
been damaged. Proper and improper SMD soldering joints are illustrated
below.
SMD
Component

Copper
Track

Soldering Iron
Solder
PCB

Adhesive

Dismounting
Desoldering
Iron
Soldering
Iron

Desolder
Wick

Desolder
Wick
Heat and Remove

Mounting

Cleaning

Examples

Solder
0.5...0.8 mm

Heating Time < 3 s per Side

VI

Disposal
Packing Materials

The packing materials have been selected with environmental and disposal
issues in mind. All packing material can be recycled. Recycling packing saves
raw materials and reduces the volume of waste.
If you need to dispose of the transport packing materials, please try to use
recyclable means.

Used Equipment

Used equipment contains valuable raw materials as well as materials that

must be disposed of professionally. Please return your used equipment via an
authorized specialist dealer or via the public waste disposal system, ensuring
any material that can be recycled is.
Please take care that your used equipment cannot be abused. To avoid abuse,
delete sensitive data from any data storage media. After having disconnected
your used equipment from the mains supply, make sure that the mains connector and the mains cable are made useless.

Conformity

G
G1

Declarations of Conformity
Class A Equipment - FCC Notice

Caution:

G2

This equipment has been tested and found to comply with the limits for a
Class A digital device, pursuant to Part 15 of the FCC Rules. These limits
are designed to provide a reasonable protection against harmful interference when the equipment is operated in a commercial environment. This
equipment generates, uses, and can radiate radio frequency energy and, if
not installed and used in accordance with the instruction manual, may cause
harmful interference to radio communications. Operation of this equipment
in a residential area is likely to cause harmful interference, in which case the
user will be required to correct the interference at his own expense.
Any changes or modifications not expressly approved by the manufacturer
could void the users authority to operate the equipment. Also refer to relevant
information in this manual.

CE Declaration of Conformity
We,
Studer Professional Audio GmbH,
CH-8105 Regensdorf,
declare under our sole responsibility that the product
Studer Vista 5, Digital Mixing System
(from serial no. 1000)
to which this declaration relates, according to following regulations of EU
directives and amendments
Low Voltage (LVD):
73/23/EEC + 93/68/EEC
Electromagnetic Compatibility (EMC):
89/336/EEC + 92/31/EEC + 93/68/EEC
is in conformity with the following standards or normative documents:
Safety:
EN 60950-1:2001 (Class I equipment)
Safety of laser products:
EN 60825-1:2004 + A11 + A2, EN60825-2:2000
EMC:
EN 55103-1/-2:1996, electromagnetic environments E2 and E4.
Regensdorf, August 30, 2007

B. Hochstrasser, President

M. Lienert, Manager R&D

VII

Appendix

Appendix 1: Air Temperature and Humidity

General
Normal operation of the unit or system is warranted under the ambient conditions defined by EN 60721-3-3, set IE32, value 3K3.
This standard consists of an extensive catalogue of parameters, the most
important of which are: ambient temperature +5...+40 C, relative humidity 5...85% (i.e., no formation of condensation or ice); absolute humidity
1...25 g/m; rate of temperature change < 0.5 C/min. These parameters are
dealt with in the following paragraphs.
Under these conditions the unit or system starts and works without any problem. Beyond these specifications, possible problems are described below.
Ambient Temperature

Example:

Units and systems by Studer are generally designed for an ambient temperature range (i.e. temperature of the incoming air) of +5 C to +40 C. When
rack mounting the units, the intended air flow and herewith adequate cooling
must be provided. The following facts must be considered:
The admissible ambient temperature range for operation of the semiconductor components is 0 C to +70 C (commercial temperature range for
operation).
The air flow through the installation must provide that the outgoing air is
always cooler than 70 C.
Average heat increase of the cooling air shall be about 20 K, allowing for
an additional maximum 10 K increase at the hot components.
In order to dissipate 1 kW with this admissible average heat increase, an
air flow of 2.65 m/min is required.
A rack dissipating P = 800 W requires an air flow of 0.8 * 2.65 m/min which
corresponds to 2.12 m/min.
If the cooling function of the installation must be monitored (e.g. for fan
failure or illumination with spot lamps), the outgoing air temperature must
be measured directly above the modules at several places within the rack.
The trigger temperature of the sensors should be 65 C to 70 C.

Frost and Dew

The unsealed system parts (connector areas and semiconductor pins) allow
for a minute formation of ice or frost. However, formation of dew visible to
the naked eye will already lead to malfunctions. In practice, reliable operation can be expected in a temperature range above 15 C, if the following
general rule is considered for putting the cold system into operation:
If the air within the system is cooled down, the relative humidity rises. If it
reaches 100%, condensation will arise, usually in the boundary layer between
the air and a cooler surface, together with formation of ice or dew at sensitive areas of the system (contacts, IC pins, etc.). Once internal condensation
occurs, trouble-free operation cannot be guaranteed, independent of temperature.
Before putting into operation, the system must be checked for internal formation of condensation or ice. Only with a minute formation of ice, direct
VIII

Appendix

Example 1:

Example 2:

evaporation (sublimation) may be expected; otherwise the system must be

heated and dried while switched off.
A system without visible internal formation of ice or condensation should be
heated up with its own heat dissipation, as homogeneously (and subsequently
as slow) as possible; the ambient temperature should then always be lower
than the one of the outgoing air.
If it is absolutely necessary to operate the cold system immediately within
warm ambient air, this air must be dehydrated. In such a case, the absolute
humidity must be so low that the relative humidity, related to the coldest
system surface, always remains below 100%.
Ensure that the enclosed air is as dry as possible when powering off (i.e. before
switching off in winter, aerate the room with cold, dry air, and remove humid
objects such as clothes from the room).
These relationships are visible from the following climatogram. For a controlled procedure, thermometer and hygrometer as well as a thermometer
within the system will be required.
An OB-van having an internal temperature of 20 C and a relative humidity of
40% is switched off in the evening. If the temperature falls below +5 C, the
relative humidity will rise to 100% (7 g/m); dew or ice will be forming.
An OB-van is heated up in the morning with air of 20 C and a relative
humidity of 40%. On all parts being cooler than +5 C, dew or ice will be
forming.

IX

Appendix

Appendix 2: Mains Connector Strain Relief

For anchoring connectors without a mechanical lock (e.g. IEC mains connectors), we recommend the following arrangement:

Procedure:

The cable clamp shipped with your unit is auto-adhesive. For mounting please
follow the rules below:
The surface to be adhered to must be clean, dry, and free from grease, oil,
or other contaminants. Recommended application temperature range is
+20 C to +40 C.
Remove the plastic protective backing from the rear side of the clamp
and apply it firmly to the surface at the desired position. Allow as much
time as possible for curing. The bond continues to develop for as long as
24 hours.
For improved stability, the clamp should be fixed with a screw. For this
purpose, a self-tapping screw and an M4 bolt and nut are included.
Place the cable into the clamp as shown in the illustration above and firmly
press down the internal top cover until the cable is fixed.

Appendix

Appendix 3: Software License

Use of the software is subject to the Studer Professional Audio Software
License Agreement set forth below. Using the software indicates your acceptance of this license agreement. If you do not accept these license terms, you
are not authorized to use this software.
Under the condition and within the scope of the following Terms and Conditions, Studer Professional Audio GmbH (hereinafter Studer) grants the
right to use programs developed by Studer as well as those of third parties
which have been installed by Studer on or within its products. References
to the license programs shall be references to the newest release of a license
program installed at the Customers site.
Programs Covered by the Agreement
License Programs of Studer

The following Terms and Conditions grant the right to use all programs of
Studer that are part of the System and/or its options at the time of its delivery
to the Customer, as well as the installation software on the original data disk
and the accompanying documentation (License Material). In this Agreement the word Programs shall have the meaning of programs and data
written in machine code.
Using the software indicates your acceptance of this license agreement. If
you do not accept these license terms, you are not authorized to use this software.

Programs of Third Parties

Programs of third parties are all programs which constitute part of the System
and/or its options at the time of delivery to the Customer but have not been
developed by Studer. The following conditions are applicable to programs of
third parties:
The right to use third parties programs is governed by the License Agreement attached hereto (if applicable), which is an integral part of this Agreement. The Customer shall sign any and all License Agreements for all
further programs of third parties installed on the system. The Customer
shall be deemed to have received all License Agreements upon delivery
of the system and/or its options.
Studer shall accept no responsibility or liability for, and gives no warranties (express or implied) as to the programs of third parties. The Customer
waives any and all claims versus Studer for any consequential damages,
which might occur due to defects of these programs.

Right of Use
Principle

Studer grants the Customer the non-exclusive right to use the License Material in one copy on the system and/or its options as laid down by the Sales
Agreement concluded between the parties and all Terms and Conditions
which shall be deemed to form and be read and construed as part of the
Sales Agreement. This right is assignable according to the Assignability
paragraph hereinafter.

Customized Configurations

The Customer is not entitled to alter or develop further the License Material
except within the expressly permitted configuration possibilities given by the
software installed on the system or elsewhere. All altered programs, includXI

Appendix

ing but not limited to the products altered within the permitted configuration
possibilities, are covered by this License Agreement.
Reverse Engineering

Reverse engineering is only permitted with the express consent of Studer.

The consent of Studer can be obtained but is not limited to the case in which
the interface software can not be provided by Studer. In any case Studer has
to be informed immediately upon complete or partial reverse engineering.

Copying the License Material

The Customer is entitled to make one copy of all or parts of the License
Material as is necessary for the use according to this Agreement, namely for
backup purposes. The Customer shall apply the copyright of Studer found on
the License Material onto all copies made by him. Records shall be kept by
the Customer regarding the amount of copies made and their place of keeping.
The responsibility for the original program and all copies made lies with the
Customer. Studer is entitled to check these records on first request. Copies
not needed anymore have to be destroyed immediately.

Disclosure of License Material

The License Material is a business secret of Studer. The Customer shall not
hand out or in any way give access to parts of or the complete License Material
to third parties nor to publish any part of the License Material without prior
written consent of Studer. The Customer shall protect the License Material
and any copies made according to the paragraph above by appropriate defense
measures against unauthorized access. This obligation of non-disclosure is a
perpetual obligation.
Third parties are entitled to have access to the License Material if they use the
License Material at the Customers site in compliance with this Agreement.
Under no circumstance are third parties entitled to have access to the installation software on the original data media. The Customer shall safeguard the
original data media accordingly.

Assignability

The rights granted to the Customer according to this License Agreement shall
only be assignable to a third party together with the transfer of the system
and/or its options and after the prior written consent of Studer.

Rights to License Material

With the exception of the right of use granted by this License Agreement all
proprietary rights to the License Material, especially the ownership and the
intellectual property rights (such as but not limited to patents and copyright)
remain with Studer even if alterations, customized changes or amendments
have been made to the License Material.
Studers proprietary rights are acknowledged by the Customer. The Customer
shall undertake no infringements and make no claims of any patent, registered
design, copyright, trade mark or trade name, or other intellectual property
right.
Warranty, Disclaimer, and Liability
For all issues not covered herewithin, refer to the General Terms and Conditions of Sales and Delivery being part of the sales contract.

XII

Vista 5 Digital Mixing System

CHAPTER 1
1

Introduction......................................................................................................................................................................... 3
1.1
Operating Principles...................................................................................................................................................... 3
1.1.1
Vistonics............................................................................................................................................................. 4
1.1.2
Momentary/Latching Key Activation
............................................................................................................ 7
1.1.3
Ganging................................................................................................................................................................. 8
1.2
The Graphic Controller (GC)........................................................................................................................................ 9
1.2.1
GC Screen Examples .......................................................................................................................................... 10
1.3

Channels, Routing, and Buses .................................................................................................................................... 13

1.4

Processing Blocks ....................................................................................................................................................... 14

1.5

Monitoring and Communication................................................................................................................................. 14

1.6

Static Automation Functions....................................................................................................................................... 16

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Introduction 1-1

Vista 5 Digital Mixing System

1-2 Introduction

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Vista 5 Digital Mixing System

INTRODUCTION

1.1

Operating Principles

Studer Vista 5 incorporates operating principles that are applicable throughout

nearly the whole console operation:
Vistonics
Momentary/Latching Key Activation
Ganging
These operating principles are described below, they are freely combinable.
Some exceptions may occur where the combination of functions is not practical. The real speed and easiness of operation will become obvious to a sound
engineer by using and combining these operating principles in every day
life.

Date printed: 22.12.06

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Introduction 1-3

Vista 5 Digital Mixing System

1.1.1 Vistonics
Vistonics allows color and shape of controls to be varied according to good
ergonomic practice. A given audio function is always associated with the same
color, and a parameter is always associated with the same icon displaying
values graphically just as or even more intuitive than an analog console.
Vistonics makes it possible to bring the location where you can see a value
to exactly the place where you control it. Therefore, tiring translation processes between looking at a screen and finding the corresponding hardware
control somewhere else are not existing anymore, saving just a little time and
energy a few hundred times a day!

Conventional TFT Approach

Vistonics Technology

Display

Controls

View =/ Control Location

Display
+ Controls

View = Control Location

Great attention has been paid in order to make the current association clearly
visible. Color coding has been used to indicate families of audio functions
such as EQ, dynamics, etc. Consistent icons make the physical meaning of
an audio function obvious e.g. bar graph-like icons indicate levels, time
adjustments are indicated by clock dials, etc. This way, it is easy to identify
the currently associated function even from a distance.
The Vistonics module consists of two main parts: 40 rotary controls with
push buttons next to each of them, as well as a touch screen area, showing
graphically the most important settings of each channel: Dynamics, EQ and
panning information. It is possible to change the association of a rotary control
to audio functions either globally or locally:

1-4 Introduction

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Vista 5 Digital Mixing System

Global Views

Up to four different parameters are shown in each channel strip. The same
four parameters will be shown globally on the whole console. This mode is
meant to be the horizontal way of operation, mostly used for e.g. operating auxiliaries or input settings. The picture below shows a global AUX 1...4
view.

The touch screen area is also used for indication and operation of bus assignment:
Bus Assign Overview:

Date printed: 22.12.06

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Introduction 1-5

Vista 5 Digital Mixing System

Local Views

By touching the graphics shown below the Vistonics rotary controls, the
whole parameter set of that specific curve is displayed, also covering some
of the neighboring channel strips. It is also possible to touch any two curves
in one bay in order to display both at the same time.
The example below shows the complete dynamics section of the leftmost
channel (the small dynamics view is highlighted), overlaid to a global AUX
view.

This philosophy is completed by three hardware keys underneath the Vistonics display, showing different combinations of parameters as well as the bus
assignment of that specific channel, covering the whole Vistonics area.
Bus Assign View:

1-6 Introduction

(here, channels can directly be assigned to a bus)

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Vista 5 Digital Mixing System

1.1.2 Momentary/Latching Key Activation

A lot of key presses during console operation are repetitive in order to compare settings or to make quick checks for monitoring purposes. The Studer
Vista console has reduced the amount of needed key presses tremendously by
incorporating a special logic for these cases: The Studer Vista control surface
distinguishes long and short key presses and reacts differently in both cases:
Pressing and holding a key will automatically reverse its activation upon
release of the key this is, however, applied only where appropriate. All
keys featuring momentary/latching activation are labeled with a symbol
throughout this manual.
For example, holding down a MUTE key for one second will automatically unmute the signal again upon release. Further examples are ON/OFF switching
of audio functions (EQ, filters, dynamics), PFL/SOLO as well as most of the
monitoring functions: soloing different loudspeakers, muting loudspeakers,
selecting alternate loudspeaker sets, etc. Keeping a monitoring source key or
loudspeaker set key pressed will automatically go back to the previous selection upon key release. If you want a switch to be activated continuously, just
press the key and release it immediately, without holding.
This automatism also works on view changes: Pressing and holding an EQ
graphic will make all its parameters accessible for as long as the graphic on
the screen is being touched. However, it will disappear immediately when
the graphic is untouched. The same thing is possible for global view changes:
Quick checks of bus assignments or auxiliary levels are as fast as never
before.
This philosophy has also the advantage of not having to remember the last
settings or views. The console remembers it automatically.
Note:

Date printed: 22.12.06

The threshold time for the momentary/latching distinction is adjustable in the

Graphic Controllers Vista Desk Settings screen.

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1.1.3 Ganging
On top of grouping certain channels together in a way commonly known as
VCA groups, Studer Vista has the ability to link multiple channels temporarily together and let them behave like one single channel. Such a link is
called a Gang. It co-exists with VCA style groups (Control Groups) and is
only a momentary help to influence multiple channels at the same time. A
gang is created by pressing and holding one LINK / SEL key on one channel
while the same key on a second channel gets pressed. This will link all channels between the two. By using the MULTI SEL key it is possible to select
or de-select any channels on the surface without having them next to each
other. The MULTI SEL key acts much the same as the Ctrl key on a standard
PC keyboard.

A gang is simply canceled by pressing any LINK / SEL key on the console
again. Please note that there is always one channel selected.
Temporary de-activation of a gang is done by simultaneously touching identical control elements (e.g. fader or rotary encoder) of two channels within a
gang.
Typical Applications

Trimming of some faders or auxiliaries by changing the corresponding

control on any of the channels
Copying a certain setting to multiple channels by pasting the value to any
of the ganged channels
Changing a bus assignment on all the ganged channels by changing it on
one of them
Changing dynamic automation modes on the whole gang.
Basically any operation on one of the ganged channels will influence all of
them. Changing switches will overwrite the same switch on the other channels, while adjusting a audio function with a certain range will adjust all
other channels in a relative manner. Setting all channels to the same value is
accomplished by a copy/paste operation on one of the ganged channels.

Setting Up the Console

For setup application there is a fast way to link all channels of the same type
together. Pressing LINK ALL followed by pressing the LINK/SEL key of one
channel will gang all channels of that very same type together (e.g. all input
channels). The gang may exceed the visible channels and may also contain
channels in other sections. While having that gang active, you may setup
your console within seconds: Changing bus assignment, clearing one channel or copy/paste certain values to any of these channels.

1-8 Introduction

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Vista 5 Digital Mixing System

1.2

The Graphic Controller (GC)

An important feature of the Vista Digital Mixing System is the Graphic Controller, also referred to as GC. The Graphic Controller program is used for
operating all mixing console functions that extend consoles functionality.
Specifically, the Graphic Controllers extended functions include:
General and channel-specific router control (defining the order of processing elements, e.g. EQ or dynamics libraries, within a channel)
Recall and management of snapshots and cue points
Saving of desk clipboards
Assignment of the DSP channels to the fader strips
Tone generator and metering control
Control group and linkage control
Production and Title management
System administration
Various display windows and dialog boxes logically group the individual
functions. Visual elements are optimized for simple and intuitive operation.
With the help of an easy-to-understand General Patch page, the setup of
router cross points is dramatically simplified, even for large mixing console
configurations. Via a Snapshot window, all mixing console parameters can be
stored and recalled using mouse clicks. Some of the most important functions
are also available as dedicated keys on Vistas control bay.
The concept of overall system configurability has been also adopted within the
Graphic Controller application. Since most functions are arranged in overlapping windows of changeable sizes, users can set up their work environment
to suit their specific requirements for each recording or production session.
These settings can be saved and recalled at any time, allowing for fast and
application-oriented operation of the Vista system.

Date printed: 22.12.06

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1.2.1 GC Screen Examples
Internal Routing Matrix Control

1-10 Introduction

The Channel Patch screen is an audio path-oriented view for controlling the
routing of a particular channel, and is used to set up the sequence of channel
processing blocks (EQ, Insert, Delay, etc.) and metering locations within the
signal path, as well as defining the direct out signal. This screen also displays
the connections made to the channels various inputs and outputs. By double
clicking on one of these display boxes the system will go directly to the
associated connection in the General Patch. The Channel Patch also includes
labeling and dynamics link facilities.

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Within the General Patch window, the various cross point routing of sources
and targets (destinations) is displayed. For example, it will show which audio
signals (AES/EBU in, Direct outs, etc.) connected to the DSP sections are
assigned to the corresponding channels and outputs (Input channel, MADI out
etc.). These connections are stored within Snapshots and Presets. The sources
and targets can be identified by Fixed, Device, Inherited, or User labels.

Date printed: 22.12.06

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Snapshot Functions

Display and control of snapshot settings (in other words, complete pictures
of the operating desks controls and of the consoles internal settings) and
factory/user presets provide basic working templates.

Control of snapshot/preset filters and channel protection is achieved via

separate windows:

1-12 Introduction

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Vista 5 Digital Mixing System

1.3

Channels, Routing, and Buses

Processing blocks, such as equalizer, dynamics, delay, etc., can be configured
for all channel types.
Input Channels

Vistas digital routing matrix is located between the consoles physical inputs
and the actual DSP channels. This topology means that the physical analog
and digital inputs can be assigned to any console channel via the General
Patch page on the Graphic Controller. The patch setup forms part of each
individual snapshot, and can be saved, updated and recalled within the
Snapshot/Preset system.

Output Channels

This also applies to the outputs. On the General Patch page, each channels
output can be selected and sent to any analog or digital output destination.

Auxiliaries

The number of stereo or mono AUX sends is fully configurable. The users
can establish the number and type of AUX sends they would like to use. The
AUX master channel can be equipped with the same selection of processing
blocks such as equalizer, dynamics, delay, and more.

Clean-Feeds/Mix-Minus (N1/NX) Clean-Feeds/Mix-Minus or N1/NX buses can be set up in stereo or mono,

and are configurable in number.
Multi-track and Group Routing
Solo Modes

Date printed: 22.12.06

Full multi-track and group routing can be configured.

Each channel features a Solo and a PFL Switch. Depending upon the mode
selected within the Control Bay the SOLO key is active as SOLO or Solo-InPlace. Clearing these buttons can be achieved by opening the corresponding
fader in case PFL BC (Broadcast) is active. A very handy PFL/Solo Reset
is provided to disengage any solos regardless of where they are engaged on
the console. This eliminates the need to search for solos with large console
configurations. A key to define certain channels to be safe from being muted
in Solo-In-Place mode is also provided. This set will be stored with each
title.

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1.4

1.5

Processing Blocks
Equalizers

Four fully parametric bands are provided on the Vista. Each band, which
can be switched in and out independently, extends from 20 Hz to 20 kHz,
with a 18 dB gain range. The EQ features a psycho-acoustically corrected
frequency response for high frequencies, similar to well-known analog EQ
designs. The two mid-bands can be switched between constant-Q and constant-range modes. The high and low frequency bands can also be switched
to shelving mode. A second EQ type is available (defined in the Configuration
Tool), which features an additional Notch filter.

Filters

Low-cut and high-cut filters are provided, with cutoff frequencies that are
variable between 20 Hz and 20 kHz, and slope selections of 12, 18, or 24 dB/
octave.
In addition, an analog low-cut filter with a cutoff frequency of 75 Hz and a
slope of 12 dB/octave is available in the D21m Mic/Line preamplifier.

Dynamics

The Vista dynamics processing consists of four parts:

Limiter, Compressor, Expander, and Gate.
To avoid pumping and modulation, the dynamics processing sections feature high sampling rate transient detection. Distortion artifacts are minimized
through selectable, program-dependent attack and release times. The Vistas
dynamics feature a side-chain input that can be used with or without HP/LP
filters. A unique look forward function is also featured. If desired, this
allows the entire transient portion of a waveform to be affected when using
the limiter/compressor or to be passed when the expander/gate is used.

Soft Clip

In addition, a soft clip function can be activated in the D21m Mic/Line preamplifier.

Monitoring and Communication

Monitoring

The Control Room (CR) monitoring section provides control of up to two

different speaker systems (one multi-channel and one two-channel stereo)
and 16 source selectors. All internal digital sources can be assigned to any of
the source selector keys. A headphone socket is also supplied for use within
the control room.
The Studio Monitor is configurable in the same way as the CR monitor section, although only one stereo loudspeaker pair is supported.

Talkback

1-14 Introduction

An extensive talkback system is implemented within the Vista. The talkback

source can be either the built-in desk-operator microphone or an external
producer microphone. Several destinations, such as buses, direct outputs,
auxiliaries, groups, and master outputs are available block.
Each channel is fitted with a talkback key that activates talkback to the direct
output of the corresponding channel and, if the channel is an N1 owner, to
the N1 output.
Refer to the talkback and signaling block diagram on the next page for
details.

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Talkback and signaling block diagram

using D21m GPIO cards

Studio B

Studio A

TB In Studio B

TB In Studio A

(Line level)

(Line level)
e.g.Speaker

e.g.Speaker

Talk to
CR
Studio Monitor A

Talk to
CR

GPI 2
Studio Monitor B

(-> to PFL Speaker)

GPI 3

(-> to PFL Speaker)

CR Monitor

Control Room
GPO 1

GPO X

Vista5 Desk

GPI X

Live

GPO X

StudioA StudioB
Signaling Keys

Red
Light

Red
Light

SIG1

SIG1

GPI 4

GPI X

GPO X
GPI 1

GPO 2
Talk to

GPI 5

SIG2

SIG2

Talk

Talk

GPI X

e.g.Intercom

TB Mic Out
(always on)

preselected

GPO 3

Talk to
Aux1

Talk to
Aux2

Talk to
Aux3

Talk to
Aux4

TB Mic
TB Keys
PFL Out

Desk

Operator
Footswitch

Producer area (either in control room or in another room)

Talk to
ChanOut
Grp01

GPI X

GPI X

Talk to

Channel

ChanOut
Grp N

Grp01

GPI X

Channel

Mute

Mute
Grp N

GPI X

GPI X

GPI X

Legend:

GPI 6

GPO 4

Talk to
Studio
B

GPI X

GPO X

Prod TB In

Talk to
Aux1

Talk to
Aux2

GPI 8

GPI 9

Talk to
Aux3

Talk to
Aux4

GPI 10 GPI 11

Already configured:

GPI 1

= GPI already configured in .ini files

GPI X

= GPI prepared to use, but not

assigned to signaling card.
This can be configured in .ini files

GPO 2

= GPO already configured in .ini files

GPO X

= GPO prepared to use, but not

assigned to signaling card.
This can be configured in .ini files

Date printed: 08.09.08

Talk to
Studio
A

SW V3.6

GPI 1 Footswitch to talk to preselected

GPI 2 Talk to CR from Studio A
GPI 3 Talk to CR from Studio B
GPI 4 Signaling 1 Studio A
GPI 5 Signaling 2 Studio A
GPI 6 Talk to Studio A
GPI 7 Talk to preselected
GPI 8 Talk to AUX s 1
GPI 9 Talk to AUX s 2
GPI 10 Talk to AUX s 3
GPI 11 Talk to AUX s 4

(Line level)

Producer

Talk to
preselected

GPI 7

GPO 1 Red light Studio A

GPO 2 Signaling 1 Studio A
GPO 3 Signaling 2 Studio A
GPO 4 Talk to Studio A

Introduction 1-15

Vista 5 Digital Mixing System

1.6

Static Automation Functions

Snapshots

An unlimited number of snapshots can be captured, stored, and recalled

for each Project Title. All control parameters of the console are stored in
the snapshots. When a snapshot is recalled, the console typically requires
120 ms to fully reset itself. Snapshots recalls can be done with snapshot
filters active, protecting certain console parameters from being changed by
the recall. Extensive editing functions allow modifying snapshots after or
during a live show. Besides absolute protection of certain parameters it is
possible to trim parameters relative to their stored values rather then letting
them totally unmodified. Recalling a preset however, will ignore any snapshot
filters which may be active and bring the console into a defined audio state.

Copy & Paste Clipboard

The Vista System supports copy and paste of some or all channel settings to
one or more other channels. This ability streamlines the set-up of the console
when an operator is starting from scratch with a new layout. However, if
starting from a clean slate is desired, clearing all or some of the parameters
is possible as well.

1-16 Introduction

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Vista 5 Digital Mixing System

CHAPTER 2
2

Vista 5 Desk Operation....................................................................................................................................................... 3

2.1

Vistonics Operation / Local Views............................................................................................................................. 4

2.2
Fader Area..................................................................................................................................................................... 6
2.2.1
Channel Meters ..................................................................................................................................................... 7
2.3

Channel Selection ......................................................................................................................................................... 8

2.4

Global Views................................................................................................................................................................. 9

2.5

Central Channel Processing Keys ............................................................................................................................... 10

2.6
Control Bay Details..................................................................................................................................................... 13
2.6.1
System / TB / Headphones.................................................................................................................................. 13
2.6.2
Assignable Meters............................................................................................................................................... 14
Control Room Monitoring .................................................................................................................................. 15
2.6.3
2.6.4
Studio Monitoring............................................................................................................................................... 17
2.6.5
Monitoring Source Selection ............................................................................................................................. 18
2.6.6
Option (Spare Keys) ........................................................................................................................................... 19
2.6.7
Talkback Control................................................................................................................................................. 19
2.6.8
Control and Mute Group Setup........................................................................................................................... 21
2.6.8.1 Control Group Setup ....................................................................................................................................... 21
2.6.8.2 Mute Groups ................................................................................................................................................... 21
2.6.8.3 Setting up a Mute Group................................................................................................................................. 22
2.6.8.4 Off-Air Conference ......................................................................................................................................... 23
2.6.9
Shortcut Keys for Graphic Controller................................................................................................................. 24
2.6.10
Hardware Keys.................................................................................................................................................... 25
2.6.11
Joystick (Optional).............................................................................................................................................. 26
2.6.12
Fader Page Navigator.......................................................................................................................................... 27
2.6.13
Grand Master Faders........................................................................................................................................... 28
2.6.14
Output views / FOLLOW ................................................................................................................................... 29
2.6.15
Contribution Access ............................................................................................................................................ 32
2.7
Fader Bay Details........................................................................................................................................................ 34
Channel Control .................................................................................................................................................. 34
2.7.1
2.7.1.1 Activating Two Layer mode ........................................................................................................................... 34
2.8
Clipboard Libraries ..................................................................................................................................................... 36
Clipboard Library Window ................................................................................................................................. 37
2.8.1
2.8.2
Paste into Clipboard Library............................................................................................................................... 37
Copy from Clipboard Library ............................................................................................................................. 37
2.8.3
2.8.4
Rename/Delete a Clipboard Library File............................................................................................................ 38
2.8.5
Clear the Display................................................................................................................................................. 38
Update a Clipboard File ...................................................................................................................................... 38
2.8.6
2.8.7
Storage Format.................................................................................................................................................... 38
2.8.8
Import a Clipboard File from Another Library ................................................................................................... 39
2.8.9
Where are Clipboard Libraries Saved? ............................................................................................................... 39
2.9

Console Illumination................................................................................................................................................... 39

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2-2 Desk Operation

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Vista 5 Digital Mixing System

VISTA 5 DESK OPERATION

The desk consists of two types of bays: Two fader bays and one control
bay.
The fader bays contain the console channel strips with rotary controls, faders,
keys, and meters. Ten strips are located next to each other in one bay. They
are not dedicated to any DSP channel.
The control bay hosts the global desk operation controls, such as monitoring,
talkback, joystick and mouse. The desk contains the control system and the
power supplies as well as a keyboard in a drawer. An external TFT screen may
be mounted on the rear of the desk in order to display the Graphic Controller
screen (refer to chapter 4). This screen may be attached to the desk in one of
two locations: Exactly above the control bay or at the right of the console.
Each key marked with this symbol can be activated either momentarily or
latching. Pressing this key for a short time will make it latching. Holding it
down for a longer period of time will reverse its function automatically upon
key release.

Date printed: 22.12.06

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2.1

Vistonics Operation / Local Views

[A]

Vistonics Rotary Control Area

Each rotary control is grouped with a key to form a control element.
These control elements are sometimes used in a channel-related manner,
dedicating four of the control elements to each channel strip; sometimes,
neighboring channels are used in order to show a complete parameter set
of one single channel. This is the case when touching any graphical display of EQ, dynamics, or pan, but also when activating VIEW: MISC or
VIEW: CHANNEL.

[B]

Vistonics Touch Screen Area

Graphical indication of dynamics, equalizer and pan. Touching the graphics
will open up all corresponding parameters on the rotary control area.
This section is also able to display bus assignment. Two modes are available: Bus assignment as a bubble view to give an overview over the whole
console, or bus assignment of a specific channel (one per bay).
The graphical pan display may vary depending on the configured panning
function or format. (2-CH Stereo Pan, Multi-format Pan, VSP).

[C]

Generic Display Area

This area is used to display all sorts of information. The following is continuously displayed:
Inherited label (top line). This corresponds to the USER label of the connected source (can be edited in the GCs Global Patch window). This
label is normally changing between sessions (e.g. Lead Vocal).
Switchable label (second line). Normally this is set to USER labels, but
might be changed by pressing GLOBAL VIEW: LABEL TYPE.
The displayed label toggles between showing: Channel number (also
referred to as Fixed Label, e.g. Inp m 1), USER label (also referred
to as Device Label, e.g. Tascam Track 1) or it shows the label of the
second layer with its real time meter next to it (see chapter xxx(fader bay)
for more details). The last option is only available, if Two Layer Mode
is activated in the graphic controller.
Indication of channel type by color coding of the lower half as well as
writing the type in the bottom right corner.
The following information pops up when appropriate:
Fader value in dB, when touched (or held in dynamic automation
mode)
Graphical representation of current setting and previewed snapshot at the
same time.
Snapshot filter mode of the fader. (TRIM or ISO). A solid yellow background of the word ISO indicates that the whole channel is isolated from
snapshot recalls. In case the word is written only in yellow letters with
black background, this indicates that only parts of this channel are isolated from snapshot recall.
N1 indication and bus number.
Touching the upper half (for input channels, multi-track input channels, multitrack monitor channels): Opens the GCs General Patch window, showing the
channel input position of the selected channel..
Touching the lower half (for all channels): Opens the GCs General Patch
window, showing the direct output position of the selected channel.

[A]

[B]

[C]

2-4 Desk Operation

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Vista 5 Digital Mixing System

Date printed: 22.12.06

VIEW: CHANNEL

Brings up a view of all control elements of this channel besides dynamics,

equalizer, and pan, covering the whole Vistonics rotary control area.

VIEW: MISC

View Selection of DYNAMICS, EQ, and PAN Controls

Brings up a view of selected control elements out of dynamics, equalizer, and
pan, covering the whole Vistonics rotary control area. The VIEW CHANNEL
and VIEW MISC keys form a sort of center assign panel function, known
from many other consoles, such as the Studer D950 M2.

VIEW: BUS ASN

Brings up the bus assign view of one channel, covering the whole touch screen
area.
When showing the bus assignment of a single channel, the assignment can be
changed by touching the bus number. It is also possible to clear all bus assignments of a type by pressing the corresponding key on the touch screen.

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2.2

Fader Area
USR 1/2

Key for programmable user- or application-specific functions (such as fader

start, fader ramps (audio-follows-video), switching to an alternate n-x output
signal, user specific functions etc.).

MUTE

Mutes the corresponding channel. The MUTE LED indicates when he channel
is muted by a SOLO IN PLACE function or by a mute group.

SOLO

Depending on the setting of SOLO, and SOLO IN PLACE keys, this activates
the SOLO, or SOLO IN PLACE function of the corresponding channel. The
solo signal is always inserted into the control room monitoring path as soon
as at least one channel is active.
As a standard the SOLO works in non-additive mode. This means that pressing a second SOLO button will automatically release the first one. However,
additive mode can be entered by press-and-hold at least two SOLO buttons
at the same time. From then on any other SOLO is added without canceling the first ones. Non-additive mode is re-activated by canceling all active
SOLOs.

ISO

The whole channel may be filtered from snapshot recalls by pressing this
key. It is also possible to isolate only certain elements of a channel, such as
the EQ. This is done by pressing and holding the ISO key while pressing the
corresponding audio key in the central Channel Processing area. Pressing
e.g. the EQ on/off key will put the whole EQ into ISOLATE mode. Touching
a rotary encoder will put just that rotary into ISOLATE mode, indicated by
a yellow I or if one of the Vistonics keys is selected just by changing its color to yellow. It is also possible to e.g. open up the EQ view on the
Vistonics screen and select only one single parameter of the EQ to go into
ISOLATE. If one of the EQ parameters is isolated, but not the whole EQ,
the EQ on/off key becomes half-lit while pressing ISO. If the Enable Trim
Mode option in the Static Automation Options page is active, the status of
the elements doesnt only toggle between READ and ISOLATE, but also goes
to a red T (TRIM). On Vistonics keys this status is indicated simply by
changing the buttons label color to red.
The ISO key is fully lit, in case the whole channel is currently isolated from
snapshot recalls. This state is accompanied by the word ISO with solid yellow
background in the Generic Display Area.

TALK

Activates talkback to the direct output of this channel and, if applicable, to

the n1 bus output. In case this channel is participating an off-air conference
at this time, talkback is activated to all members of the conference.

Control Group

7-segment display indicating the control group to which this channel is

assigned (this is a function similar to VCA groups known from analog
mixing consoles).

PFL

Activates pre-fader listening mode. Signal is fed to the near-field monitoring

outputs as standard, but can be inserted into the main control room monitors
by pressing CR INJECT.
As a standard the PFL works in non-additive mode. This means that pressing a
second PFL button will automatically release the first one. However, additive
mode can be entered by press-and-hold at least two PFL buttons at the same
time. From then on any other PFL is added without cancelling the first ones.
Non-additive mode is re-activated by cancelling all active PFLs.

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Vista 5 Digital Mixing System

2.2.1

Channel Meters
Each channel strip hosts a tri-coloured two-channel LED bargraph meter,
indicating various levels of the corresponding channel. The lower part of the
meter is reserved to show gain reduction in case compressor/limiter (right
side) or expander/gate (left side) is active. One LED element stays on permanently if any of the dynamic processing is switched on.
The upper part is showing levels. If a mono signal is displayed, both channels are linked and show the same display. A temporary peak hold helps
finding current peak levels. A separate red element on the very top indicates
OL, i.e. overload. The headroom of the meters (i.e., the point where they
change from green to yellow) can be adjusted within 25 dBFS and 5 dBFS
using the graphic controller screen (Option Meter/Generator menu).
The following levels may be displayed and indicated using the two dots below
the meter:
Channel input level (post input processing): left dot dark
Channel post-fader level: left dot green
Channel direct output level (if patched to an output interface only): left
dot yellow.
In case the channel is an n1 owner channel, the right half of the LED
bargraph may show the nx output level. This is indicated by a green dot
above the n1 label. Since the meters cannot show two channels of a stereo
channel anymore in this mode, they will show the maximum of left and right
channel at this time. Therefore: Left part of meters shows max of left/right
channel level, right part shows max of left/right n1 output level.

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2.3

Channel Selection
MULTI SEL
Used to make multiple selections; acts similar as the Ctrl key on a PC
keyboard.
LINK ALL
Links all channels of one type together (Super Gang) mainly for setup
purposes. After LINK ALL is pressed, all LINK / SEL keys are half-lit, waiting
for the channel type to be defined (for linking). Such a Super Gang includes
also channels which are currently not visible on the surface!
A gang is canceled by pressing any LINK / SEL key on the desk.
SWAP FADER: ROW 1...ROW 4
Swaps the current fader value and the MUTE key onto the selected rotary
row, if the current global view on that row has a level control with the same
range as the fader (90...+10 dB), while the value of that row is temporarily
displayed on the faders. The function is canceled when pressing the swap key
again or when activating any other swap function.
FADER
Pressing this key will make the keys ROW 1...4 half-lit. All fader and mute
values of the current gang will be copied onto the control element shown on
the corresponding rotary row, if there is an appropriate parameter visible; e.g.
AUX level or Direct Out Level. If the fader is copied onto a stereo AUX, the
left/right pan value is also copied along with the fader and mute values.
Note: If the direct outputs of the input channels are connected to a multitrack recorder, it might be desirable to have the fader values copied over onto
the direct output level controls before starting a recording. If the faders are
moved, e.g. during a live transmission, the levels on the multi-track machine
will remain constant.
LINK / SEL
This key is used to select channels in different situations:
Select a channel for switching audio processing such as EQ in and out.
Select a channel for copying pasting audio values.
Select a channel for channel patch view on the Graphic Controller
Select a channel for joystick assignment (PAN)
Select/de-select a channel from a control group when in CGM setup
mode
Select a channel type when linking all channels of the same type.
Pressing two of these keys simultaneously will form a gang between the
two. With MULTI SEL it is also possible to select channels that are separate
from each other.
All the members of a gang act together like one channel. Any change to one
of the members is performed to all of them. See chapter 1.1.3 for details.

2-8 Desk Operation

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Vista 5 Digital Mixing System

2.4

Global Views
These keys allow changing the view on the fader bays or across the whole
console if FOLLOW is active on control bay. If the control bay is not in
FOLLOW mode, these keys will only change the views on the two fader
bays.
The different views will only cover the rotary controls that are necessary to
display the corresponding function. The others will still show their previous
function. However, pressing GLOBAL VIEW... a second time will blank all
other rotary controls.
Example: AUX 1-4 are shown on rotary controls 1-4. The user presses
GLOBAL VIEW: FILTER, and the rotary controls 1-2 will now show the input filters (rotary controls 3-4 are still showing AUX 3 and 4). When the user presses
GLOBAL VIEW: FILTER again, the rotary controls 3-4 will be blanked.
GLOBAL VIEW: MIC CTRL
GLOBAL VIEW: INPUT (gain)
GLOBAL VIEW: OUT n-1
GLOBAL VIEW: FILTER
GLOBAL VIEW: DLY - INS
GLOBAL VIEW: COMP - LIM
GLOBAL VIEW: EXP - GATE
GLOBAL VIEW: EQ
GLOBAL VIEW: PAN
GLOBAL VIEW: AUX MONO ...
GLOBAL VIEW: AUX STEREO...
PRE / POST AUX View Modifier
When auxiliaries are shown on the rotary controls, they have an on/off key
next to the rotary control. By pressing the PRE / POST modifier key, the key
next to the AUX rotary control will change its function to pre-/post-fader.
(Shift)
Changes the meaning of the GLOBAL VIEW: AUX... keys to select the upper
half of auxiliaries: AUX MONO 17-32 or AUX STEREO 9-16.
Note: When pressing GLOBAL VIEW: EQ while the (Shift) key is active,
there is an alternate EQ view. Then the four rotaries will show only the two
mid bands, but allow access to frequency and gain setting.
Also, if Shift is active, pressing the local views VIEW CHAN and VIEW
MISC will exclusively show all auxiliaries of the corresponding channel.
Therefore it is possible to see up to 40 mono and 20 stereo auxiliaries of a
channel when pressing MISC and CHANNEL on a channel strip. This is useful
when working with multiple auxiliary and matrix buses.

Date printed: 22.12.06

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GLOBAL VIEW: LABEL TYPE

Changes the label type of the second line in the generic display area to
show:
Inherited label (also known as session label)
Fixed label (shows the channel number)
Inherited label of second layer (if activated)
GLOBAL VIEW: BUS ASN
Activates a bubble view of the bus assignment throughout the whole console. If the bay is locked, only the corresponding bay is affected.

2.5

Central Channel Processing Keys

This set of keys is used to switch processing on/off within one or several
channels. It also hosts keys to copy and paste settings between channels or
between the clipboard library and channels. As a standard the user selects a
channel first (pressing LINK / SEL) and then switches e.g. EQ On. If a gang
is made, the switching will happen on all member channels of the gang. As
soon as a local view change is done on another channel (e.g. touching the EQ
graphic in order to open the EQ view locally on a Vistonics screen), these
set will become active for that specific channel. After closing the EQ view,
the set is again dedicated to the channel(s) with LINK / SEL active. If several
views are opened on the Vistonics screens, the key set is following the
principle of last wins. Wherever a view has been opened last the Channel
Processing key set is active.

2-10 Desk Operation

Example 1:

The user wants to actiavate compressor/limiter in channel 10. In order to

do that he either presses LINK / SEL on channel 10 first, followed by the
COMP / LIM key on the central channel processing keys. Or he may open any
local views such as touching the dynamics curve on the touch screen (therefore opening the view of the dynamics section) and then presses COMP / LIM
on.

Example 2:

The user wants to switch on a low cut filter on channels 1-20.

The fastest way to do that will be to first create a gang of the channels 1 to
20 (press-hold LINK / SEL on channel 1, followed by LINK / SEL on channel
20). This will assign the central processing keys to the whole gang, so the
user can now press COMP / LIM on and have it activated on all ganged channels together. Finally the user may want to delete the gang by pressing any
LINK / SEL key.

SW V3.6

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Vista 5 Digital Mixing System

HI CUT
LO CUT
DELAY
INS
COMP / LIMIT
EXP / GATE
EQ
PAN
Audio functions on/off; if lit, the corresponding audio function is activated.
If dark, the function is bypassed. For more details about functions and their
parameters refer to chapters 3.3 and 3.4).
(Copy/Paste)
Dedicated to each audio function, these keys act as copy (first step) and paste
(second step) at the same time. The philosophy of using the central key set
for copying and pasting is the same as when switching processing on and off.
First select source channel, press copy/paste of the corresponding function,
then select destination channel and press the same copy/paste
key again
in order to paste into this channel.
After having copied the value of the source channel into the internal clipboard
(first press), the source channel key is fully lit while all possible destination
channels are half-lit (see this after changing LINK / SEL). This guides the
user to select the destination channel efficiently. After having selected one of
them as destination key (second press), the copy/paste function is terminated.
Nevertheless there are several ways to paste the clipboard value to multiple
channels:
Create a gang and paste the value into one of the members
Hold MULTI SEL before pasting to channels of your choice.

Date printed: 22.12.06

Example 1:

The user wants to copy the EQ settings of channel 8 into channel 10.
1 Press LINK / SEL of channel 8 or open e.g. the EQ view on channel 8 by
pressing the EQ graphics on the touch screen. Alternatively any view of
channel 8 could be opened, e.g. by touching the dynamics or pan graphics
or selecting CHANNEL or MISC view on that channel.
2 Press Copy/Paste key next to EQ, located on central CHANNEL PROCESSING keys.
3 Press LINK / SEL of channel 10 or open e.g. the EQ view on channel 10
by pressing the EQ graphics on the touch screen. Alternatively any view
of channel 10 could be opened, e.g. by touching the dynamics or pan
graphics or selecting CHANNEL or MISC view on that channel.
4 Press Copy/Paste key next to EQ, located on central CHANNEL PROCESSING keys.

Example 2:

The user wants to copy a low cut filter from channel 1 into channels 11-20.
1 Select channel 1 by any of the ways described in example 1.
2 Press Copy/Paste key.
3 Create a gang between channels 11 and 20 by press-and-hold LINK / SEL
on channel 11, then press LINK / SEL on channel 20.
4 Press Copy/Paste key again.
5 Delete the gang by pressing any LINK / SEL key.

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Vista 5 Digital Mixing System

A (Copy/Paste All)
As
above, but includes all functions of a channel at the same time. This
includes input gains, AUX, fader and bus assign. This function clones the
whole channel.
Hint for console setup: Set one channel to the desired status, including bus
assignment etc., create a super gang by linking all input channels together,
and press A (Copy/Paste All) twice. This will bring all linked channels into
the same status.
(Undo/Redo)
After having copied a setting into one channel, this key will reverse the last
paste function. If a clear function has been performed, this key will reverse
the last clear function. Note that (Undo/Redo) remembers each channels
settings. It is therefore possible to undo a function on several channels by
applying (Undo/Redo) on a gang.
There is also a shortcut for comparing settings within one channel:
Press copy/paste in one channel twice (this copies the current value into
the clipboard and pastes it back into the channel).
Now change to an alternate value.
When pressing Undo/Redo, the user can toggle between the two settings and compare by listening.
Note: By using the temporary function of this key, it is possible to compare
the two settings with a single key press!
CLR
After having pressed this key once, all possible destination keys (audio on/off
keys) are half-lit. Pressing one of them will reset its value to the default value.
Selecting the
A (copy/paste all) key as the choice to clear will reset all
parameters within this channel, including bus assignment. It is also possible
to use the MULTI SEL key (chapter 2.3) to clear multiple functions. In order
to set the fader of the channel to 0 dB, it is possible to touch the fader after
having pressed CLR. After releasing the fader, it will set to 0 dB.
CLR can also be applied to a whole gang.

2-12 Desk Operation

SW V3.6

Date printed: 22.12.06

Vista 5 Digital Mixing System

2.6
2.6.1

Control Bay Details

System/TB/Headphones

STBY

Indicates that AC power is connected to the desk. Flashes, if redundant power

supplies are fitted and power is lost on one of them.

MAIN ON

Indicates that the power for the control system is ok.

Pressing ON will switch the system on. For switching the system off, normally
the Shutdown command in the windows desktop is used. Pressing ON for
several seconds will activate an emergency shutdown.

DESK ON

Indicates that the desk is switched on.

(For service purposes, it may be necessary to power off the desk part only,
while the control PC remains on. This can be accomplished by pressing this
key for several seconds. Another short press will power on the desk again. A
warning message will be displayed and the GC will be re-started. Powering
off the desk also powers off the monitoring outputs.)

DATA

USB port for plugging any USB compliant USB device, such as a memory
stick, in order to backup data of the console. It is possible to backup individual
productions from within the Vista application software or make backup an
image of the whole system using the installed special software. See chapter
4.6.1 for more details about how to make image backups and how to restore
them onto a console.

TB MIC INPUT

XLR connector to connect the optional talkback microphone. A desk internal

jumper allows activation of 48V phantom power. An internal analogue limiter
guarantees good quality talkback signal. By using a small screwdriver the
level of the talkback microphone can be adjusted pre-limiter (CAL).

TALKBACK (Return) LEVEL

Level setting for talkback signal coming into desk using TB IN connectors
on the rear of desk. Signal is fed into the near-field speakers.

SEND LEVEL

If the SEND LEVEL key is active, the TALKBACK LEVEL knob adjusts the input
sensitivity of the internal talkback microphone instead of the TB return level.
This level setting is realized in the digital domain and therefore post-analog
limiting.

Date printed: 22.12.06

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Vista 5 Digital Mixing System

HEADPHONES
Adjusts level of headphones. The headphone signal is the same as the one
listened to in the control room. However, whenever a PFL is active, the signal
gets fed into the headphone with higher priority.

2.6.2

Assignable Meters
Assignable Level Meters (left part shown only)
Indication of either monitor level (if METER MON is lit), or DIRECT OUT
level of assigned channels.
Note: If a meter is assigned to a specific channel, it displays always the
DIRECT OUT level. If there is no patch set from that channel to an output
interface, there will be no level visible on this meter.
Label Field
Displays the inherited label of the assigned channel or of the monitored signal,
depending on the status of the METER MON key.
ASN
Pressing ASN followed by any LINK / SEL key of a channel will make the meter
show the direct output level of that channel. It is also possible to press-hold
one ASN key and pressing the second one. Pressing any LINK / SEL key will
assign the previously selected meters from left to right.
In case a 5.1 source should be metered, it is necessary to use externally
mounted, 3rd-party metering products. Connectors delivering the monitoring
signal without pre-level (direct out) can be found on the rear of the desk. An
additional 24 V connector may deliver necessary power for such external
meters. A Studer option is available to mount common 3rd-party meters on
the rear of the desk.

2-14 Desk Operation

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Vista 5 Digital Mixing System

2.6.3

Control Room Monitoring

MONO, L-R, LCRS, 5.1

L,

C,

R,

Phase inversion on left channel, and left/right channel swap for mono or twochannel stereo mode.

INS DEC

Inserts the encoder/decoder chain into the monitoring path. Inputs/Outputs

can be found on the rear of the desk. This function needs to be activated in a
.ini file on the system at installation time. Edits may only be done by educated
Studer service personnel.

METER MON

Makes the monitor meters indicate the monitored signal instead of the preassigned signals.

LFE

These keys act as solo or mute keys for each speaker being currently active,
depending on the monitoring format selection. The mode is pre-selected by
the SOLO and MUTE keys on the right. It is also possible to clear all pressed
keys with the circular CLR key next to MUTE.

SOLO, SOLO IN PLACE

These keys define the mode the console is in when pressing SOLO on a channel strip. It can be either SOLO (post-fader listening incl. pan), or SOLO IN
PLACE (solo by muting all channels but the selected one, masters and other
defined channels; destructive mode). Pressing SOLO for several seconds

Date printed: 22.12.06

LS,

Selects the control room monitoring format. The monitoring section hosts a
5.1-to-two-channel downmixer. When L-R is active and the selected monitoring source delivers a 5.1 signal, the six channels get downmixed automatically
to two channels. The way this downmix is done can be set in a dialog box
on the graphic controller screen. This screen becomes visible by pressing the
SETUP button. See chapter xxx (in preparation) for more details about the
downmix possibilities.
The MONO setting will sum the left and right monitor speaker signals.

RS,

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Desk Operation 2-15

Vista 5 Digital Mixing System

allows adjusting the solo offset level applied in the monitoring whenever a
solo is active. The offset level is displayed where normally the listening level
of the control room is visible. Turn the CR level knob for adjustment of solo
offset level.
CLR

If any of the PLF or SOLO keys on the console is active (even if it is currently
not visible on the surface), this key will be lit. Pressing it clears all activated
PLF/SOLO functions on the channels.

EXT PFL SPEAKER

This rotary control adjusts the level of the PFL signal going to the near-field
speakers. The near-field speakers are also used for listening to talkback return
signals.

PFL TRIM

Pressing this key allows adjusting the solo offset level applied in the monitoring, whenever PFL is active. The offset level is displayed in place of the
control room level. Turn the CR level knob for solo offset level adjustment.

LIVE

If active: Disables some dangerous functions for live work, such as talkback
to masters, and solo in place. It is possible to use this key to arm the cuelist,
so that the NEXT and PREV keys are activated on the desk. See static automation settings in chapters 4.4.4 and 4.4.4.5.

PFL BC

Activates a mode where PFL or SOLO on a channel is automatically canceled

whenever the channel fader is open. A setting in the Vista Desk Settings
menu allows activating the function where the PFL/SOLO comes back after
the fader has been closed again.

CR INJECT

If active: PFL signals will be audible in the main control room speakers as
soon as any PFL function is activated. Channels with SOLO active are always
inserted into the control room.

SIP SAFE

Pressing this key enters setup mode for editing the channels that should be
safe from muting when activating SOLO IN PLACE on any other channel; by
default, all master channels are safe from muting when SOLO IN PLACE is
active. It may be desirable to protect effect returns from muting by adding
them to the group of safe channels. When in SIP SAFE setup mode, it is possible to select or de-select individual channels on the desk by pressing their
LINK / SEL key. Pressing SIP SAFE again will cancel edit mode and activate
the selected SIP protection. The information on the channels to be protected
is saved in each title, and therefore may vary from title to title.
As a standard, the MULTISEL key is active when entering SIP SAFE setup
mode. In this way it is possible to select or de-select any channels to be safe
from muting. However, for clearing all currently selected and safe channels
(including master channels), the MULTISEL key may be de-activated. When
pressing any LINK / SEL key of a channel, all others will be de-selected.

Note:

NEAR FIELD,

2-16 Desk Operation

MAIN

Selection of two speaker sets: MAIN is multi-channel surround (5.1), NEAR

FIELD is a two-channel stereo system. A separate level control is available
for each set of speakers, but can be deactivated at installation time. This may
be done in the monitoring.ini file by experts only.

SW V3.6

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Vista 5 Digital Mixing System

The near-field speakers are also used as PFL speakers as well as for monitoring off-air conference between external participants. The priority to what
signal is audible is set as follows:
1. PFL (unless CR INJECT active)
2. Nearfield
3. Off-air conference.
The level may be set differently for each of these cases. EXT PFL level may
adjust the off-air conference monitor level as soon as this signal is monitored.
MUTE,

DIM,

dB SPL

Note:

2.6.4

For muting, dimming, and setting the level of the control room speakers.
DIM level may be adjusted by pressing this button several seconds. The corresponding DIM level is displayed in the control room level display. Adjust
the DIM level with the control room level knob.
The level calibration of the different speakers as well as trimming the individual speakers is done using the graphic controller screen.

Studio Monitoring

Select (Studio) A/B first

for this Area

Vista 5 gives direct access to the most important functions for two studios.
Control and view of the following functions are directly accessible, without
having to select the appropriate studio first:
A / B RED LIGHT, SIG 1 (Ready), SIG 2 (Call), TALK
These keys allow activation of the corresponding function; they may light
automatically if the function has been activated e.g. by one of the GPI (general
purpose inputs).
The right part of the studio monitoring panel is used to control the audio
level of the two studios. First select the studio (A or B), then adjust the level
and select from Selected Source on Source Selectors (SEL), feed studio
with same source as control room (FOLW CR), or send PFL/SOLO signals to
the studio (PFL/SOLO). It is also possible to disengage the mute mechanism
normally activated by the red-light logic. This is done by activating REINJECT.
Date printed: 22.12.06

SW V3.6

Desk Operation 2-17

Vista 5 Digital Mixing System

2.6.5

Monitoring Source Selection

Note:

2-18 Desk Operation

or Sub-Sel.

or Sub-Sel.

or Sub-Sel.

or Sub-Sel.

10

11

12

13

14

15

16

First select the target to be changed: CR (control room), STUDIO A, or

STUDIO B. Then select the appropriate source key (116). All keys are fully
user-definable by using the monitoring setup dialog on the control screen
(accessible to system administrators only). Each key may independently feed
a set of one to six loudspeakers. It is therefore possible to have a two-channel
stereo source on one key, while another key selects a 5.1 surround source.
For the control room, it is possible to activate the SOURCE SELECTOR top
row (keys no. 1...4) to be sub-selectors rather than selectors, allowing 12
sources to be assigned to each of these keys. This functionality makes 60
sources available for listening in the control room, rather than the standard
16. Activation is done by editing the monitoring.ini file. This may be done by
experts only.
Pressing one of the sub-selectors will make one of the 12 sub-sources
selected and audible in the monitoring. Pressing the sub-selector again will
open up a list of all 12 sources available for this sub-selector on the Graphic
Controller screen. Select any of the 12 with the trackball, then close the
dialog by pressing the same sub-selector key again. If none of the 12 sources
is selected, the dialog will pop up automatically upon the first key press in
order to make a selection with the trackball.

SW V3.6

Date printed: 22.12.06

Vista 5 Digital Mixing System

2.6.6

Option (Spare Keys)

This area contains spare keys for future functions and/or options. Key #3
is currently used to switch on the desk lights again after a blackout event
within the theatre cue list.

2.6.7

Talkback Control
TALKBACK
Whenever TALK is pressed, the signal from the internal talkback microphone is fed to the corresponding
group.
Note: The talkback signal is inserted directly before
the output interface of the core. If signals are routed
internally to some other destinations, the talkback
will not harm them.
Available talk destinations:
AUX: direct outputs of all AUX masters
GRP: direct outputs of all group masters
MAST: direct outputs of all masters
DIR: direct outputs of all input channels
BUS: outputs of all multi-track buses (without
faders in between)
STUDIO (talkback to both Studio A and B simultaneously).
AUX 1...4 STEREO
For talking to headphone mixes, these keys can be used to directly activate talkback
to the corresponding AUX master outputs.

Date printed: 22.12.06

SW V3.6

Desk Operation 2-19

Vista 5 Digital Mixing System

Talkback and signaling block diagram

using D21m GPIO cards

Studio B

Studio A

TB In Studio B

TB In Studio A

(Line level)

(Line level)
e.g.Speaker

e.g.Speaker

Talk to
CR
Studio Monitor A

Talk to
CR

GPI 2
Studio Monitor B

(-> to PFL Speaker)

GPI 3

(-> to PFL Speaker)

CR Monitor

Control Room
GPO 1

GPO X

Vista5 Desk

GPI X

Live

GPO X

StudioA StudioB
Signaling Keys

Red
Light

Red
Light

SIG1

SIG1

GPI 4

GPI X

GPO X
GPI 1

GPO 2
Talk to

GPI 5

SIG2

SIG2

Talk

Talk

GPI X

e.g.Intercom

TB Mic Out
(always on)

preselected

GPO 3

Talk to
Aux1

Talk to
Aux2

Talk to
Aux3

Talk to
Aux4

TB Mic

TB Keys
PFL Out

Desk

Operator
Footswitch

Producer area (either in control room or in another room)

Talk to
ChanOut
Grp01

GPI X

GPI X

Talk to

Channel

ChanOut
Grp N

Grp01

GPI X

Channel

Mute

Mute
Grp N

GPI X

GPI X

GPI X

Legend:

GPI 6

GPO 4

Talk to
Studio
B

GPI X

GPO X

Prod TB In

Talk to
Aux1

Talk to
Aux2

GPI 8

GPI 9

Talk to
Aux3

Talk to
Aux4

GPI 10 GPI 11

Already configured:

GPI 1

= GPI already configured in .ini files

GPI X

= GPI prepared to use, but not

assigned to signaling card.
This can be configured in .ini files

GPO 2

= GPO already configured in .ini files

GPO X

= GPO prepared to use, but not

assigned to signaling card.
This can be configured in .ini files

2-20 Desk Operation

Talk to
Studio
A

SW V3.6

GPI 1 Footswitch to talk to preselected

GPI 2 Talk to CR from Studio A
GPI 3 Talk to CR from Studio B
GPI 4 Signaling 1 Studio A
GPI 5 Signaling 2 Studio A
GPI 6 Talk to Studio A
GPI 7 Talk to preselected
GPI 8 Talk to AUX s 1
GPI 9 Talk to AUX s 2
GPI 10 Talk to AUX s 3
GPI 11 Talk to AUX s 4

(Line level)

Producer

Talk to
preselected

GPI 7

GPO 1 Red light Studio A

GPO 2 Signaling 1 Studio A
GPO 3 Signaling 2 Studio A
GPO 4 Talk to Studio A

Date printed: 08.09.08

Vista 5 Digital Mixing System

2.6.8
2.6.8.1

Control and Mute Group Setup

Control Group Setup
SETUP: GROUPS
Pressing this key will enter/exit control group and mute group mode.
After having entered SETUP: GROUPS, the user selects the control group
he wants to edit by pressing LINK / SEL on the corresponding control group
master channel. Then the desired channels are added to or removed from the
control group by pressing their LINK / SEL key. The 7-segment display next
to the channel fader indicates the control group number.
The control group assignment is saved within each snapshot, therefore the
assignment may change from snapshot to snapshot.
The MULTISEL key is active as standard, thus allowing to select and de-select
individual channels. Clearing the entire definition of a control group is easily
done by pressing the MULTI SEL key, so that it gets dark. After that, any press
on LINK / SEL of any channel will clear all others. It is also possible to add
multiple channels to a control group: Press and hold one LINK / SEL key and
press another one on a different channel. All channels in between will be
added to the control group.

2.6.8.2

Mute Groups
SETUP: GROUPS
Pressing this key will enter/exit control group and mute group mode.
Vista 5 provides up to 16 mute groups. MUTE GROUPS M1...M8 have dedicated
keys on the left side of the control bay.
Mute groups M9...M16 may be operated using eight of the 16 monitoring
source selectors. Use of these keys (monitoring source selectors or mute
groups) is defined in the Option: Vista Settings menu, as shown below.

Date printed: 22.12.06

SW V3.6

Desk Operation 2-21

Vista 5 Digital Mixing System

2.6.8.3

M9

M 10

M 11

M 12

M 13

M 14

M 15

M 16

Setting up a Mute Group

Press the SETUP: GROUPS key on the control bay. The mute group master
keys (dedicated MUTE GROUPS M1...M8 keys, and, if defined, keys M9M16
in the SOURCE SELECTOR area, see above) will be half-lit.
Select the mute group you want to setup.
A dialog will pop up on the graphic controller screen, allowing you either to
add all currently muted channels on the console to this mute group with one
trackball click, or to clear all members from the selected mute group. You
may also select or deselect members using their LINK / SEL key.
Press the mute group master key again in order to select another one. Please
note that hierarchies can be built up as well. In other words, a mute group
may contain individual channels as well as another mute group master. Hierarchies are not indicated on the desk once the set-up menu is quit. The area
below the channel labels indicates whether a channel is a member of one or
multiple mute groups.

2-22 Desk Operation

SW V3.6

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Vista 5 Digital Mixing System

This Channel is Part of Mute Groups 1, 3, and 8

Press SETUP GROUPS again in order to leave the setup mode.
Assignment of channels to mute groups are saved within a so-called start
snapshot of each title. I.e., this information is saved once per title when the
title is closed.
2.6.8.4

Off-Air Conference
CONF: SETUP
If the DSP configuration contains n-x buses, it is possible to setup an off-air
conference between n-x owner channels. After pressing this key, all n-x owner
channels become half-lit and members of a conference can be selected (fulllit). As soon as their fader is closed, they will be able to talk to each other. The
conference setup is immediately edited, also while the console is still in the
setup mode. This allows for frequent changes of the conference members, e.g.
during election reports. Talking to a member of the conference will activate
talkback to the whole conference at the same time.
SETUP: CONF ON
The ON key is lit as soon as a conference is set up. The conferencing may
in the
temporarily be deactivated by clicking on the conference icon
toolbar or by pressing CONF ON on the control bay. In this case the conference
definition is retained. As soon as the conference is reactivated globally (by
pressing CONF ON or clicking on the conference icon in the toolbar again),
the previously selected channels may talk to each other again.

Grayed out
Colored
Colored, crossed out

Note:

Date printed: 22.12.06

The conference icon in the toolbar has three states:

No conference active nor defined
Conference active (if member faders closed)
Conference defined, but temporarily deactivated (even if member faders
closed).
In certain circumstances, also an AUX master can be selected as a conference
member (indicated by its half-lit LINK / SEL key). This is intended for adding
e.g. an on-air signal to the conference. See details below. For more information refer to chapter 4.9.7.

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Desk Operation 2-23

Vista 5 Digital Mixing System

2.6.9

Shortcut Keys for Graphic Controller

SNAPSHOT 1...4
A snapshot contains all audio settings including patching and
labels.
These keys allow four snapshots to be saved and recalled
without making use of the Graphic Controller screen.
Making a snapshot:
Press and hold MAKE SNAPSHOT, then press one of the
SNAPSHOT 1...4 keys. This will program this key with the
current audio settings.
Recalling a snapshot that has been programmed on one of
the SNAPSHOT 1...4 keys:
Press and hold RECALL SNAPSHOT while pressing one
of the SNAPSHOT 1...4 keys. This will recall the snapshot
instantly, if warning mode is not active (see description of
the Options menu on the Graphic Controller.)
Preview of a snapshot that has been programmed on one
of the SNAPSHOT 1...4 keys:
Pressing one of the four keys will activate a preview of that
specific snapshot and illuminate it. Values in the previewed
snapshot that are different from the current console settings
will be visible on the Vistonics modules using magentacolored indicators.
This preview function can also be
activated momentarily or latching.
MAKE / RECALL SNAPSHOT
Pressing and releasing MAKE SNAPSHOT will create a snapshot with an automatically generated name, listed in the
Graphic Controller. Filtering may be applied upon recall of
the snapshot. See shortcut keys (chapter 4.4.4.5).
MAKE / CLEAR CONNECT
If the general patch window is opened on the Graphic Controller, these keys will make or clear a patch connection at the
intersection of the red lines.
FILTER OFF
This key switches all currently active snapshot filters temporarily off. After de-activation the filter settings are back and
they need not be re-defined.

EDIT FILTER, STRIP SETUP, SNAPSHOT, CLIPBOARD LIBRARY, GENERAL PATCH, CHANNEL PATCH
These shortcut keys will open the corresponding windows on the Graphic
Controller.

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2.6.10

Hardware Keys

Note:

Date printed: 22.12.06

These keys give direct access to the cue list on the control bay. They can be
used to control various functions of the cue list and allow certain functions
to be switched using a hardware key, while it remains possible to use the
trackball and operate these functions on the graphic controller screen:
Switching on/off the cross-fade function between cues
Activate or inactivate the cue preview mode
Go to the next or previous cue.
To prevent accidental use, the PREV and NEXT keys are only active if Arm
Cuelist is swiched on in the graphic controller screen. The corresponding
keys PREV and NEXT on the screen, however, are always active.

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2.6.11

Joystick (Optional)
Display
Indicates the inherited label of the channel currently assigned
to the Joystick.
Y axis lock
X axis lock
Lock the Y axis ( ) or X axis ( ) when moving the joystick.
Pressing and
simultaneously deactivates the joystick
completely and clears the assignment to a channel.
FOLLOW
Activates the joystick to display the currently selected channel (select with LINK/SEL). If a gang is present, the joystick
will influence the whole gang. FOLLOW can be deactivated
by a second press; the joystick will then stay assigned to the
current channel.
DEFINE FOLW
When a gang is active and the joystick is set to FOLLOW
mode, the joystick will physically move to the average of all the pan values
of the gang, allowing the user to make slight adjustments very quickly. However, if the user wants to do a full pan, so that all channels will be e.g. fully
left, he needs to define the channel for the joystick to display. The joystick
will then move to the pan position of the defined channel, but will still keep
influencing the whole gang.
Example: One dialog microphone is moving together with the ambience
channels. The gang will include all channels even if the joystick is defined to
show the dialog microphone by using DEFINE FOLW.
Operation: Create a gang, have FOLLOW on. Press DEFINE FOLW and select
one of the gang members (use the half-lit LINK / SEL keys as guides).

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2.6.12

Fader Page Navigator

These keys allow changing of the Control Bay faders to different pages. Each
page may be scrolled to the left or right, allowing for a total of 120 channels
to be displayed in the control bay. Any channel type may be placed on the
Control Bay channel strips, including masters and input channels. Which
channels are displayed on which page can be configured in the graphic controller screen using the strip setup window, second page (Control Bay tab).

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2.6.13

Grand Master Faders

Vista 5s control bay also hosts two grand master faders.
The user determines which two faders are most important for
him and to which he wants constant access. This may be very
useful as an emergency access to very important output
faders, since these faders will never scroll or be switched over
in any way. Which two channels are controlled by these faders
is defined in the top right corner of page 2 (Control Bay tab)
of the strip setup window, as shown above.
Note: Any two console faders can be assigned as grand
master faders, regardless of their channel type.

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2.6.14

Output Views / FOLLOW

Besides the monitoring and housekeeping functions the control bay hosts
twelve faders and a Vistonics screen. The faders are independent from the
rest of the console in terms of changing fader pages.
Unless the FOLLOW view is active the Vistonics screen is used as a collection of 40 level controls, usually representing a duplicate view of the fader
bays channel faders. The Vistonics controls will then not only give access to
the channel faders and graphically indicate their settings, but is also indicate
a real-time level meter on the screen right next to the corresponding rotary
control. This allows viewing up to 40 meters at a glance while having direct
access to all of their corresponding faders by using the rotary control next to
it. Tweaking any of the consoles output levels is therefore extremely easy
and fast.

The VIEW keys on the right-hand side of the control bay allow access to some
predefined channel types (AUX, GROUPS, MASTERS, DIRECT OUT, BUS OUT,
n-1) as well as to five user-definable views. By using the third page (Vistonics Views tab) of the strip setup window (next page), it is possible to define
the five user setups in a way very similar to the known strip setup window. In
order to make a user view, simply select the Vistonics elements on the screen
and fill them up using the right trackball button (as shown in the screenshot
in chapter 2.6.12). Although primarily intended for outputs, also input faders
can be visible and controlled with these USER views.

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2-30 Desk Operation

The top user-definable view is labeled MATRIX. This page is also fully userdefinable and covers the same functionality as the other four USER1...4 keys.
As a standard the user may want to use the MATRIX key to see the consoles
matrix outputs (see chapter 4.9.5).
The function of the Vistonics keys next to each rotary knob on the Vistonics
screen may be modified by pressing the TALK or MUTE keys. They will change
the Vistonics key from a SOLO/PFL/SIP key (depending on the current
mode) to a TALK or MUTE key.
These functions may not be available on certain channel types.
Apart from displaying meters and set levels, the Vistonics screen also
indicates the label of the displayed channel with the color coding applied
accordingly.
Temporary activation of these keys is possible.
The (shift) key is reserved for future use and doesnt offer any function
currently.

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Channel Label
Channel Fader Level
Real-Time Level Meter
SOLO / PFL
MUTE / TALK

FOLLOW

Date printed: 22.12.06

Channel Fader Control

of Vistonics Rotary

If this key is active, the view on the control bay Vistonics will follow
the GLOBAL VIEW of the fader bay, indicating the same 4 parameters per
channel strip belonging to each of the 10 faders below. This mode makes the
control bay become a fully functional fader bay, it may be used to operate
input channels.

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2.6.15

Contribution Access

Very often it is useful to operate the console in reverse way, coming from an
output fader and operate the various input channels contributing to this output.
By pressing the CONTRIB key on top of a fader the Vistonics rotaries will
show all channel faders currently contributing to this master signal. In case
of a matrix or AUX master output, the view shows all channels contributing
to this output, hence input, subgroup or master channels.
Contribution can be operated in two ways, depending on the state of the
REDUCED (View) ON key on the left-hand side:
REDUCED (View) ON

2-32 Desk Operation

When pressing CONTRIB only the channels currently assigned to the corresponding master bus are displayed.

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REDUCED (View) OFF

All channels that may contribute are displayed. These are all channels that
can be assigned to that specific output bus. This view allows assigning or deassigning them from the master bus by using the corresponding Vistonics
keys.

It is extremely easy to adjust a balance of e.g. a matrix output without accessing the fader strips of the contributing channels.
When working in REDUCED (View) OFF mode, another advantage becomes
apparent: The operator may do the bus assign now by choosing the output
first and then assign the corresponding channels to it.

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2.7
2.7.1

Fader Bay Details

Channel Control
Rotary Control

If a Studer microphone preamplifier is connected, the analog gain will be

controlled before the analog/digital converters. Otherwise the rotary control
will adjust digital input gain. In any case, further control is available on the
Vistonics module. The control of a Studer microphone preamplifier is indicated by a small red MIC LED at the bottom of the rotary control.

IN1, IN2

Input Selector. Each channel has three patch points available (the patch is
viewable on the Graphic Controller screen, chapter 1.2.1). Input 3 is patched
to the internal generators output by default, but can be changed by the user
at any time. Only In1 and In2 can be switched directly from within each
channel strip. In order to activate In3 (Generator), the user must click on the
input switch area of the Channel View window within the graphic controller
screen, as shown below.

Click here

L2

2.7.1.1

(Layer 2 switch) If two-layer mode is enabled, this key switches to view the
lower layer of the two.

Activating Two-Layer mode

By activating Enabled on Faderbays in the
Option - Vista Settings menu, the virtual desk
may be reduced from six to three sections. The
previous sections 4...6 now serve as a second
(lower) layer of the console.
By pressing the L2 key on the channel
strips, one individual channel strip can be
switched between the upper and the lower half
of the console. If a channel strip is currently
displaying the third channel of section 1, it will
afterwards display the third channel of section 4.
This function may be helpful when working e.g.
with backup microphones. In this way it is easy
to switch to a different channel while leaving the
other ones untouched.

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Second Layer Disabled (Classic Operation):

Section 1

Section 2

Section 3

Section 4

Section 5

Section 6

Scrolling

Second Layer Enabled:

Section 1

Section 2

Section 3

L2
Switches
Section 4

Section 5

Section 6

It is still possible to globally switch to the second layer by pressing the section navigator keys 46. This will activate the L2 keys on each strip of
the console surface, indicating that the operator is now looking at the lower
half of the console.
Displaying Both Layers at the Same Time:
If the second layer option is activated, Vista 5 may display the label and real
time metering of both layers at the same time. In order to activate this label
view, press LABEL TYPE several times until the label display area on the Vistonics screen shows the labels of both layers. This label of the second layer
appears only if there is a channel assigned to that strip on both layers. Use
the Strip Setup dialog on the graphic controller screen to do this.
Next to the label there is a small icon showing the level of the alternate layer
(below, left). When switched to the second layer, the label lines are swapped,
and the top line is showing the first layer label and metering (below, right).

Note:

Date printed: 22.12.06

The second layer is displayed only if the first layer is not empty.

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2.8

Clipboard Libraries
On the Vista console it is possible to save and load clipboards to/from the
hard disk or a CD-R. Clipboard files can contain one or more audio functions
(e.g. EQ only, Dynamics only, or a combination of EQ and Dynamics) from a
channel, or even can save complete channel settings. This is then representing
a clone of a channel, including bus assignment. By recalling such a channel from the clipboard library it is easily possible to bring the channels of a
console into a certain status without even using snapshot functions.

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2.8.1

Clipboard Library Window

The Clipboard Library window is automatically opened whenever a paste
function is pending on the Vista console. In order to open the window manually (e.g., to load the console clipboard with a saved value), select the corresponding icon from the toolbar or press the OPTIONS F4 key on the console.
It is also possible to select the window from the View menu.

Clipboard Library Icon

The window may be closed by clicking on the close box on the top right corner
of the window, by clicking on the Close button, or by pressing F4 again.

2.8.2

Paste to Clipboard Library

1 Press the
(Copy/Paste) key on one or more audio functions of any
channel strip(s) on the console surface. The Clipboard Library window
will be opened automatically whenever a paste operation is pending.
2 Click on the half-lit button in the window. If multiple audio functions
are pending to be pasted (e.g. EQ and Dynamics settings), it is possible
to click on the half-lit
A (Copy/Paste All) button in the window. The
pasted values will be graphically displayed.
3 The Save dialog opens, now you can give a name to the clipboard. It will
be saved in the currently active Clipboard library.
4 Close the Clipboard Library window (see above).

2.8.3

Copy from Clipboard Library

1 Open the Clipboard Library window (see above).
2 If the desired library is not opened already (indicated in the title bar of the
window), open the requested library by selecting Open Library from
the File menu.
3 Select the desired tab. Each of them represents a group of saved settings,
which mans that all listed files within a tab have the same type of audio
function settings. All files will show a list of all available clipboard
files within this library, containing all the content of the other tabs. Files
in the Combined tab contain a combination of audio function settings.
(e.g. EQ and Dynamics settings together). Files in the Copy All tab
contain complete channel settings.
4 Select a clipboard setting from the list by clicking on it. This will activate a preview function on the panel, shown at the right-hand side of the
window. In this way it is easy to search for a special setting by looking at
its graphical representation. The preview function lets you also identify
which audio functions are contained in the selected clipboard file: The
graphical representation of their On/Off key will be grayed-out if there
is no value present in this file.

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5 Click on the
(Copy/Paste) button of the desired function in order to
activate copying. The button will light, and all possible destination keys
on the console surface will be half-lit. Shortcut: A double-click on the
clipboard name in the list will activate copying of all contained audio
values within that particular file directly.
6 Paste the value into one or more channels of the console, using the standard functionality. If the clipboard contained multiple audio settings,
such as EQ and Dynamics, they may be pasted together by pressing the
A (Copy/Paste All) key of the destination channel.

2.8.4

Rename/Delete a Clipboard Library File

1 Open the Clipboard Library window (see above).
2 Select the file you want to change or delete by clicking on it. Click on the
Rename or Delete button of the Clipboard Library window in order
to execute the desired action.
3 Close the Clipboard Library window (see above).

2.8.5

Clear the Display

By clicking on the Clear button, the previewed settings are cleared, and no graphical indication is shown on the right-hand side of the window.

2.8.6

Update a Clipboard File

To combine, for instance, the current dynamics settings of a channel with the
EQ settings that are already in the library, and to save them as one new set
into the library, proceed as follows:
1 Open the Clipboard Library window (see above).
2 Select the desired, already saved EQ setting by clicking on it once. The
EQ settings will be displayed graphically on the right-hand side of the
window.
3 Press the (Copy/Paste) key in the dynamics section of the source channel on the console.
4 Click on the half-lit (Copy/Paste) button in the dynamics section of the
window.
5 Both EQ and dynamics values will now be displayed on the right-hand
side of the window.
6 The Save dialog opens. Once saved, the new, combined set will now be
displayed within the Combined tab.
7 Close the Clipboard Library window (see above).

2.8.7

Storage Format
Each clipboard is saved in a file with a .cpy extension. Multiple .cpy files
form a library. A .cpy file may contain only one audio function (e.g. EQ
settings) or a combination of any audio functions of a channel (e.g. EQ and
Dynamics settings).

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2.8.8

Import a Clipboard File from Another Library

1 Select Import Clipboard from the file menu.
2 Navigate to the desired library.
3 Open the desired .cpy file. It will automatically appear and be saved
within the currently active library.

2.8.9

Where are Clipboard Libraries Saved?

If you dont want to maintain multiple libraries on your console, you never
have to change or define a name; just start directly, using the library functionality. The system will then use a library called DefaultClipboardLib.
If there are multiple libraries, you may select Open Library from the file
menu of the clipboard window in order to select another library to work with.
It is also possible to save the whole library under a different name or to save
it to a portable storage device such as a CD-R by selecting Save Library in
this file menu. Selecting New Library in the file menu creates a new, empty
library.
In technical terms, a library is a subdirectory of the C:\D950System\
Users directory, it may also be located within any other user subdirectory.
Selecting New User creates a new user directory containing an empty
Library called ClipboardLib.

2.9

Console Illumination
Standard gooseneck illumination may be connected to the rear of the Vista 5
desk (3Pin XLR, 3 locations). Brightness may be varied in intensity using the
Option: Vista Settings menu. There are two separate controls for the console
lights (including Vistonics backlights) and for the gooseneck illumination.

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2-40 Desk Operation

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CHAPTER 3
3

Parameter Description........................................................................................................................................................ 3
3.1

Introduction................................................................................................................................................................... 3

3.2
View Change................................................................................................................................................................. 3
Global View Change ............................................................................................................................................. 3
3.2.1
3.2.2
Channel-Related View Change ............................................................................................................................. 4
3.3
Global Views................................................................................................................................................................. 5
3.3.1
Input Parameters ................................................................................................................................................... 5
3.3.2
Pre-Amp Remote Parameters................................................................................................................................ 8
Direct and N1 Output Parameters ....................................................................................................................... 9
3.3.3
3.3.4
Mono AUX Parameters....................................................................................................................................... 10
3.3.5
Stereo AUX Parameters ...................................................................................................................................... 11
3.3.6
Filter Parameters ................................................................................................................................................. 12
3.3.7
Delay and Insert Parameters ............................................................................................................................... 13
3.3.8
Compressor/Limiter Parameters ......................................................................................................................... 15
3.3.9
Expander/Gate Parameters.................................................................................................................................. 16
3.3.10
EQ Parameters .................................................................................................................................................... 17
3.3.11
Panning Parameters............................................................................................................................................. 18
3.3.12
Global Bus Assignment View ............................................................................................................................. 19
3.3.13
Generic and Label Display Area ......................................................................................................................... 20
3.4
Channel-Related Views............................................................................................................................................... 21
3.4.1
EQ / Filter Parameters......................................................................................................................................... 21
3.4.2
Dynamics Parameters......................................................................................................................................... 23
3.4.3
Panning Parameters............................................................................................................................................. 27
3.4.3.1 Amplitude Panning Parameters....................................................................................................................... 29
3.4.3.2 Multi-Format Panning Parameters.................................................................................................................. 31
3.4.3.3 VSP Panning Parameters ................................................................................................................................ 33
3.4.4
Microphone Simulation Tool (MST) User Pan Mode ..................................................................................... 35
3.5

Input Channel Block Diagrams................................................................................................................................... 38

3.6

Input Channel Block Diagrams................................................................................................................................... 39

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3-2 Parameters

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PARAMETER DESCRIPTION

3.1

Introduction
The desk can show different audio controls on the Vistonics TFT displays. The controls differ in type of graphical viewing, shapes, and colors.
If required, they are grouped together with frames in order to give the user
maximum information without the need to read text on the display. The view
of the audio controls can be changed either globally for the whole console,
or locally within one channel.
For details on selecting the different functions please refer to chapter 1.1.1.

3.2
3.2.1

View Change
Global View Change
When pressing one of the keys in the GLOBAL VIEW area, the view of the
whole desk is changed. (Control Bay stays with its own view unless Follow
is active.) Each channel strip will show parameters on up to four rotaries and
their associated key. Only one global view key can be active at a time.
Some views will not cover all four rotaries, depending on the function (e.g.
a 2-channel pan covers only the bottom rotary) or DSP configuration (e.g. if
only 3 mono AUX buses are configured). After a view is activated, the corresponding key is lit. When this key is pressed again, all previous views (i.e.,
the ones other than the currently pressed global view key) will be blanked. So
the selection of parameters can be done in a quite flexible way. When pressing AUX MONO 1-4 followed by PAN, the result will be AUX 1-3 on rotaries
1 through 3, and pan on rotary 4. When pressing PAN a second time, rotaries
1 through 3 are blank and pan will still be displayed on rotary 4.
As with every rule, there are a few exceptions:
For mono AUX views above 16 or for stereo AUX views above 8, the
key (Shift) must be active.
When the PRE / POST key in the fader bays GLOBAL VIEW area is active,
the AUX views change to pre-/post-fader selection.
As a special global view change, the GLOBAL VIEW: BUS ASN key lets
the EQ, Dynamics, and pan curves on the lower part of the TFT display
disappear and shows all bus assignments instead (see chapter 3.3.12).
Pressing GLOBAL VIEW: BUS ASN again makes the curves reappear.

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3.2.2

Channel-Related View Change

The views listed below can be activated in a channel strip. Then the corresponding values of this particular channel are shown.
Dynamics (by touching the dynamics curve on the TFT)
EQ (by touching the EQ curve on the TFT)
Panning (by touching the pan view on the TFT)
Bus Assignment (by pressing VIEW: BUS ASN as opposed to the
GLOBAL VIEW: BUS ASN key described under 3.2.1).
Channel parameters (by pressing VIEW: CHANNEL) shows the remaining
controls, together with AUX. This covers all 40 rotaries.
Miscellaneous parameters (by pressing VIEW: MISC) shows a reduced
view of EQ, dynamics, and pan parameters at the same time; covers all
40 rotaries.
When touching a curve on the TFT, a picture with the available parameters
appears on the rotaries. The picture is left-aligned to the selected channel.
When touching the dynamics curve of the third channel strip, for instance, the
corresponding graphics are shown on the rotary rows 3 through 7, since the
dynamics parameters are covering five rows of rotaries. While the function
is unfolded on the display, the corresponding graphic field (e.g. showing the
dynamics curve) is highlighted, as shown in the picture at the left.
In one fader bay, two audio functions can be shown at a time, either by
using the MULTI SEL key, or by simultaneously touching two graphics. In
this case, one of the two functions is displayed left-aligned, the second one
right-aligned. If there is room between them, they are interleaved by one or
more strips in black. The rotaries on these blackened strips are not used.

3-4 Parameters

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3.3

Global Views

3.3.1

Input Parameters
Press GLOBAL VIEW: INPUT GAIN.
For input sources IN 1, IN 2, and GEN (selection with the hardware keys
below the channel meters), an input control view is available. The number of
functions available on Input or Output channels, as well as on mono or stereo
channels, depends on the active configuration.
A DC reject filter is always active in each channel.
For input and output channels, the following parameters are available:
MONO INPUT

Parameters

STEREO INPUT

MONO GROUP

STEREO GROUP

MONO/STEREO
MASTER
IN1 IN2 GEN

MONO/STEREO
AUX
IN1 IN2 GEN

IN1

IN2

GEN

IN1

IN2

GEN

IN1

IN2

GEN

IN1

IN2

GEN

PHASE

XY/MS-MODE

INPUT MODE

INPUT GAIN

Mono Channel: Stereo Channel:

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Input Parameters for Mono Channels only:

PHASE Two positions are provided (select either with the key or the rotary):
NORM/Off, in phase (default setting).
REV/On, out-of-phase.
Input Parameters for Mono and Stereo Channels:
GAIN Input gain can set in 1 dB steps from 24 dB (attenuation by 24 dB) to +24 dB.
Default value: 0 dB.
In a stereo channel, left and right input gains are treated simultaneously.
Input Parameters for Stereo Channels only:
PHASE Four different positions are provided:
+ +, in phase (default setting).
+, left channel (or input A) out-of-phase.
+ , right channel (or input B) out-of-phase.
, left and right channels (or inputs A and B) out-of-phase.

A
Left
Input Source
B
Right

++:

X=A
Y=B

+:

X = A
Y=B

+:

X=A
Y = B

X = A
Y = B

X
Phase
Matrix

Stereo Channel
MS on/off

Two different positions are provided:

MS off (default setting), for coincident XY stereo microphone setups.
MS on (Mid/Side information), used for decoding MS information from
appropriate coincident stereo-microphone arrays.

2 CH MODE

Five different positions are provided:

Stereo (default setting).
Left and right signals are swapped.
Left signal only is routed to both left and right outputs.
Right signal only is routed to both left and right outputs.
Mono, left and right signal mixed together (3 dB) and routed to both left
and right outputs.

Left
Input Source
Right

A
B

Input
Mode
Matrix

Stereo:

X=A
Y=B

Swapped:

X=B
Y=A

Left:

X=A
Y=A

Right:

X=B
Y=B

Mono:

X = (A+B)/1.414
Y = (A+B)/1.414

Stereo Channel

If a channel contains the input balance function (configuration tool name

Input MS mode Bal Phase), a balance control will be available in the pan
page. This balance control is actually set before the mono switch in the signal
3-6 Parameters

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path, within the input section of the channel. Hence it is possible to use the
input balance function to correct the levels of two channels feeding a stereo
input channel, and then add them together to become a mono sum. A practical
example is the feed of a stereo channel from a VTR, one channel containing
ambient signals and the other one being the commentator. In this case the
2-channel mode is set to mono, and the input balance function is used to
correct the mix between ambient and speech signals.

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3.3.2

Pre-Amp Remote Parameters

Press GLOBAL VIEW: A / D CTRL.
Various functions of the D21m mic/line input cards can be remote controlled.

HPF on/off

An analog low-cut filter for the microphone-level input, with a fixed cutoff
frequency of 75 Hz and a slope of 12 dB/octave is available.

MIC GAIN

Gain setting in steps of 1 dB, within a 26 through +60 dB range (depending

on the current nominal level and headroom settings).
The display indicates the gain applied to signals passing through the microphone pre-amplifier card.

48 V on/off

Selects Phantom Power ON/OFF for the microphone pre-amplifier.

ANA INS on/off

An analog insert point is made available by inserting an optional analog insert

card. Its send output is always active at line level, and the return path may be
activated by the corresponding switch on the console.

SOFT CLIP on/off

A soft clip function is available on all channels and can be activated individually. This analog limiter may prevent nasty clipping noises in case the audio
level should be too high. We recommend activating this function during live
productions, since audio is not influenced below about 6 dBFS.
All mic/line cards provide an active split output for each microphone channel.

3-8 Parameters

SW V3.6

Date printed: 22.12.06

Vista 5 Digital Mixing System

3.3.3

Direct and N1 Output Parameters

Press GLOBAL VIEW: OUT.
This view allows controlling the level of the Direct Output and of the N1
Output, provided that the channel is assigned as a bus owner of an N1
bus.

DIR OUT On/Off

Direct Output on/off.

DIR OUT Rotary

Direct Output send level, MUTE (i.e. dB) to +10 dB.

n1 OUT On/Off

N1 Output on/off.

n1 OUT Rotary
n1 SEND Rotary

Date printed: 22.12.06

N1 Output send level, MUTE (i.e. dB) to +10 dB.

Send level of this channel to all assigned N1 buses (default: 0 dB).

SW V3.6

Parameters 3-9

Vista 5 Digital Mixing System

3.3.4

Mono AUX Parameters

Press one of the GLOBAL VIEW: AUX MONO keys.
The mono AUX view provides selection of the AUX bus (ON/OFF), send
level adjustment, and pre-/after-fader switching.

3-10 Parameters

AUX x On/Off

Mono AUX bus selection. Other mono AUX bus views can be selected as
well (5...8, 9...12, etc.).

AUX x Rotary

The send levels for mono AUX 1 through the maximum number configured
can be adjusted using this rotary encoder; adjustment range is from Mute (i.e.
) through +10 dB.

AUX x Pre/Post

When the PRE / POST key in the fader bays GLOBAL VIEW area is active,
the Vistonics view changes as shown above at the right. The signal sent to
the mono AUX bus can be selected pre-fader (before the fader) or post-fader
(after the fader).

SW V3.6

Date printed: 22.12.06

Vista 5 Digital Mixing System

3.3.5

Stereo AUX Parameters

Press one of the GLOBAL VIEW: AUX STEREO keys.
The stereo AUX view provides selection of the AUX bus (ON/OFF), send
level adjustment, pre-/after-fader switching, and pan setting.

S AUX x On/Off

Stereo AUX bus selection. Other stereo AUX bus views can be selected as
well (3...4, 5...6, etc.).

S AUX x Rotary

The send levels for stereo AUX 1 through the maximum number configured
can be adjusted using this rotary encoder; adjustment range is from MUTE
(i.e. ) through +10 dB.

AUX x Pan Rotary

Either stereo AUX channel can be attenuated, which provides a L/R panning
function.

S AUX x Pre/Post

When the PRE / POST key in the fader bays GLOBAL VIEW area is active,
the Vistonics view changes similar to the one shown for mono AUX bus
on the previous page. The signal sent to the stereo AUX bus can be selected
pre-fader (before the fader) or post-fader (after the fader).

Date printed: 22.12.06

SW V3.6

Parameters 3-11

Vista 5 Digital Mixing System

3.3.6

Filter Parameters
Press GLOBAL VIEW: FILTER.
This view enables the user to control the parameters of the hi- and low-cut
filters. These filters are available on the channel-related EQ view as well, refer
to chapter 3.4.1. In that chapter you will also find the parameter details.
Please note: The two filter sections are activated with the HI CUT and LO CUT
hardware keys below the channel meters.

HI CUT/LO CUT x dB/Off

On/off function for the high- and low-cut filters, and slope setting, selectable
from 12, 18, and 24 dB/octave (key toggles Off, 12, 18, 24, Off...).

HI CUT/LO CUT Rotary

Cutoff frequency adjustment for the high- and low-cut filter: 20 Hz through
20 kHz, in 120 steps.

3-12 Parameters

SW V3.6

Date printed: 22.12.06

Vista 5 Digital Mixing System

3.3.7

Delay and Insert Parameters

Press GLOBAL VIEW: DLY-INS.
This view enables the user to control the delay and insert parameters.
Please note: The two sections are activated with the DELAY and INS hardware
keys below the channel meters.

Delay Parameters:

The delay value is set using the rotary encoder. It is displayed as a physical
distance (meters) and as a delay time (either samples or milli-seconds).
DELAY On/Off

is selected with the DELAY hardware key above the Vistonics section.

DELAY Rotary

Delay time can be set in a range from 0 through 100 ms (or, depending on the
system configuration, to a maximum of 240 ms). The value is displayed as
a delay distance as well (from 0 cm up to 81.5 m, depending on the system
configuration).

DELAY time/smpl

Selects the delay setting in samples (smpl fine setting) or milli-seconds

(time coarse setting).

Insert Parameters:

The insert section provides selection and control of the insert point (INSERT
ON/OFF) and the INSERT MIX function (ON/OFF), plus defining the mix
ratio (INSERT MIX %).
INSERT On/Off

Date printed: 22.12.06

is selected with the INSERT hardware key above the Vistonics section. On
activates the insert return signal; off selects the Input Signal (that corresponds
to the insert send signal).

SW V3.6

Parameters 3-13

Vista 5 Digital Mixing System

INSERT MIX On/Off

On activates the insert mix function; off selects only the insert return
signal.
When the insert mix function is set to ON, the ratio of the dry (send) to the
wet (return) signal depends on the selected mix ratio. In other words, mixing
between the insert send and the insert return signals is possible.

INSERT MIX Rotary

If the MIX function is ON, this parameter allows mixing or blending of the
dry (send) signal with the wet (return). 0% setting: dry signal only; 100%
setting: wet signal only.
Insert
Send

Insert
Return

INSERT MIX
0% ("dry") 100% ("wet")
Insert
Input
Signal

INSERT MIX
OFF
ON

INSERT
ON

Insert
Output
Signal

OFF
(HW Key)

Part of a DSP Channel (Insert Section)

Note:

3-14 Parameters

If the insert is routed to a non-digital external device (such as an analog

compressor patched through D/A and A/D converters), the delay introduced
by the D/A-A/D conversion will result in a comb-filter effect if the insert return
and mix are active and the MIX % is set anywhere between DRY and WET.
When inserting external analog devices, the MIX% should always be set to
WET (i.e., to 100%), unless this comb-filter effect is desired - or the delay is
compensated by adding delay on other signal paths. The latter is made very
easy by using a gang and adding delay to multiple console channels.

SW V3.6

Date printed: 22.12.06

Vista 5 Digital Mixing System

3.3.8

Compressor/Limiter Parameters
Press GLOBAL VIEW: COMP-LIM.
This view enables the user to control the most important parameters of the
dynamics sections compressor and limiter parts. The complete parameter set
is available on the channel-related dynamics view, refer to chapter 3.4.2. In
that chapter you will also find the parameter details.
Please note: The compressor and limiter parts of the dynamics section can
be activated simultaneously with the COMP LIMIT hardware key below the
channel meters in addition to the individual on/off keys described below.

LIM On/Off

Limiter on/off.

LIM THRS Rotary

The limiter threshold can be adjusted in 1 dB steps from 0 dBFS to

48 dBFS. The limiter threshold corresponds to the output level.

LIM ATCK Rotary

The limiter attack time can be adjusted in 9 steps within a 200 s to 1 ms

range.

CMP On/Off

Compressor on/off.

CMP THRS Rotary

The compressor threshold level can be adjusted in 1 dB steps from 0 dBFS to

96 dBFS.

CMP RTIO Rotary

The compressor ratio can be adjusted from 1:1 (no compression) to 20:1
(heavy compression).

Date printed: 22.12.06

SW V3.6

Parameters 3-15

Vista 5 Digital Mixing System

3.3.9

Expander/Gate Parameters
Press GLOBAL VIEW: EXP-GATE.
This view enables the user to control the most important parameters of the
dynamics sections expander and gate parts. The complete parameter set is
available on the channel-related dynamics view, refer to chapter 3.4.2. In that
chapter you will also find the parameter details.
Please note: The expander and gate parts of the dynamics section can be
activated simultaneously with the EXP GATE hardware key below the channel
meters in addition to the individual on/off keys described below.

EXP On/Off

Expander on/off.

EXP THRS Rotary

The expander threshold level can be adjusted in 1 dB steps from 0 dBFS to

96 dBFS.

EXP RTIO Rotary

The expander ratio can be adjusted from 1:1 (no expansion) to 20:1 (heavy
expansion).

GATE On/Off
GATE THRS Rotary
GATE ATCK Rotary
GATE hyst on/off

3-16 Parameters

Gate on/off.
The gate threshold level can be adjusted in 1 dB steps from 0 dB to
FS
96 dB .
FS
The gate attack time can be adjusted in 9 steps within a 200 s to 1 ms
range.
The gate hysteresis function provides an offset between the un-mute and mute
thresholds. This means that the gate will remain open (un-muted) at a lower
level than the one required to open it.
SW V3.6

Date printed: 22.12.06

Vista 5 Digital Mixing System

3.3.10

EQ Parameters
There are two views enabling the user to control the most important parameters of the EQ section. The standard view (on the left, showing the gain
values of all four bands) is activated by just pressing GLOBAL VIEW: EQ; for
activating the alternate view (on the right, showing gain and frequency values
of the high-mid and low-mid bands), first press (Shift).
The complete parameter set is available on the channel-related EQ view, refer
to chapter 3.4.1. In that chapter you will also find the parameter details.
Please note: All four bands of the EQ section can be activated simultaneously
with the EQ hardware key below the channel meters in addition to the individual on/off keys described below.
Standard view:

HI / HM / LM / LO On/Off
HI / HM / LM / LO GAIN Rotary
HM / LM FREQ Rotary

Date printed: 22.12.06

Alternate view:

On/off function for the selected EQ band.

Boost/cut adjustment; 18 dB in steps of 0.5 dB.
Center frequency adjustment for the high-mid and low-mid bands. For both
bands, the center frequency can be adjusted from 20 Hz through 20 kHz, in
120 steps.

SW V3.6

Parameters 3-17

Vista 5 Digital Mixing System

3.3.11

Panning Parameters
Press GLOBAL VIEW: PAN.
This view enables the user to control the most important parameters of the
panning section. Representation is different depending on channel type (mono
or stereo), and on the selected panning format. The complete parameter set
is available on the channel-related pan view, refer to chapter 3.4.3. In that
chapter you will also find the parameter details.
Please note: The complete panning section can be activated simultaneously
with the PAN hardware key below the channel meters in addition to the
individual on/off keys described below.
Mono Channel:

Stereo Channel:

...with Input BAL:

Multi-Format Pan:

Please note that the DIR WIDTH display only appears if this feature has been
configured for the corresponding channel.
If a channel is configured with Input Bal function, this view also displays
the input balance function placed within the input section of the channel.

3-18 Parameters

SW V3.6

Date printed: 22.12.06

Vista 5 Digital Mixing System

3.3.12

Global Bus Assignment View

Press GLOBAL VIEW: BUS ASN (at the left-hand side of the fader bay). This
is an On/Off key that can be activated in addition to other global view keys.
The bus assignment overview will cover the EQ, dynamics and pan curves
on the lower part of the TFT; it disappears when GLOBAL VIEW: BUS ASN is
pressed again.
The displayed bus assignment bitmap varies depending on the channel type.
On a master channel, for instance, no display is activated, since a master
channel cannot be routed to a bus. Other channel types may show a part of the
bitmap only, depending on possible bus assignments. Therefore the display
may show a blank region for some channel types.

Date printed: 22.12.06

SW V3.6

Parameters 3-19

Vista 5 Digital Mixing System

3.3.13

Generic and Label Display Area

Channel label display: The top line always indicates the inherited label (corresponds to the user label of the patched source track sheet) of each channel. The second line normally is set to user label display, but can be changed
by pressing GLOBAL VIEW: LABEL TYPE.
The channel type is indicated with colors in the label display; in addition, the
bottom right corner of the label field shows the channel type in writing, as
shown below.

Generic Displays, such as n1, OVER (fader over-range), etc. are only shown
if active:

The numerical fader value is displayed in dB whenever the fader knob is

touched; it disappears a short while after the fader knob has been released.

The graphical display of snapshot preview value and current fader value pops
up over the right-hand part of the display area, showing the values as bar
graphs (current value in gray, snapshot preview value in pink).

3-20 Parameters

SW V3.6

Date printed: 22.12.06

Vista 5 Digital Mixing System

3.4
3.4.1

Channel-Related Views
EQ / Filter Parameters

[30]
[30]
[30]
[

EQ Parameters:
HI / HM / LM / LO On/Off

On/off function for the selected (high, high-mid, low-mid, low) EQ band.

HI / HM / LM / LO GAIN Rotary

Boost/cut adjustment; 18 dB in steps of 0.5 dB.

HI / HM / LM / LO FREQ Rotary

Center frequency (or, if shelf is selected for the HI or LO frequency band:

turnover frequency) adjustment. For all four bands, the center/turnover frequency can be adjusted from 20 Hz through 20 kHz, in 120 steps.

Q/R or bell/shelf

For the HM and LM bands, Q type can be selected from Q (constant-Q) and
R (constant-range) filter types.
For the HI and LO bands, bell (same as constant-Q for HM/LM bands) or
shelf (shelving-type filter) can be selected.

Q value Rotary

The Q (bandwidth) can be set to values from 0.27 through 8.7, in 30 steps.
For the HM and LM bands Q can be set only if bell is selected.
HM, high-mid frequency, and LM, low-mid frequency: Q = 0.27 through 8.7,
in 30 steps,

High Cut/Low Cut Filter Parameters:

HI CUT/LO CUT x dB/Off On/off and slope setting for the high- and low-cut filters, and slope setting, selectable from 12, 18, and 24 dB/octave (key toggles Off, 12, 18, 24,
Off...).

Date printed: 22.12.06

SW V3.6

Parameters 3-21

Vista 5 Digital Mixing System

HI CUT/LO CUT Rotary

Notch Filter Parameters:

Cutoff frequency adjustment for the high- and low-cut filter: 20 Hz through
20 kHz, in 120 steps.
Please note that these two fields only appear if the notch filter is configured
(i.e., EQ with Notch is selected for this channel in the console configuration).

NOTCH On/Off
NOTCH Rotary
Notch Q

On/off function for the notch filter.

Center frequency for the notch filter: 20 Hz through 20 kHz, in 120 steps.
The notch filters Q is selectable from two fixed values; W (wide, Q=2), and
N (narrow, Q=10).
Please note that there are EQ, HI CUT and LO CUT hardware keys below the
channel meters for activating or deactivating EQ and filter sections, in addition to the individual On/Off keys for each EQ band.

3-22 Parameters

SW V3.6

Date printed: 22.12.06

Vista 5 Digital Mixing System

3.4.2

Dynamics Parameters

Limiter Parameters:
LIM On/Off
LIM THRS Rotary

The limiter threshold can be adjusted in 1 dB steps from 0 dBFS to

48 dBFS. The limiter threshold corresponds to the output level.

LIM REL Rotary

The limiter release time can be adjusted in 13 steps within a 10 ms to 10 s

range (10 ms, 20 ms, 30 ms, 50 ms, 100 ms, 200 ms, 300 ms, 500 ms, 1 s,
2 s, 3 s, 5 s, and 10 s).

LIM hold on/off

LIM ATCK Rotary
Output level
[dBFS]
0
5
10
15
20
25
30
35
40
45
50
55
60
65
70
75
80
85
90
90 80

Limiter on/off.

Hold on = 150 ms, off = 0 ms.

The limiter attack time can be adjusted in 9 steps within a 200 s to 1 ms
range (0.2 ms, 0.3 ms, 0.4 ms, 0.5 ms, 0.6 ms, 0.7 ms, 0.8 ms, 0.9 ms, and
1 ms).

Curve
1
1
2
3
4

2
3
4

70

60

50

Date printed: 22.12.06

40

30

20

10

Limiter
OFF
ON
ON
ON
ON

Threshold [dB]
Any
0
20
30
40

Input level
[dBFS]

SW V3.6

Parameters 3-23

Vista 5 Digital Mixing System

Compressor Parameters:
CMP On/Off
CMP THRS Rotary

The compressor threshold level can be adjusted in 1 dB steps from 0 dBFS to

96 dBFS.

CMP REL Rotary

The compressor release time can be adjusted in 13 steps within a 10 ms to

10 s range (10 ms, 20 ms, 30 ms, 50 ms, 100 ms, 200 ms, 300 ms, 500 ms,
1 s, 2 s, 3 s, 5 s, and 10 s).

CMP hold on/off

Output level
[dBFS]
0
5
10
15
20
25
30
35
40
45
50
55
60
65
70
75
80
85
90
90 80

Hold on = 150 ms, off = 0 ms.

CMP ATCK Rotary

The compressor attack time can be adjusted in 9 steps within a 200 s to 20 ms

range (0.2 ms, 0.3 ms, 0.5 ms, 1 ms, 2 ms, 3 ms, 5 ms, 10 ms, and 20 ms).

CMP RTIO Rotary

The compressor ratio can be adjusted from 1:1 (no compression) to 20:1
(heavy compression) in the following steps: 1:1, 5:4, 4:3, 3:2, 5:3, 2:1, 3:1,
5:1, 7:1, 10:1, and 20:1.

Curve
1
1
2
3
4
5
6

2
6
5
4
3

70

60

50

40

30

20

10

70

4
60

Threshold [dB]
any
0
20
40
40
40
40

Ratio
any
1:1
20:1
20:1
20:1
5:1
2:1

Expander on/off.

EXP THRS Rotary

The expander threshold level can be adjusted in 1 dB steps from 0 dBFS to

96 dBFS.

EXP REL Rotary

The expander release time can be adjusted in 13 steps within a 10 ms through

10 s range (10 ms, 20 ms, 30 ms, 50 ms, 100 ms, 200 ms, 300 ms, 500 ms,
1 s, 2 s, 3 s, 5 s, and 10 s).

EXP hold on/off

2 3

Compressor
OFF
ON
ON
ON
ON
ON
ON

Input level
0 [dBFS]

Expander Parameters:
EXP On/Off

Output level
[dBFS]
0
5
10
15
20
25
30
35
40
45
50
55
60
65
70
75
80
1
85
90
90 80

Compressor on/off.

Hold on = 150 ms, off = 0 ms.

EXP ATCK Rotary

The expander attack time can be adjusted in 9 steps within a 200 s to 1 ms

range (0.2 ms, 0.3 ms, 0.4 ms, 0.5 ms, 0.6 ms, 0.7 ms, 0.8 ms, 0.9 ms, and
1 ms).

EXP RTIO Rotary

The expander ratio can be adjusted from 1:1 (no expansion) to 20:1 (heavy
expansion) in the following steps: 1:1, 5:4, 4:3, 3:2, 5:3, 2:1, 3:1, 5:1, 7:1,
10:1, and 20:1.

5
50

3-24 Parameters

Curve
1
1
1
2
3
4
5
6
7

6 7
40

30

20

10

Expander
OFF
ON
ON
ON
ON
ON
ON
ON
ON

Threshold [dB]
any
96
30
60
60
60
30
30
30

Ratio
any
any
1:1
2:1
5:1
20:1
2:1
5:1
20:1

Input level
[dBFS]

SW V3.6

Date printed: 22.12.06

Vista 5 Digital Mixing System

Gate Parameters:
GATE On/Off
GATE THRS Rotary

Gate on/off.
The gate threshold level can be adjusted in 1 dB steps from 0 dB to
FS
96 dB .
FS

GATE REL Rotary

GATE hold on/off

Output level
[dBFS]
0
5
10
15
20
25
30
35
40
45
50
55
60
65
70
75
80
1
85
90
90 80

The gate release time can be adjusted in 13 steps within a 10 ms through 10 s

range (10 ms, 20 ms, 30 ms, 50 ms, 100 ms, 200 ms, 300 ms, 500 ms, 1 s, 2 s,
3 s, 5 s, and 10 s).
Hold on = 150 ms, off = 0 ms.

GATE ATCK Rotary

The gate attack time can be adjusted in 9 steps within a 200 s to 1 ms range
(0.2 ms, 0.3 ms, 0.4 ms, 0.5 ms, 0.6 ms, 0.7 ms, 0.8 ms, 0.9 ms, and 1 ms).

GATE hyst on/off

The gate hysteresis function provides an offset between the un-mute and mute
thresholds. This means the gate will remain open (un-muted) at a lower level
than the level than was required to open it. For example, a threshold can be
set so that amp noise from an electric guitar will be attenuated until the guitar
is played. However, as the guitar sustains and loses energy (level) over time,
the gate will remain open at levels below that which caused it open in the
first place (un-mute threshold). Once the level falls far enough, the gate will
close (mute) again.

GATE ATTN Rotary

The attenuation level can be adjusted in 1 dB steps from 0 dBFS to

48 dBFS.
Curve
1
1
2
3
4
5

5
70

4
60

50

3
40

30

20

2
10

Gate
OFF
ON
ON
ON
ON
ON

Threshold [dB]
any
0
10
20
20
20

Attenuation [dB]
any
0
max.
max.
40
20

Input level
[dBFS]

Parameters Shared by the Dynamics Functions:

SC LINK Rotary The Side-Chain Link function allows to form a side-chain group from up to
eight channels in order to control the dynamics of all of them by the maximum level of all side-chain group members. Side-chains are defined in the
GCs Channel Patch window. The rotary encoder switches the side-chain link
function on/off, if it is available for the specified channel.
SC LINK intKey/extKey

The key source input can be selected from intKey (dynamics processing
depends on the channels input signal), or extKey (processing is controlled
by a signal connected via the patch).

SC HI CUT/LO CUT On/Off

Low-cut and high-cut filters are available within the side-chain key signal.
This facilitates frequency-dependent dynamic processing for creating effects,
such as de-essing. Both side-chain filters can be switched on/off independently.

SC HI CUT/LO CUT Rotary

Both side-chain filters feature cut-off frequencies continuously adjustable

between 20 Hz and 20 kHz.

Date printed: 22.12.06

SW V3.6

Parameters 3-25

Vista 5 Digital Mixing System

MKUP auto on/off

Auto Make-up Gain function on/off.

MKUP GAIN Rotary

For manual gain compensation; gain can be set in 1 dB steps from 0 through
+24 dB.

LOOKFWD On/Off

The Look Forward Delay function allows the insertion of an audio delay
after the dynamics level detector, allowing to work with higher attack times
without any overshooting of levels.

LOOKFWD Rotary

The Look Forward Delay can be set in 11 steps within a range from 0 to
25 ms (0 ms, 0.2 ms, 0.3 ms, 0.5 ms, 1 ms, 2 ms, 3 ms, 5 ms, 10 ms, 20 ms,
and 25 ms).
By activating the look forward feature, a real delay is inserted into the audio
path. In order to avoid artifacts with other console channels, it is recommended to insert a corresponding delay into the other channels as well.
Please note that there are COMP/LIMIT and EXP/GATE hardware keys below
the channel meters for activating or deactivating the compressor/limiter and
expander/gate parts of the dynamics section, in addition to the individual
On/Off keys for each dynamics function.

3-26 Parameters

SW V3.6

Date printed: 22.12.06

Vista 5 Digital Mixing System

3.4.3

Panning Parameters
There are several panning options available. These range from a simple left/
right pan, to a stereo direction pan with width control, to the sophisticated
family of Virtual Surround Panning (VSP) modules. Left/Right and VSP
functions are available for mono input, group, multi-track input, and multitrack monitor channels. Direction and Direction with Width functions are
available for stereo input and group channels.
The panning functions can be controlled by the Vista 7s motorized joysticks.
To assign a channel to a joystick, press the joystick FOLLOW key (it will light)
and then the LINK/SEL key for the desired channel. A joystick can be used
to automate panning functions and then be reassigned to another channel by
pressing the LINK/SEL key of this channel.
Please note that there is an PAN hardware key above the Vistonics TFT for
activating or deactivating the complete panning section, in addition to the
individual On/Off keys for the panning parameters.
If this PAN key is de-activated, the channel signal is directly fed to all assigned
buses, without being influenced by any panning.

LR PAN for Mono Channels

The LR panning function is a simple PAN potentiometer controlling the

contribution of the mono signal to the odd and even or left and right buses.
PAN ON/OFF
PAN function: Mono direction in 1 steps from 30 (L) to +30 (R).
A

Direction
Left

Right
30

+30

Listening Position

Date printed: 22.12.06

SW V3.6

Parameters 3-27

Vista 5 Digital Mixing System

LR PAN for Stereo Channels

The functions PAN ON/OFF and PAN have been extended to enable working
with either standard (L/R) stereo or with MS (mono/side) signals. In addition,
features are available to increase the stereo image manipulation possibilities,
such as
Input Direction or
Input Balance,
Stereo Width (pan width), and
Stereo Direction.
tereo B
A S th
Wid

Direction

Left
30

Right

+30

Listening Position

Virtual Surround Panning (VSP)

Various surround panning algorithms can be configured for mono input,

group, multi-track input, and multi-track monitor channels using the Session
Configuration Tool.
Basically, two different surround panning algorithms are available: Multiformat pan, and VSP (Virtual Surround Panning), see table; some more information on these algorithms is given in the Parameters sections below.

Algorithm:
Multi-Format
Pan
VSP Pan

Format
2-CH to
7.1-CH

LCR, F/B,
Ls/Rs Pan

Divergence

Seamless Center
Channel Usage

Pan Mode

VSP Controls:
Ambience, Distance,
Absorption, Room Size

Amplitude

Amplitude, HRTF,
Sphere, ORTF, AB

Depending upon the currently loaded session configuration, one or both

algorithms above may be present in the console at a time.

3-28 Parameters

SW V3.6

Date printed: 22.12.06

Vista 5 Digital Mixing System

3.4.3.1

Amplitude Panning Parameters

Mono Channels:

Stereo Channels:

LR Panning Parameters for Mono Channels:

Mono channel LR PAN has only one panning function: left/right panning. It is
useful for left/right panning to stereo master or group buses, or for odd/even
panning to group or multi-track buses.
PAN On/Off

is selected with the PAN hardware key above the Vistonics section.

PAN Rotary

The rotary encoder provides left/right (odd/even) panning control in 1 steps

from 30 (left) to +30 (right).

LR/Direction Panning Parameters for Stereo Channels:

Stereo channel DIR/BAL PAN is a stereo direction panning function. It is
useful for controlling the direction of stereo signals to master, group, and
multi-track buses.
DIR WIDTH is identical to the DIR pan with an optional width control added
(depending on the current configuration).
PAN On/Off
INP DIR / BAL On/Off

INP BAL / DIR

Date printed: 22.12.06

is selected with the PAN hardware key above the Vistonics section.
Activates IBAL or IDIR, depending on the function that has been selected
with INP BAL / DIR [70]. This function is placed within the signal path of
the channel before the mono switch, selectable in the 2CH mode section.
Selection from two input functions: IBAL or IDIR.

SW V3.6

Parameters 3-29

Vista 5 Digital Mixing System

INP BAL / INP DIR Rotary

The INP BAL function is used to control the balance of a stereo input signal.
Turning the rotary encoder to the left attenuates the right channel from 0 to
dB while the left channel remains at full input level, and vice versa.
The INP DIR function is used to control the direction of a stereo input signal.
Turning the rotary encoder shifts the input direction in 1 steps from 30
(left) to +30 (right).

ST DIR Rotary

Left/right (odd/even) panning control for a stereo output signal in 1 steps

from 30 (left) to +30 (right).

* DIR WIDTH On/Off

* DIR WIDTH Rotary

3-30 Parameters

Switches the DIR WIDTH function on/off.

The DIR WIDTH parameter is used to control the width of the stereo signal.
It is only functional if there is a difference between the left and right input
channels, or if IBAL or IDIR has been used to create an offset between the
channels. The ST DIR control [72] directs the position of the stereo signal,
while the DIR WIDTH control determines the width or stereo spread either
side of that position. DIR WIDTH operates over a range from 0% (mono) to
200% (super stereo).
Optional parameters, only if the width function is configured.

SW V3.6

Date printed: 22.12.06

Vista 5 Digital Mixing System

3.4.3.2

Multi-Format Panning Parameters

Surround panning consists of two panning algorithms: Multi-format panning,
and VSP (Virtual Surround Panning). These support a variety of surround
formats and applications; in all these modes, an LFE (Low Frequency Effects)
control is available. Multi-format panning functions can be configured only
for mono channel types.
Please note that the view below shows 5.1 panning format; for other panning
formats, one or more of the fields may be blanked.

FORMAT Rotary

This serves as the format selector in all multi-format panning modes. The
following selections are possible: L-R, LCR, LCRS, 5.1, EX, and 7.1.

CENTER On/Off

On/off selector for center channel use.

CENTER Rotary

Center channel percentage control; 0% = no center channel use (phantom

center), 100% = center channel fully active.

FRONT L-R Rotary

This parameter controls the front panning between the left, (left-center),
(center), (right-center), and right channels in 1 steps. The contribution to
the center channel is determined by the CENTER control.

BACK L-R Rotary

This parameter controls panning between the left and right surround channels.

F-B Rotary

This front/back parameter provides panning between front channels (LCR)

and the rear channels (left and right surround) in 60 increments.

LFE On/Off
Date printed: 22.12.06

On/off control for the Low Frequency Effects channel.

SW V3.6

Parameters 3-31

Vista 5 Digital Mixing System

LFE LEVEL Rotary

PANARND On/Off

LFE level control from MUTE (i.e. dB) to +10 dB.

Within this section, no filtering is applied to the signal fed to the LFE bus.
This key activates the unique Pan-Around function

PANARND Rotary

This is a single-knob function that provides an easy-to-use pan setting around

all selected loudspeakers (depending on format) in a circular fashion.

DIVERGE Off/Front/All

Divergence mode selector. The divergence function can be applied to panning

between all channels or the front channels only. The key toggles between OFF,
FRNT, and ALL.

DIVERGE Rotary

The divergence function is used to bleed portions of sound from the panned
output to the other speakers. For example, if the divergence is active and
set to 100%, the LR control will act as a traditional L/R pan pot (assuming
there is no center channel contribution). Panning to full left will result in full
attenuation of the right channel. If the divergence is then set to 50%, one half
of the left channel signal strength will be bled into the right channel (without effecting the left channel). With the divergence control set to 1%, equal
signal will be fed to both channels and the LR pan pot will have no effect.
Divergence values are as follows: 1%, 2%, 3%, 4%, 5%, 10%, 15%, 20%,
25%, 30%, 35%, 40%, 45%, 50%, 60%, 70%, 80%, 90%, 100%. Careful use
of this control may have the effect of increasing the size of the mix sweet
spot, particularly for large auditoria. Misuse of this control may result in
essentially mono panning.

3-32 Parameters

SW V3.6

Date printed: 22.12.06

Vista 5 Digital Mixing System

3.4.3.3

VSP Panning Parameters

Please note that the controls within the left part of the screenshot below are
identical with the ones in chapter 3.4.3.2 for details, please refer to the
description in that chapter.

[87]

[83]
[76]
[85]

PAN MODE Rotary

Date printed: 22.12.06

Sets the overall panning algorithm used to position the mono source in the
desired direction. In all but the X-Y mode, a stereo microphone simulation
is employed which will yield a more diverse sound field.
X-Y A standard panning algorithm that only changes the amplitude of
the signal to the various buses in relation to the position of the panner.
This operation is well known and is used in all conventional panners.
A-B An idealized version of the common setup using omni-directional
microphones. With this mode the sound stage is perceived as large, and
is useful for solo instruments, audience, and choir. The positioning of the
source is only established by changes in time delays.
ORTF An idealized version of the common cardioid microphone setup
according to angles and distances used for stereo miking. A more accurate
sound field is created through the manipulation of both amplitude and time
differences.
SPHERE This mode emulates a spherical microphone as shown in
chapter 3.4.4. The spherical microphone has two capsules mounted into a
sphere having a diameter of about 18 cm. The sphere incorporates different
effects on the two channels, including amplitude, delay and shadowing of
the high frequencies on the channel which is not facing the source. This
mode is only useful in two-channel mode, and presents a very accurate
sound field.

SW V3.6

Parameters 3-33

Vista 5 Digital Mixing System

HRTF Mainly a cross-talk canceler using simplified HRTFs (Head

Related Transfer Functions). If the listener is positioned exactly in the
sweet spot of a 30 speaker setup, an extreme panning position like full
left should affect the signal such that it will only be heard with the left
ear and cancelled out on the right. It may also be used for enlarging the
perceived width of a recording.
USER When this mode is selected, the panning algorithms are established from the Microphone User Settings interface provided under the
main Option menu in the system Graphic Controller. The settings made
affect the relationship between amplitude and time differences, determined by the settings of the imaginary microphones. For details, see chapter
3.4.4.

3-34 Parameters

SW V3.6

Date printed: 22.12.06

Vista 5 Digital Mixing System

3.4.4

Microphone Simulation Tool (MST) User Pan Mode

As a further sophistication of the VSP system, a Microphone Simulation Tool
(MST) has been created. This allows the mix engineer to create his/her own
multi-channel panning law, by simulating the placement of microphones in
a virtual space.

Overview

A user can define how the VSP varies the delays and amplitudes of the direct
sound when panning between speakers. To instruct the VSP how to generate
these signals, commonly known microphone symbols are used. Each symbol
represents the signal that will be sent to one speaker.
For example, if five omni microphones are set up at the same position, no
panning effect will be achieved. Five omni microphones at certain distances
will only create time differences when panning between speakers. Five shotgun microphones positioned in one location will only generate amplitude
differences. And five directional microphones positioned in different locations will generate both amplitude and time differences between the speakers
(based on the placement of the microphones).

Sound Source
(Based on
Panner Position
and Distance
Control)

Simulated Microphone Placement

Virtual Room
The dry signal within a VSP channel is now placed to an imaginary position
based on the panner positioning within the channel. You can now imagine
that, if each speaker (in your monitoring environment) is fed the signal based
on the placement of the microphones in the simulation (including the reflections), that a realistic sound space could be achieved. This is a simplification
of what happens within the VSP system.
Each of the Panner modes (ORTF, AMP, AB, etc.) simulates a different placement of the microphones, and therefore yields a different acoustic scene.

Date printed: 22.12.06

SW V3.6

Parameters 3-35

Vista 5 Digital Mixing System

Here are the placements for some of the Panner Mode presets:
ORTF (With Surrounds)

Amplitude varies due to the directionality of the microphones, while time

delay is varied based on the distances between the microphones (each of them
feeding a speaker).
AB (With Surrounds)

Because all microphones are omni-directional, the amplitude is the same for
all of them, but the delay differs due to the distances between the microphones.
Sphere

The Sphere setting is based on a microphone as shown in the picture above.

Amplitude, phase and frequency response is calculated based on measured
signals from such a microphone.

3-36 Parameters

SW V3.6

Date printed: 22.12.06

Vista 5 Digital Mixing System

User Setting

With the Microphone Simulation Tool, the mix engineer is able to set up
his/her own microphone simulation using the dialog box available in the
Options/VSP menu.

Microphone Positioning

Microphone Pattern

Microphone Angle

The settings may be changed as follows:

The front left and right microphones may be moved by grabbing one of them
with the trackball and positioning them as desired. The opposite microphone
moves to a symmetrical location. The same may be done with the rear left
and right microphones. The center microphone cannot be moved.
The front, center, and rear microphones may be independently changed as to
their polar characteristics. This may be done using the sliders. Each pattern
can be changed from omni-directional, all the way through to shotgun patterns.
The Front and Rear microphones may also be independently changed as
to their positioning angle. This may be done using the angle sliders, or by
double-clicking and dragging with the mouse.
So when a VSP Channel Pan Mode is selected to the USER setting, the settings within the Microphone Simulation Tool will be used as a basis for the
underlying VSP panning law. These settings may be changed in real time,
and the changes will be audible as they are being made. This is an exciting
and functional tool that the mix engineer now has exclusively with the use
of the VSP panning system within the Studer D950 or Vista consoles.

Date printed: 22.12.06

SW V3.6

Parameters 3-37

3-38 Parameters

SW V3.6

DIGITAL
PATCH

DIGITAL
PATCH

DIGITAL
PATCH

DIGITAL
PATCH

INP
SEL

TALKBACK

GEN (Generator)

IN 2

IN 1

SIDECHAIN IN

PREAMP
CTRL

DC
FILTER
REJECT

GAIN

Input Process Section

PHASE
(Mono)

Input Mode Section

EQ

INSERT

DELAY

CHANNEL SWITCH MATRIX

DYN

Exp. Meter

RES

PF AF

PF AF

FADER
MUTE

PF

DO
AF
AINP

TB

AF
PF
AINP

SELECT

METER

TB

PFL

DIRECT OUTPUT

L/R
PAN

MULTI
FMT
PAN

PAN

INP
EQ
INS
SCF
DYN

L
R

STEREO AUX

PF

MONO AUX

AF

AF

METER
DATA

DIR OUT

N-1
Buses

MULTITRACK
Buses

MASTER
Buses

GROUP
Buses

L
R

L
R

SOLO BUS

PFL BUS

IPL

STEREO AUX
Buses

MONO AUX
Buses

INSERT SEND
SC LINK OUTPUT

DIGITAL
PATCH

CHANNEL
OUTPUTS

DIGITAL
PATCH

Please note that, essentially,

all channel types have the
same structure, regardless
of the type (input, AUX,
group, master, etc.)

INSERT RETURN

G.R. Meter

3.5

DIGITAL
PATCH

CHANNEL
INPUTS

SC LINK INPUT

Vista 5 Digital Mixing System

Input Channel Block Diagrams

Block Diagram of a Typical Mono Input Channel:

Date printed: 22.12.06

Date printed: 22.12.06

SW V3.6

DIGITAL
PATCH

DIGITAL
PATCH

DIGITAL
PATCH

DIGITAL
PATCH

INP
SEL

TALKBACK

GEN (Generator)

IN 2

IN 1

SIDECHAIN IN

INSERT RETURN

PREAMP
CTRL

DC
FILTER
REJECT

GAIN

Input Process Section

MS / XY PHASE STEREO
MATRIX (Stereo) MODE

Input Mode Section

EQ

INSERT

DELAY

CHANNEL SWITCH MATRIX

DYN

Exp. Meter

RES

PF AF

PF AF

FADER
MUTE
L
R

PF

DO
AF
AINP

TB

AF
PF
AINP

OUTPUT
WIDTH

SELECT

METER

TB

METER
DATA

DIR OUT

N-1
Buses
R

MASTER
Buses

GROUP
Buses

L
R

L
R

SOLO BUS

PFL BUS

IPL

STEREO AUX
Buses

MONO AUX
Buses

MULTITRACK
Buses

PFL

DIRECT OUTPUT

PAN /
BAL

PAN

INP
EQ
INS
SCF
DYN

L
R

STEREO AUX

PF

MONO AUX

AF

AF

INSERT SEND
SC LINK OUTPUT

DIGITAL
PATCH

CHANNEL
OUTPUTS

DIGITAL
PATCH

Please note that, essentially,

all channel types have the
same structure, regardless
of the type (input, AUX,
group, master, etc.)

DIGITAL
PATCH

CHANNEL
INPUTS

SC LINK INPUT

G.R. Meter

Vista 5 Digital Mixing System

Block Diagram of a Typical Stereo Input Channel:

Parameters 3-39

Vista 5 Digital Mixing System

3-40 Parameters

SW V3.6

Date printed: 22.12.06

Vista 5 Digital Mixing System

CHAPTER 4
4

Graphic Controller Operation........................................................................................................................................... 5

4.1

Introduction................................................................................................................................................................... 5

4.2
The GC Screen.............................................................................................................................................................. 7
4.2.1
The Toolbar ........................................................................................................................................................... 8
The Status Bar....................................................................................................................................................... 9
4.2.2
4.3
Graphic Controller Basics........................................................................................................................................... 10
4.3.1
Sources and Targets ............................................................................................................................................ 10
4.3.2
The Session Configuration.................................................................................................................................. 11
4.3.3
Labels.................................................................................................................................................................. 12
First Level of Operation: Main GC Pages .................................................................................................................. 13
4.4
4.4.1
One Page, or More... ........................................................................................................................................... 14
4.4.1.1 Working with one Single Page........................................................................................................................ 14
4.4.1.2 Working with Multiple Pages ......................................................................................................................... 15
4.4.2
The General Patch............................................................................................................................................... 17
4.4.2.1 General Patch Navigation ............................................................................................................................... 18
4.4.2.1.1 Navigating the Sources/Targets List ........................................................................................................ 18
4.4.2.1.2 Other Navigation Methods....................................................................................................................... 19
4.4.2.1.3 What Subcategories are There?................................................................................................................ 21
4.4.2.2 How to Deal with the Analog Interfacing? ..................................................................................................... 22
4.4.2.3 Digital Input/Output Subclasses ..................................................................................................................... 23
4.4.2.3.1 Using Subclasses to Aid Navigation ........................................................................................................ 23
4.4.2.4 Making and Clearing the Cross-Points ........................................................................................................... 24
4.4.2.5 Editing the User Labels in the General Patch ................................................................................................. 27
4.4.2.5.1 Sorting Options ........................................................................................................................................ 28
4.4.2.5.2 How to View the Different Label Types .................................................................................................. 28
4.4.2.6 Working with Labels....................................................................................................................................... 29
4.4.2.6.1 Automatic Label Propagation .................................................................................................................. 30
4.4.2.7 What are Device Labels? ................................................................................................................................ 31
4.4.2.8 How to Activate the Device Label Functionality............................................................................................ 32
4.4.2.9 Where are the Device Labels Saved?.............................................................................................................. 32
4.4.2.10 How to Create or Overwrite a Device Label .................................................................................................. 32
4.4.2.11 How to Edit an Existing Device Label ........................................................................................................... 32
4.4.2.12 Background Information ................................................................................................................................ 32
4.4.3
Channel Patch ..................................................................................................................................................... 33
4.4.3.1 Using the Channel Patch for Patching Audio ................................................................................................. 34
4.4.3.2 Setting the Order of DSP Processing Blocks .................................................................................................. 35
4.4.3.3 On-screen Toggles for Input Selector and Dynamics Key Selector................................................................ 35
4.4.3.4 Editing the Channel User Labels .................................................................................................................... 35
4.4.3.5 Set the Metering and Direct Out Source Point................................................................................................ 36
4.4.3.6 Switch off the Label Inheritance..................................................................................................................... 36
4.4.3.7 Setup & Activate the Dynamics Sidechain Link............................................................................................. 37

Date printed: 06.12.06

SW V3.6

GC Operation 4-1

Vista 5 Digital Mixing System

4.4.4
Snapshot Page ..................................................................................................................................................... 39
4.4.4.1 Snapshots ........................................................................................................................................................ 40
4.4.4.2 Snapshot Crossfading...................................................................................................................................... 43
4.4.4.3 Additional Snapshot Functionality ................................................................................................................. 44
4.4.4.4 Partial Snapshots............................................................................................................................................. 45
4.4.4.5 Snapshot Filtering (Static Automation) .......................................................................................................... 46
4.4.4.6 Correcting the Mask of a Partial Snapshot ..................................................................................................... 49
4.4.4.7 Typical Application Examples ........................................................................................................................ 50
4.4.4.8 Presets ............................................................................................................................................................. 50
4.4.4.9 Default Settings............................................................................................................................................... 51
4.4.4.10 Files and Backup............................................................................................................................................. 51
4.4.5
Strip Setup........................................................................................................................................................... 52
4.4.5.1 How to Use the Strip Setup............................................................................................................................. 54
4.4.5.1.1 Assigning a Single DSP Channel to a Single Channel Strip.................................................................... 54
4.4.5.1.2 Assigning Multiple Channels in one Single Action ................................................................................. 54
4.4.5.1.3 Moving Already Assigned DSP Channels to Other Channel Strips......................................................... 55
4.4.5.1.4 Useful Information................................................................................................................................... 56
4.4.5.1.5 Labels in Strip Setup ................................................................................................................................ 56
4.4.5.1.6 Meters ...................................................................................................................................................... 57
4.5
Second Level of Operation: The Toolbar Functions ................................................................................................... 58
4.5.1
Page Selection..................................................................................................................................................... 58
4.5.2
Tools.................................................................................................................................................................... 59
4.5.2.1 Tools: Title Memo........................................................................................................................................... 59
4.5.3
Channel Selection Tool ...................................................................................................................................... 60
4.5.4
System Functions ................................................................................................................................................ 60
4.5.4.1 System Functions: Protect/Unprotect SysAdmin Mode ................................................................................. 60
4.5.4.2 System Functions: Label Mode Selector ........................................................................................................ 61
4.5.4.3 System Functions: The Surveyor .................................................................................................................... 61
Third Level of Operation: Menu Items....................................................................................................................... 62
4.6
4.6.1
The File Menu..................................................................................................................................................... 62
4.6.1.1 Titles and Projects ........................................................................................................................................... 63
4.6.1.2 Save................................................................................................................................................................. 66
4.6.1.3 Make/Restore Backup..................................................................................................................................... 66
4.6.1.4 Import.............................................................................................................................................................. 67
4.6.1.5 Load Session Configuration............................................................................................................................ 68
4.6.1.6 Exit Vista Application ..................................................................................................................................... 69
4.6.2
The View Menu................................................................................................................................................... 70
The Page Menu ................................................................................................................................................... 70
4.6.3
4.6.4
The Option Menu................................................................................................................................................ 71
4.6.4.1 Option: Meter/Generator................................................................................................................................. 71
4.6.4.2 Option: N1 Assignment................................................................................................................................. 73
4.6.4.3 Option: Control Group Filter .......................................................................................................................... 75
4.6.4.4 Option: VSP Microphones and Reverb........................................................................................................... 75
4.6.4.5 Option: Snap Confirm ..................................................................................................................................... 75
4.6.4.6 Option: EQ/Dynamics View ........................................................................................................................... 76
4.6.4.7 Option: Vista Settings ..................................................................................................................................... 78
4.6.5
The User Menu ................................................................................................................................................... 80
4.6.6
The Window Menu ............................................................................................................................................. 81
The About Menu ................................................................................................................................................. 82
4.6.7
4-2 GC Operation

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Vista 5 Digital Mixing System

4.7
Fourth Level of Operation: SysAdmin Menu ............................................................................................................. 83
SysAdmin: General Patch/Subclassifying the Digital I/O Sections ................................................................... 84
4.7.1
4.7.1.1 Setting the Subclass Labels............................................................................................................................. 85
4.7.1.2 Assigning Sources and Targets to Subclasses................................................................................................. 86
4.7.2
SysAdmin: Surveyor........................................................................................................................................... 87
4.7.3
SysAdmin: Show VMC Tree .............................................................................................................................. 87
4.7.4
SysAdmin: Monitoring ....................................................................................................................................... 88
4.7.5
SysAdmin: Signaling Setup ................................................................................................................................ 90
4.7.5.1 Editing the Relay Labels................................................................................................................................. 91
4.7.5.2 Signal Out Configuration ................................................................................................................................ 92
4.7.5.3 Red Light Configuration ................................................................................................................................. 94
4.7.5.4 Load Signaling Configuration......................................................................................................................... 95
4.7.5.5 Save Signaling Configuration As .................................................................................................................... 96
4.7.6
SysAdmin: Control Group Assign ...................................................................................................................... 97
4.7.6.1 Control Group Basics...................................................................................................................................... 97
4.7.6.2 Control Group Assignment ........................................................................................................................... 100
4.8

Fifth Level of Operation: The Surveyor ................................................................................................................... 101

4.9
Add-Ons, Based on SW V3.6 (as Opposed to SW V3.3)...................................................................................... 103
4.9.1
Updating Multiple Snapshots............................................................................................................................ 103
4.9.1.1 Selecting Multiple Snapshots........................................................................................................................ 103
4.9.2
Saving Snapshot Masks .................................................................................................................................... 104
4.9.3
Cue List............................................................................................................................................................. 105
4.9.3.1 Activating Theatre Cue List Functionality.................................................................................................... 105
4.9.3.2 Creating a Cue............................................................................................................................................... 106
4.9.3.3 Recalling a Cue ............................................................................................................................................. 106
4.9.3.4 Cue Numbering and Sorting ......................................................................................................................... 107
4.9.3.5 Cross-fading Between Cues.......................................................................................................................... 108
4.9.3.6 Organizing Events........................................................................................................................................ 109
4.9.3.7 Updating Snapshots ...................................................................................................................................... 109
4.9.3.8 Event Options................................................................................................................................................ 110
4.9.3.9 BlackOut ....................................................................................................................................................... 111
4.9.3.10 Arm CueList.................................................................................................................................................. 111
4.9.3.11 XFade Active ................................................................................................................................................ 111
4.9.3.12 Preview ......................................................................................................................................................... 111
4.9.3.13 Cue List Options ........................................................................................................................................... 112
4.9.3.14 MIDI Show Control Device.......................................................................................................................... 113
4.9.4
Naming Auxiliary Buses ................................................................................................................................... 114
Matrix Buses ..................................................................................................................................................... 115
4.9.5
4.9.6
Multi-Track Buses with Switch for Pre-/Post-Fade and Pan On/Off................................................................ 116
NX................................................................................................................................................................... 116
4.9.7
4.9.7.1 Offline Conferencing .................................................................................................................................... 116
4.9.7.2 Setting up the Offline Conference................................................................................................................. 117
4.9.7.3 Talk to the Conference .................................................................................................................................. 117
4.9.7.4 Deactivate Conference Temporarily ............................................................................................................. 117
4.9.7.5 Conference Level .......................................................................................................................................... 117
4.9.7.6 Monitoring the Conference Using the MPX Bus.......................................................................................... 118
4.9.7.7 Adding On-Air Signal to the Conference ..................................................................................................... 118
4.9.7.8 Alternate Signal to NX Outputs (CUE) ...................................................................................................... 119
Date printed: 06.12.06

SW V3.6

GC Operation 4-3

Vista 5 Digital Mixing System

4.9.8
D21m I/O System ............................................................................................................................................. 120
4.9.8.1 Automatic I/O Setup Detection..................................................................................................................... 120
4.9.8.2 Enhanced Surveyor Information ................................................................................................................... 121
4.9.8.3 Automatic Generation of Intelligent Fixed Labels ....................................................................................... 122
4.9.9
VCA-Style Masters (Motors Off Option) ..................................................................................................... 123
4.9.9.1 Hierarchical CGMs ....................................................................................................................................... 124
4.9.9.2 Control Room DIM Level Adjustment ......................................................................................................... 124
4.9.9.3 Studio DIM Level Adjustment...................................................................................................................... 124
4.9.10 3rd-Party Control of Console Patch (Native Pro-Bel P-02/08 Support) ............................................................ 125
4.9.10.1 Pro-Bel P-08 support..................................................................................................................................... 129
4.9.10.2 Exclude Certain Patch Targets from Being Changed by Snapshots ............................................................. 130
4.9.10.3 Label Import from 3rd-Party Systems............................................................................................................ 130
4.9.11
Support of External Monitoring Source Selector Panels .................................................................................. 131
4.9.11.1 Patch Point Isolation ..................................................................................................................................... 131
4.9.11.2 Patch Mapping Setup .................................................................................................................................... 131
4.9.12 Fader Ramp Control (Audio Follows Video) ................................................................................................ 132
4.9.13
New Options in Options - Vista Settings Menu ............................................................................................ 134

4-4 GC Operation

SW V3.6

Date printed: 06.12.06

Vista 5 Digital Mixing System

GRAPHIC CONTROLLER OPERATION

4.1

Introduction
The Graphic Controller (GC) is an essential part of the Vista Digital Systems
operation, because it enables the user to utilize all of its enhanced functions,
such as the snapshots, book-keeping, AutoTouch automation, and much more.
It is also the place where the operating software is started and shut down
becoming, in fact, the consoles main operations center.
All the operating software consisting of a large number of individual files
needed for proper operation of the console is saved on the Control PCs
hard disk. Even if there are hundreds of configuration, snapshot, and related
files saved here from previous Vista sessions, the user basically needs to start
only one application program:
D950SYSTEM.EXE.
The D950SYSTEM.EXE, represented by the following icon (Windows
Shortcut) on the monitor screen:

Note:

The Vista System software may also be started from the Windows Start menu
(if programmed).
All the Vista software runs under Windows. All files used by Vista and all
files produced by the user (snapshots, mixes, etc.) are fully compatible with
the Windows standard. This means that they can be copied to other compatible media, using the Make Backup utility and standard Windows tools and
procedures. Long file names (more than eight characters) are supported.
One of the advantages of using standard Windows techniques is that the
majority of users will already be familiar with operating a PC-based system.
Because all screen and trackball procedures are derived from the Windows
operating systems, please refer to the appropriate manuals if you are not
familiar with using them.
Operation of the Graphic Controller is also fully Windows-compatible.
Text strings, files, or even pictures can be copied from one location to
the other using the Windows clipboard principle and keyboard shortcuts:
Ctrl+c or Ctrl+Ins will copy to, and Ctrl+v or Shift+Ins will paste from the
clipboard. This technique can be used, for example, to enter repetitive labels
into the User Labels, or for copying mixes from one Title to another.
Full use is made of the Windows-standard, context-sensitive menus that can
be accessed by the right trackball button, as well as conventional double-click
techniques. The Tab, PgUp/Dn, and arrow keys behave according to standard
Windows operation.
The Graphic Controllers screen colors, screen sizes, individual window positions and sizes, certain font sizes etc., are also part of the Windows Screen
Properties, and can be adjusted there.

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Because the Graphic Controllers user interface can be configured to suit the
individual needs of specific users, all the graphics shown in this User Manual
may differ slightly from what you will see on the GC display of your Vista
Digital Console.
The appearance of the GC screen will also depend on the installed options.
Several menu items, tools, or the AutoTouch+ panel will not function and/or
be grayed out if the appropriate option is not installed. In the following text,
we assumed that all the options were installed (otherwise, there would be no
point in explaining them).

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4.2

The GC Screen
Upon starting the GC for the first time, the screen will look something like
this:
Main
Title Bar

Menu Bar

Toolbar

Workspace

Window
Controls

Status Bar

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Please note the most important parts of the screen:

The Menu Bar, allowing access to all the Vistas functions. Refer to chapter
4.6;
The Toolbar, containing various short-cut icons for the most important functions;
The Status Bar, displaying system information and short on-line help information;
The Workspace, where you will open the Main GC Pages and do other useful
things;
The Vista Logo Splash, which will disappear a few seconds after the start;
The Main Window Controls (minimize, maximize/window mode, quit).

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4.2.1

The Toolbar
The toolbar contains a number of short-cut icons for the Vistas most important functions.
There are four (or five) individual toolbar parts: Page Selection, Channel
Selection, Tools, System Functions (and Multidesk Groups, if configured).

Page Selection

Channel Selection

Tools

System Functions

Each of the parts can be switched ON and OFF individually. The simplest
way to do so is the View menu, item Toolbar:

This menu item also contains the Status bar (refer to chapter 4.2.2). The
toolbar elements can be arranged in one continuous bar as shown in the
illustration above or positioned individually, using conventional drag-anddrop technique:

Surveyor
Offline Conference
Snapshot Filter
Label Mode
Protect / Unprotect

Strip Setup
Cue List
Snapshot
Channel Patch
General Patch
New Window

EQ/Dyn Library
Title Memo
Select: Next Channel
Select: One Channel
Select: Previous Channel

This arrangement may be saved in a preferences file.

The icons represent Vista system functions as described in the illustration;
individual functions will be explained later in this chapter.

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4.2.2

The Status Bar

The Status Bar has two functions:

Displaying system information;
Short on-line help information.
Status information is displayed in the Status Bar continually. It is especially
helpful to view the Status Bar during startup of the Vista system, because
various information regarding the boot process and system parts will be displayed on the monitor screen.
Ready in the Status Bar indicates that everything within the Vista is working
satisfactorily. Check Status will be displayed if there is something wrong with
the system (specifically, a red circle appears in the Surveyor button, refer to
chapter 4.8 for more information), and sometimes during system booting
(which is normal).
If you move the cursor over a specific item in the toolbar, on-line help
information will be displayed. The information displayed describes the basic
function of the selected tool.

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4.3

Graphic Controller Basics

This chapter describes the basic concepts of the work with the Graphic Controller (GC).

4.3.1

Sources and Targets

Generally, all audio signals available to the Vista can be divided into Sources
and Targets. These names are used rather than Input, Output, etc., in order
to avoid any confusion regarding where the audio signal comes from, and to
where it goes.
Sources:

Targets:

A Source is anything that delivers an audio signal:

Digital Input Interface (AES/EBU or MADI);
Analog Input Interface (D19m Mic Input, A/D Converter);
Channel Output (for example, Direct Out of Input Channel #24, Master
Output, etc.);
Channel Insert Send;
Bus Output (unlike analog consoles, within the Vista any bus is a valid audio
signal source; for example, AUX Mono Bus 12 can be used to feed an output
interface, or to become an input to an input channel);
Test Generator.
A Target is anything that can receive one (mono or stereo) audio signal:
Channel Input 1 (first audio input to a channel; free for all input channels; used
to connect Sources to input/track monitor channels, such as a MADI output
from a digital multi-track to a track monitor channel, or the corresponding
bus to an output channel, such as a Group, Master, or AUX channel);
Channel Input 2 (second audio input to a channel; free for all channels);
Channel Input 3 (third audio input to a channel; used for the test generator
connection per default, can be re-patched to any source at any time),
Channel insert returns;
Digital output interfaces (AES/EBU or MADI);
Analog output interfaces.
Sources and Targets implicitly behave as mono or stereo, depending on their
character. A stereo Source or Target can be treated, nevertheless, as consisting
of two mono parts.
Any Source can be connected to as many Targets as needed via the Patch
pages. However, a Target (stereo or mono) can have only one Source (stereo
or mono) assigned to its input.

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4.3.2

The Session Configuration

The Session Configuration is the physical and electrical definition of the Vista
Digital Mixing System installed at your recording studio or production facility. Session Configuration contains data about the mixing console channels,
the patch, the labels, and so on. A Session Configuration must be loaded in
order for the console to function.
We often refer to the Virtual Mixing Console (VMC) when speaking about
the Session Configuration. VMC is another concept that forms the very
foundation of a Vista: all functions and the current Session Configuration
data are saved within the VMC. A simplified definition of the VMC is:
The VMC is a data structure containing descriptions of the consoles functions, including all the current statuses of all functions.
That is why, as we will see later, all the Session Configuration files have the
extension *.vmc.
Because of the flexibility provided by the Session Configuration Tool, you
can create customized, application specific, console configurations. In most
cases the facilitys Vista system administrator will create the necessary Session Configurations. However, there are some cases where you will not need
to be concerned with the Session Configuration, because the one configuration
that was loaded at the Studer factory will remain loaded and active unless
you changed it. The last-loaded Session Configuration will remain loaded and
active until it is either changed, or another one is loaded.
If a production is recalled that has been created with another Session Configuration, the correct Session Configuration will be automatically loaded.
Please refer to chapter 7 for more details.

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4.3.3

Labels
Labels are used extensively within the system to define objects, such as audio
sources, channel names, etc., and to visualize these objects in various windows within the GC.
Please note that all labels are saved within Snapshots and Presets, together
with all audio settings.
There are various ways to work with labels within the system. For a description of how to use labels, refer to chapter 4.4.2.6. Basic label types are described below:
Fixed Labels

These are generated automatically at the time of system configuration, and

used to identify hardware-oriented objects. For example:
Fixed Label
D 1 AES B0 In 1
Input m 8 In 1
M25 B0 Out 1CH25

Note:
User Labels

Meaning
Digital AES/EBU, on PE/AES Board 0, Physical Input 1
DSP Mono Input Channel 8, Input 1 of 3
MADI Output CH 25, on MADI B 0, MADI Interface 1

It is advised never to change the Fixed Labels.

These by default are identical to the Fixed Labels at the start of a new Session
Configuration. The user is able to rename these User labels in the GC to make
the system environment more user-friendly. User labels are used to give the
objects a useful, application-oriented name. For example:
Fixed Label

Meaning
DAT Player 1, coming in via Digital AES/EBU, on
DAT 1
D 1 AES B0 In 1
PE/AES Board 0, Physical Input #1
DSP Mono Input Channel 8, Input 1 of 3, used for
BASS
Input m 8 In 1
the audio signal of the Bass Guitar
MADI Output CH 25, on MADI B 0, MADI Interface
M25 B0 Out 1CH25 Foldback 1
1, is the foldback Send 1 to the Studio Floor

Inherited Labels

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User Label

Inherited labels are used primarily to indicate the Source Signal that is connected to the Channel Strip, rather than the User Label of the Channel. In this
way, as soon as the signal is connected to a channels input, the channel strip
display inherits the Label from the actual Source.

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4.4

First Level of Operation: Main GC Pages

There are five main Graphic Controller pages, each of which deals with a
different operating part of the Vista System:
General Patch Page
Channel Patch Page
Snapshot Page
Cue List Page
Strip Setup Page

These main pages can be accessed in three different ways:

From the Page menu, by clicking on the appropriate menu item:

Date printed: 06.12.06

Using the Page icons, by clicking on the appropriate icon in the toolbar (see
above), or
Using the function keys on the control surface keyboard which is probably
the fastest way:

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4.4.1

One Page, or More...

The GC Workspace can be used to display one single page, or a number of
pages and panels at the same time. Because different users will prefer different page layouts, the User Menu enables Workspace layouts to be saved and
retrieved for later use by any number of users. Page layouts can be manipulated using standard Windows techniques.

4.4.1.1

Working with one Single Page

If you prefer working with a single page, select the page using one of the
methods listed above. Then click to full-page mode:

Click here to work with single pages

The selected single page will now be fully visible. Selecting a single page has
the advantage that you always see all parts of a page (except for the General
Patch), and that operating via the Function Keys/Page menu always affects
the page you want because there is only one to work with.

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4.4.1.2

Working with Multiple Pages

A number of different pages can be opened on the screen at the same time,
and drag-and-drop techniques used to position and size the selected pages.
Tip

To open more than one page, open the first page using the methods listed
above; then:
Use the Window menu item New Window, or
The Toolbar icon New Window, and

Select as many pages as you require.

In this example, there are two active pages displayed on the same screen:

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You can also open the same page more than once, which can be useful
for simultaneously viewing different areas of the General Patch page, for
example. The page you used last will be selected, which is indicated by
highlighting the Title bar in blue.
Generally, this means that various functions activated through the function
keys will only affect the selected page. To highlight another page, simply
click on it once, or use the familiar Windows Ctrl+Tab key combination.
To position and size the pages, use the normal Window menu items Cascade
and Tile. Alternatively, use drag-and-drop techniques to position and arrange
each page, and experiment with their locations to suit your own requirements.
Once you have developed a favorite page layout, save it for later retrieval
using the User Menu items Save Preferences and Load Preferences:

Tip

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If you should forget to save your particular preference, dont worry. The
system will save automatically the screen layout used when you shut down
the system. When starting the system the next time, the screen will appear
exactly as you left it.

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4.4.2

The General Patch

The GC General Patch page can be accessed in three different ways:
From the Page menu, by clicking on the appropriate menu item
Using the Page icons, by clicking on the appropriate icon in the toolbar
Using the GLOBAL PATCH function key. This is the fastest way.
The General Patch is the main tool used to establish and clear audio connections within the system. The name Patch is used because it mimics the
conventional patch bay used in analog consoles. It accomplishes all the tasks
of a conventional patch bay, and much more. Patch cross-points are saved
into the Snapshot/Preset memories.
It utilizes an X-Y axis (or side-to-side/up-down) representation to aid viewing
and editing of existing connections or cross-points (equivalent to the location
of patch cords), and all existing Sources and Targets (equivalent to the patchjack pairs used in most patch bays).
The General Patch can be thought of as a number of sub-patches whereby
single subcategories of the sources and targets can be viewed at one time.
Source Selection Bar

X-Y Field

Sources List

Subcategory Drop-Down Menus

Auto Select Function

Sorting Selections

Target Selection Bar

Fixed / User Label Display

Targets List

The General Patch consists of:

A Targets list (the lower horizontal, or x axis), equivalent to the lower jack
row in a patch bay
A Sources list (the left-hand vertical or y axis), equivalent to the upper
jack row in a patch bay
The X-Y field, where the cross-point icons enable interrogation and editing
of cross-point connections
The Source and Target selection Bars
Source and Target drop-down menus for selection of the subcategory to
be viewed
Auto Select function
Viewing selections which allow sorting of the Sources and Targets Lists
by label type
The Fixed/User Label displays for the selected Source/Target (refer to
chapter 4.3.3).
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4.4.2.1
4.4.2.1.1

General Patch Navigation

Navigating the Sources/Targets List
The audio sources list (located on the Y axis) and the targets list (on the X
axis) allow the user to find and select a Source/Target pair, and to make or
clear a required cross-point connection.
There are different ways to navigate and select the required source and target
for making or clearing patch connections. The simplest process to select the
required Source/Target selection is described below:
1 Select the subcategory of the required source/target using the Show
Sources and Show Targets drop-down menus. This will show in the
X-Y axis list all the possible sources/targets available in the Session
Configuration currently loaded. Scrolling using the standard windows
scroll bar may be required to see all the sources/targets from the chosen
category. Scrolling is not recommended as the fastest way to navigate the
sources list.

2 Move the cursor into the Sources/Targets List and right-click. This opens
a selection list to allow fast navigation to some pre-defined subclasses
of Inputs or Channel types (such as Input Channels, Auxiliary Channels,
etc.), see the next screenshot. Select the required Input or Channel type
category. This will navigate directly to the first Source/Target of the chosen
category (e.g Mono Input Channel 1, Auxiliary Channel 1, etc.). Select the
required Source/Target by clicking on the Source/Target name or by using
the keyboard cursor arrows to move up and down the list. This will position the Selection Bars of the X-Y axis to the chosen Source/Target. The
intersection of the two Selection bars will allow the making or clearing of
a cross-point based on the chosen Source and Target (see chapter 4.4.2.4
for information on how to make or clear cross-point connections).

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4.4.2.1.2

Other Navigation Methods

Choosing Source/Target Subcategory:

There are two methods to select the required Source/Target subcategory:
1 Use the Source/Target subcategory drop-down menu.
2 Right-click directly in the Sources/Targets List. All the available subcategories (identical to those in the drop-down menus) can be accessed
directly from the lower portion of the menu.
Source Subcategory Selection

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Using Auto Select Feature:

For faster selection of the Source/Target subcategories, a useful feature can be

activated called Auto Select. To activate this function, click on the Auto
Select checkbox.
This function will automatically select the most logical subcategory of Targets
as soon as a Source Subcategory is selected. That is, if the Digital In Source
Subcategory is selected, the Targets List will automatically switch to show
the Channel In 1 subcategory. However, even if this option is selected, it
is possible to navigate to other Target subcategories manually after Source
navigation.

Use of Color for Navigation:

Color is used in the Sources and Targets lists to give a clear indication and
overview of the sources and targets which have connections patched. If a
Source is connected to a Target or multiple targets, the Source label in the
Sources List will be highlighted by a color. Similarly, if a target is connected
to a Source or a number of different Sources, then the Target label in the
Targets List will be highlighted by a color. The meaning of each color is as
follows:
A single connection is made to the indicated Source or Target.
Two or more connections are made to the indicated Source or Target.
The Target has a protected connection.

GREEN:
YELLOW:
RED:

If a Source or Target is highlighted (indicating a connection is made to it),

double-clicking on the label in the Sources/Targets Lists will navigate directly
to the cross-point so that the Source Selection Bar and Target Selection Bar
intersect at that cross-point. This is an extremely fast method to find what
is connected to a Source or Target without the need for scrolling or manual
searching of the sub patches. If a Source or Target is highlighted in Yellow
(indicating two or more connections are made to it), double-clicking on the
label in the Sources/Targets Lists will navigate directly to the first cross-point.
Subsequent double-clicks will navigate to each of the following connections
that are made to the Source/Target in question. If all connections have been
shown, a further double-click will return the user to the first connection and
loop around the connections once again with further double-clicks.

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4.4.2.1.3

What Subcategories are There?

There are basically seven different subcategories for each of the Sources and
Targets Lists:
Sources
Digital In
Dir Out
Insert Send
Bus Out
Generator
Ext. Source

Targets
Channel In1
Channel In2
Insert Return
Digital Out
Channel In3
Dyn. Ext. Key

Each subcategory contains a number of Sources or Targets, depending on the

current Session Configuration. Sometimes certain sections will not be present; for example, if no Channel Inserts have been configured, there will be
no Insert Send section within the Sources List, and no Insert Return section
within the Targets List.
The size of the X-Y General Patch automatically adapts to the number of
channels, input interfaces, output interfaces, and to the presence of DSP
function blocks in the channels as defined in the Session Configuration.
Some detail information on the sections:
Sources List:

Digital In
Dir Out
Insert Send
Bus Out

Generator
Ext Source
Targets List:

Channel In1

Channel In2

Insert Return
Digital Out
Channel In3

Dyn Ext Key

Ext Target

Date printed: 06.12.06

All input audio interfaces (AES/EBU, MADI, or D21m A/D converters).

All Direct Outputs of all channel types.
Sends from the inserts of all channel types.
Unlike analog consoles, with the Vista any bus is a valid audio signal source;
AUX Mono Bus 12 can be used to feed an output interface, or to become an
input to an input channel.
The Test Generators signal.
This is not an audio signal, but a logical Source to be used in conjunction
with future A/D converters (not used in this software version).
First audio input to all channel types,
Free to use for all input channels,
Used for default connection of the corresponding Bus for an output channel,
such as a Group, Master, or Aux channel.
Second audio input to all channel types,
Free for all input and output channels.
Returns to the inserts of all channel types.
All output audio interfaces (AES/EBU or MADI, D/A converters).
Third audio input to all channel types,
Used for the Test Generator connection per default,
Can be re-patched to any source at any time.
Input for the external control signal (key) to the Dynamics Sidechain of all
channel types.
This is not an audio signal, but a logical Target to be used in conjunction with
external converters.

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4.4.2.2

How to Deal with the Analog Interfacing?

Where are the analog interfaces coming in?, you might be asking. We still
need some analog sound. Here is how we achieve that task:
The Vista Patch and DSP systems only know about digital interfacing, as can
be seen from the following simplified block diagram:
DSP Channels

Digital Outputs

AES/EBU

Input Channels

AES/EBU

MADI

Group Channels

MADI

Digital Inputs

TDIF

TDIF

AUX Channels

ADAT

ADAT
Master Channels

SDI
Sources

Targets

Input Patch
Crosspoints

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Sources

Targets

Output Patch
Crosspoints

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4.4.2.3

Digital Input/Output Subclasses

The two subcategories Digital In (Sources) and Digital Out (Targets)
show the list of available physical inputs and outputs of the loaded Session
Configuration. These sources and targets provide all the interfacing of the
console to the outside world. For this reason, these are the most used of the
sources and targets. It would therefore be extremely useful to be able to group
certain physical inputs and similarly physical outputs together within the
General Patch to aid navigation and viewing possibilities. This grouping of
the Digital In Sources and Digital Out Targets is known as Subclasses.
For the creation of these subclasses, please refer to chapter 4.7.1. Subclasses
are usually generated by the facilitys system administrator.

4.4.2.3.1

Using Subclasses to Aid Navigation

To use the subclasses, ensure that the Use Subclasses check box is selected
in the Sort By window.

When either the Digital In or Digital out subcategories are showing,

right-click on the Sources/Targets list to show the selection menu.

In the case of Digital Input as shown above, as well as the general selection
of Digital Input type such as MADI Mono, AES Mono or AES Stereo,
the predefined list of subclasses is also shown. By selecting a subclass, the
Source Selection Bar/Target Selection Bar navigates directly to the first of the
Sources/Targets within the subclass. This provides fast navigation to physical
I/O.
Note:

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Subclass Names are saved within User Preference files. If changes are made to
the Subclass Names, a User Preference should be saved (see chapter 4.6.5).

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4.4.2.4

Making and Clearing the Cross-Points

The creation and updating of cross-points is simple. First, select the Source
and Target; the Selection Bars have to be crossed to form an X-Y pair.

There are two ways of making or breaking a cross-point connection:

By double-clicking the left trackball button, while the cursor is positioned
over the crossed Selection Bars, or
By using the function keys on the control surface keyboard;

Using the MAKE CONNECT (make connection) function key will always make
a default connection, depending on the Source- and Target-type combination.
Using the CLEAR CONNECT (clear connection) function key will always clear
any cross-point connection. (This is the fastest method to make or clear a
connection.)
Double-clicking the left track ball button: This method is more sophisticated,
because it allows you to select from a number of connection options displayed
in a pop-up menu box. The menu display depends upon the combination of
Source (mono or stereo) and Target (mono or stereo). The uppermost connection type in the menu is the default connection type, which is applied if
you use the function keys, as shown above.
Mono Source Mono Target:

Empty Box: No Connection

Mono-Mono Connection
Clear Connection

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Stereo Source Mono Target:

Icon Indicates Connection Type
Left to Mono
Right to Mono
Clear Connection
Protected Connection

Mono Source Stereo Target:

Icon Indicates Connection Type

Mono to Both Left & Right
Mono to Left (Leave Right as is)
Mono to Right (Leave Left as is)
Clear All
Protected Connection

Indicates Connection Type

Stereo Source Stereo Target:

L to L, R to R
L to R, R to L
Clear All
Protected Connection
L to L (Leave R as is)
R to R (Leave L as is)
L to R (Leave L as is)
R to L (Leave R as is)
L to both L & R
R to both L & R

The last menu allows unlinked operation, a phrase that refers to a Stereo
Target being unlinked and its left and right components used with different
Sources. Such cross-point connections enable one Target to be connected with
two Sources, and are indicated with a yellow icon.

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Tip

A feature is available for fast diagonal patching of multiple Sources to multiple Targets. The example below shows this feature used in practice.

Example:

Patching the first 16 Mic inputs to the first 16 Mono Input Channels.
1 First make the first connection (In this instance Mic 01 to Mono Input
Channel 1).
2 Then whilst holding the SHIFT key on the keyboard, make a connection
on the last of the diagonal connections (in this instance, Mic 16 to Mono
Input 16). This will automatically establish all the connections on the
diagonal line between the first and last connection, respectively.
Similarly, if whilst holding SHIFT, the last connection of a diagonal line
of connections is double-clicked, then all connections running back up the
diagonal will be cleared.
This function provides time saving possibilities when patching.

Connection Protection:

It is also possible to protect a certain connection from accidental change both

by the user or by recalling a snapshot.
Double-clicking on a connection selects the padlock item to lock the connection. To unlock, double-click again.
Both the background of the Target as well as the connection become red.
When attempting to change a protected connection, a warning appears, together with the instructions on how to unprotect the connection.

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4.4.2.5

Editing the User Labels in the General Patch

To edit the User Labels in the General Patch, first click on the desired Source/
Target in the Sources/Targets list. The User Label and Fixed Label for the
chosen Source/Target will be shown in the Label Fields at the bottom of the
screen:

Click on the User Label Field of the Source/Target. This will open a dialog
box which allows a User Label to be entered:

To automatically move to the next Source/Target in the list, either click

on Next or hit ENTER on the keyboard. To close the dialog box click on
OK. It is possible to choose a Source/Target from the General Patch list
without closing the Edit User Label dialog box. Simply click on the desired
Source/Target from the General Patch list with the window still open. This
will automatically enter it into the window for editing.
User Labels with up to 13 characters (depending on the width of the individual
characters) can be used for Digital Input sources.

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4.4.2.5.1

Sorting Options
There is a number of options for sorting the display of the Sources and Targets
in the General Patch Lists. This sorting is independent of which label type is
being displayed due to the global label mode selection.
Sort by Fixed Label:

Sort by User Label:

Independent of the User Label, the Sources and Targets will be sorted and
displayed in alphabetical order, depending on the Fixed Label of the Sources/
Targets.
The Sources and Targets will be sorted and displayed in alphabetical order,
depending on the User Labels of the Sources/Targets.
To select the sorting method, check the Fixed Label or User Label option
button as shown below:

Tip

4.4.2.5.2

If the Use Subclasses checkbox is selected, then the Digital Input Source
List and Digital Output Target List will be sorted and grouped by the defined
subclasses. This selection has highest priority of sorting.
The most useful sorting method is to Sort by Fixed Label and Use Subclasses.

How to View the Different Label Types

It is typical that a user will work in a single mode of label type display within
the GC. There are times, however, when it is useful to temporarily display
another of the label types globally within the GC to help with patching. The
Label mode is changed by clicking on the Label button in the system toolbar:

Clicking this button will toggle the label view globally throughout all parts
of the GC. The label display can be toggled between User, Inherited
and Fixed. For a detailed description of how to work best with labels, see
below.

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4.4.2.6

Working with Labels

For a detailed description of different label types, please refer to chapter
4.3.3.
The most important aspect of any audio patching system is its labeling. Clear
labeling allows fast navigation and fault-free patching.
Labels exist within the general patch window as well as within each single
channel. Depending on your preferred way of working, some of the label
fields may be filled in automatically by the system (by setting some options),
or you choose to type the labels manually in all the places. Two principal
automatisms for automatically copying labels exist within your system:
1 Your studio device names (devices connected to a specific console input)
may be filled in automatically into the General Patch window after you
made a new title, or recalled a snapshot or preset. These labels are then
read from a file saved centrally. So you can change your studio wiring,
only having to update one file, and then seeing your updated wiring even
when opening former projects.
2 The labels within your channels may be filled with the names of connected
sources, copying labels from the source to the channel whenever a patch
point is set, cleared, or changed.
Device Label File
(centrally)

Copy

Option: "Use Device Labels"

General Patch

Device Labels

e.g.

e.g.

e.g.

AES #1

Vocal

Track 1

Co

py

y
Cop

Option: "Defeat Source Label Inheritance"

Option: "Overwrite Channel User Labels with Device Labels"

Displays e.g.:

Note:

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Channel

User Labels

Fixed Labels

( Sources )

(Targets)

Vocal
Track 1

The Defeat Source Label Inheritance option is normally not activated. The
other two options may vary, depending on your preferred way of working.
In principle, you can select to work according to one of the two methods
described below.

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4.4.2.6.1

Automatic Label Propagation

The philosophy on Vista consoles concerning labeling is not to name any
labels within channels, but to name patch sources in the General Patch, letting the system propagate them to the connected channels. Specifically, we
are talking about two kinds of labels which will be propagated in this way:
Device labels (technical labels), and User labels (session labels, e.g. track
sheet). This also supports the workflow, whereby the operator first names his
sources and then patches them to any possible channel.
Advantages: If a source is connected to more than one channel, or if a patch
is changed, the labels are correctly updated on the actually patched channels.
You see what you hear!
Change View by Clicking
on Label Type Button
in the GC's Toolbar

General Patch

Device Labels

User Labels

Fixed Labels

( Sources )

e.g.

e.g.

Vocal

Track 1

Channel

e.g.
AES #1

Displays e.g.:

How to Proceed:

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(Targets)

Vocal
Track 1

Switch on the Use Device Labels option in the SysAdmin/Device Labels

menu.
Switch on the Overwrite Chan. User label with Device Label option in
the SysAdmin/Device Labels menu.
There must be a file __DeviceLabels.pre present, which holds your
device labels (technical labels), e.g. Studio 1, Mic 1).
Type your track sheet into the USER LABEL field of the General Patch.
Patch Sources to Channels, and you will see session labels displayed in
the top line of each channel You may have to press the GLOBAL VIEW:
LABEL TYPE key a few times until you see device labels or fixed labels
(the actual channel number) in the second line.

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This may look as follows:

Large Label = "Inherited Label"

Small Label toggles to show 3 Channel Label Types

Note:

4.4.2.7

In the Strip Setup window it is possible to display either the session labels
(standard) or the device labels, depending on the option selected in the lower
right corner of the window.

What are Device Labels?

All labels shown in the general patch and within the channel strips are always
saved together with all audio settings within snapshots and presets. Some of
the labels you will name in the patch will most likely represent your studio
environment and where your equipment is connected to the console. E.g. you
might possibly want to label the AES/EBU input 30 as Tascam 11, in order
to recognize that you have connected your recorder that way. Since these
labels are contained within each snapshot or preset, it is theoretically also
possible to change the labels just by recalling a snapshot. In some cases this
may be very useful (e.g. if you have entered a track sheet, but would like to
use a different one for your next song), but in some cases this can be a handicap: E.g. you change your studio wiring slightly, e.g. add new equipment,
but still want to use some of your older project settings. This would lead
to the fact that you would have to update all the old snapshots and presets.
The same handicap applies if you start with a new title. You will most likely
want to see your equipment names appear in the patch automatically. This
is where the device label functionality comes up. We have one file holding
your device labels (such as Tascam 11 for the AES/EBU input 30), and the
system is able to automatically read these labels from that file and apply it to
your current General Patch screen.

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4.4.2.8

How to Activate the Device Label Functionality

In order to activate the automatic import of your device labels from the device
label file, two conditions must be met:
There must be a preset file named __DeviceLabels.pre matching your
current session configuration and holding your device label names.
The User Device Labels option in the SysAdmin/Device Labels menu
must be activated.
This will automatically show the device labels in the General Patch window
when switching to the corresponding label mode.

4.4.2.9

Where are the Device Labels Saved?

As you know, these labels are normally not changed for a specific session,
but will stay constant in a studio installation. This is why they are saved in a
preset (*.pre) file, being valid for a whole session configuration, rather than
just a snapshot or title. If you make a new session configuration or edit an
existing one using the Session Configuration Tool, you will need to import
the __DeviceLabels.pre file from the previous configuration.

4.4.2.10

How to Create or Overwrite a Device Label

If you create a device label file from scratch or overwrite an existing one with
a new one, you may proceed as follows:
Enter the device labels into the USER LABEL field of the patch (input
ports and output ports). Do this in the USER LABEL field.
Enter SysAdmin mode in the GC by clicking the padlock icon on the
toolbar, and enter the system password.
Go to the SysAdmin/Device Labels menu and select Save and Apply
User Labels as Device Labels.

4.4.2.11

How to Edit an Existing Device Label

Since the device labels are saved in a regular preset file, you just log in as the
system administrator and recall the__DeviceLabels.pre file. You will see
the device labels again in the patch (USER LABEL field). Now you may edit
them; then either click UPDATE, or go to the SysAdmin / Device Labels /
Save and Apply User Labels as Device Labels menu.

4.4.2.12

Background Information
If you are using the device label functionality (option SysAdmin/Device
Labels/Use Device Labels), you activate an automatic and repetitive import
of these labels from the __DeviceLabels.pre file into your patch. If you
create any snapshots, the current device labels will be part of the snapshot.
However, if you recall older snapshots that have been saved at a time when
no device labels were active, that snapshot on the disk will not be changed at
all. The snapshot will be loaded onto your console, visualized as it was saved
in your General Patch screen; but an instant later the current device labels
of your console will be copied into your patch. If you now choose to update
your snapshot or make any new ones, these will contain exactly the labels
you see on your General Patch screen.

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4.4.3

Channel Patch
The Channel Patch page of the Graphic Controller can be called up in three
different ways:
From the Page menu, by clicking on the appropriate menu item;
Using the Page icons, by clicking on the appropriate icon in the toolbar;
Using the CHAN PATCH function key on the control surface which is
probably the fastest way.
To quickly switch back from General Patch to Channel Patch page, just click
the right trackball button while the cursor is positioned over the X-Y field in
the General Patch.
As its name implies, the Channel Patch is channel-oriented, which means that
only one channel is displayed at a time.
To select a channel to be displayed in the Channel Patch page:
Press the LINK/SEL key on the desired Desk Channel Strip, or
Use the Channel Selector in the Toolbar (refer to chapter 4.2.1).

Essentially, the Channel Patch provides a block diagram of the selected

channels audio path. All channel types can be selected. From the Channel
Patch, you can:
View General Patch connections to and from the selected channel;
Directly access the channels patch points in the General Patch;
View channels DSP processing blocks;
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Set the order of DSP processing blocks in the selected channels audio
path;
Toggle three-way input selector of the selected channel;
Toggle selected channels two-way Dynamics key selector;
View and edit selected channels Desk Labels;
Switch off selected channels Label Inheritance function;
Set the Metering source point in the selected channels audio path;
Set the Direct Output source point in the selected channels audio path;
Setup the Sidechain Links;
Activate the Sidechain Link for the selected channel.
4.4.3.1

Using the Channel Patch for Patching Audio

In1
In2
Gen (In3)
Snd
Ret
Ext
Dir

The Channel Patch page displays the following channel-oriented patch items
of the selected channel for viewing:
The first audio input;
The second audio input;
The third audio input;
The Insert Send;
The Insert Return;
The key signal to Dynamics Block;
The Direct Out.
These labels will be displayed according to the current Label Mode. To edit
the patch connection, just double-click the left trackball button while the
cursor is positioned on a connection. This will toggle over to the General
Patch page, allowing actions to be performed. The connection you pointed
at will be pre-selected automatically.

Examples for channel Im1 (Input Mono 1):

toggles to General Patch
pre-selects Target Im 1 Input m 1 In1
now only select a Source and patch it.
Double-click on Dir field toggles to General Patch
pre-selects Source Im 1 Input m 1 DirOut
now only select a Target and patch it.
Obviously, if the connection you selected is a Source (Snd, Dir), you will
only have to select a Target in the General Patch. If the connection is a Target
(In1, In2, Gen, Ret, Ext), you will only have to select a Source.
All patch cross-points are saved with Snapshots and Presets.

Double-click on In1 field

Tip

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To quickly toggle the display from Channel Patch to General Patch page, just
click the right trackball button while the cursor is positioned anywhere in the
Channel Patch page.
To quickly switch back from General Patch to Channel Patch page, just click
the right trackball button while the cursor is positioned over the X-Y field in
the General Patch.

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4.4.3.2

Setting the Order of DSP Processing Blocks

The following processing blocks (provided they have been configured) can
be placed individually at different locations along the Audio Path of each
channel:
EQ;
Insert Point;
Dynamics (Compressor/Limiter/Expander/Gate/Sidechain);
Delay;
Fader & ON/OFF Mute.
The actual order of the system blocks is user-modifiable, and can be changed
at any time. The order is saved with Snapshots and Presets.
To change the system-block order, use the familiar drag-and-drop technique:
Click on the selected blocks, and hold down the trackball button;
Available positions in the signal path are shown as a reversed embossed
graphic;
Drag the selected block to the required position in the signal path;
If the block can be inserted at that location, the block name will turn
red;
Release the button and the selected block will be inserted into the new
location.

4.4.3.3

On-screen Toggles for Input Selector and Dynamics Key Selector

Input Selector

Dynamics Key Selector

To toggle the three-way input selector (In1, In2, Gen), click on the switch
icon that corresponds to the location at which you want the selector to point.
The Desk Input Selector keys will follow the changes, and display the correct
source.
To toggle the two-way input selector (Int, Ext), click on the switch icon that
corresponds to the location at which you want the selector to point.
The selector settings are saved within Snapshots.

4.4.3.4

Editing the Channel User Labels

Double-click on the User Label field (Usr) to open the Edit window. Proceed
to edit and/or change the Desk Label using the same techniques used in the
General Patch.

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4.4.3.5

Set the Metering and Direct Out Source Point

Set Metering Source Point:

To set the Metering Source point in the selected channels audio path, click
on one of the three Meter boxes. The channel meter will now be sourced from
the selected point in the signal path.
Available points in the signal path are:
After Input Block;
After Fader & Mute;
After Direct Out level control.
The Meter Source point is saved within Snapshots and Presets.

Note:

There will only be two Meter Source points if Direct Outputs have not been
configured for the selected channel.
To set the Metering Source points for more channels at a time, use the Option
Meter/Generator menu (refer to chapter 4.6.4.1).

Set Direct Output source Point:

If a Direct Output is included in a channels configuration, it can be fed from

one of three points in the audio path. To set the Direct Output source point,
click on one of the three wires connected to the Dir Box (the current connection will be shown solid, while the two possible connections are displayed
as dotted lines).
The Direct Out will now be fed from the selected point in the signal path.
Available points in the signal path are:
After Input Block;
Pre Fader & Mute;
After Fader & Mute.
The selected Direct Output source points are saved within Snapshots and
Presets.

Tip

4.4.3.6

If you have changed the order of the processing blocks, note that the Meter
and Direct Out source points will move together with the processing blocks to
which they are attached (except the Input Block, which cannot be moved).

Switch off the Label Inheritance

The Desk Label displays will show Source Labels (from the General Patch)
if the console is set to Inherited Label mode and if a source is patched in
to the channel. If you wish to remain in Inherited Mode, but do not wish
to see Source Labels for certain channels, check the Defeat Source Label
Inheritance box. The Desk Label display will now show the name of the
channel rather than the Source Label, assuming the User Label on the
Channel Patch has not been changed from the default. If the User Label has
been changed on the Channel Patch screen, the Desk Labels will display
this User Label when the Defeat Source Label Inheritance box has been
checked. User Labels entered on the Channel Patch screen are saved with
Snapshots and Presets.

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4.4.3.7

Setup & Activate the Dynamics Sidechain Link

The effect of a Dynamics Sidechain Link, if activated, is identical to any item
of outboard gear set to Link or Stereo mode. This function is used to control
between two and eight Dynamics Processors inserted into up to eight different
channels. Regardless of which channel is carrying the highest signal level, all
processors will the provide the same gain modification. In this way, Stereo
or Multi-channel Surround image stability will be preserved. Unlike in many
analog consoles with dynamics units, the channels to be linked do not need
to have adjacent locations.

Note:

The number of Sidechain Links available (if any) is determined by the Session Configuration. Additional links can only be created using the Session
Configuration Tool.
To activate the Sidechain Link for a selected channel, check the Enable
Sidechain Link box. This will activate linking of the Sidechain with another
channel, or with other channels assigned to that particular Link Group. The
channel must be assigned to a Link Group in order for the Enable Sidechain
Link box to function. The SCL (Sidechain Link) keys on the Vistonics will
follow the selections.
The status of the Sidechain Link is saved within Snapshots and Presets.

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Sidechain Link Setup:

Click on the Sidechain Link Setup button to bring up the Sidechain Link
editor screen, which allows selecting available links and adding/removing
of channels to/from the links.

Select Available Sidechain Links

To Delete a Channel From a Link:
Select it and Press DEL on the
Keyboard

View the Selected Link Numbers

Add the Selected Channel to the

Selected Sidechain Link
Select Available Channels

The Vista is able to link together more than two side chains in fact up to
eight per Sidechain Link. For these reasons, a number of Sidechain Links
(each for up to eight member channels) has to be specified during setting up
of the Session Configuration. There can be any number of configured Sidechain Links. A channel can be a member in only one Link at a time.
To set up the Sidechain Links:
Select a Sidechain Link using the on-screen icon;
If there are any members in the Link, they will now be displayed;
Add new member channels with the Add button;
Remove members by selecting one or more of them in the list and pressing
the DEL key on the keyboard;
Proceed to edit the next Link number.
Tip

If a channel is a member of a Sidechain Link, its graphical representation in

the Channel Patch will change:
The following indicates a Dynamics Block:

The following indicates a Dynamics block that is a member of a Sidechain

Link:

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4.4.4

Snapshot Page
The Snapshot page of the Graphic Controller can be called up in four different
ways:
From the Page menu, by clicking on the appropriate menu item
Using the Page icons, by clicking on the appropriate icon in the toolbar
Using the SNAPSHOT function key on the console which is probably the
fastest way.
The Snapshot Page deals with Snapshot and Preset management. Snapshots
and Presets are extremely helpful when working with a digital console as they
contain the static values for all console parameters. The difference between
Snapshots and Presets is simple: while Snapshots can be edited freely, Presets
can only be edited in System Administration mode (refer to chapter 4.7) after
having entered the System Administrator password.
Snapshots are saved within Titles, and Presets are saved with Session Configurations. Because of this, Snapshots are readily available only while using
the Title in which they were created. On the other hand, all Presets that were
created using a particular Session Configuration are available in any Title that
uses that configuration. This allows Presets to be used as templates (based
upon that configuration), while Snapshots are specific to individual projects
or sessions.
An other difference between Snapshots and Presets is that any filtering
mechanism is active for Snapshots only, but not for Presets. This means that
after having recalled a Preset, the user can always be sure to have all audio
settings applied.
Using the Import facility from the File menu, it is possible to use Snapshots
and Presets from other titles and configurations, refer to chapter 4.6.1.4.
Because it is possible to save an unlimited number of Snapshots, Vista operators will probably find themselves using them more and more every day.
A Snapshot or Preset will save:
All audio settings: Fader levels, auxiliary settings, dynamics, delays, input
selectors, etc.
Order of channel processing blocks;
Direct output and meter source points;
Bus assignments;
All labels;
All patch cross-point connections;
Channel and other links;
N1/Mix-minus assignments.
Tip

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Snapshots and Presets always save every control and switch setting for the
entire console. The choice of recalling every setting to every control is up
to the operator. A sophisticated filtering system is available in order to keep
certain settings even when recalling a Snapshot.

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4.4.4.1

Snapshots
To capture a new Snapshot of the various user controls, press the MAKE
SNAPSHOT key on the console:

The new Snapshot will automatically be numbered something like SNAPSHOT

#1, SNAPSHOT #2, etc.

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Now You Can: Recall a Snapshot

Select a Snapshot from the List, and

Click on the Recall button, or
Simply double-click on the Snapshot you wish to recall.
Clicking on the Next button will recall the currently selected snapshot and
automatically move one line down within the Snapshot list and recall the next
Snapshot.
The Snapshot that was recalled last is marked with a small triangle. If the
Snap Confirm option in the Options menu (refer to chapter 4.6.4.6) is checked,
there will be a pop-up dialog requiring confirmation of Snapshot Recall. This
capability is useful for live environments, where you may not wish to delete
or overwrite too easily what you are doing.

Note:

Once a Snapshot or Preset is applied, the existing parameter settings are

replaced by those contained within the Snapshot or Preset. If the previous
settings have not been saved, there is an Undo button available, in order to
go back to the last settings before recalling the Snapshot or Preset.

Name a Snapshot

Select a Snapshot from the List, and

Click on the Name button.
This action will bring up an editing window that allows the user to enter
the new name. Since Snapshots are listed in alphabetical order, by carefully
naming you can arrange them exactly as you wish.

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Update a Snapshot

Select a Snapshot from the List, and

Click on the Update button.
This action will bring up a window that allows the user to confirm the
update. An update will save any changes you since made under the selected
Snapshots name.

The Audio Only button is valid if a partial snapshot is about to be updated.

The update wold normally change audio settings as well as the potential
change in focus of that snapshot. By clicking the Audio Only button, the
focus of the partial snapshot will not be changed, and only parameters of the
corresponding snapshot are being updated.
Delete Snapshot(s)

Select a Snapshot from the List, or

Select any number of Snapshots from the List using the familiar Windows
multiple-selection techniques. (Either drag the trackball, or press Shift
and select with the cursor). Click on the Delete button, an action that will
bring up a window to confirm the deletion.

View the Snapshot Info

Select a Snapshot from the List, or

Click on the Info button. This will bring up a window displaying the
Snapshot Name, the Snapshot Creation Date & Time, and the Snapshot
Last Modification Date & Time.

Snapshots are saved with the current Title, the file extension is *.snp.
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4.4.4.2

Snapshot Crossfading
It is possible to define a crossfade time for each Snapshot. This is done by
simply clicking on the crossfade time and scroll your trackball up or down.
If the crossfade feature is deactivated (see below), it is impossible to adjust
the crossfade time.
The Snapshot crossfading may be deactivated by deselecting the Xfade Active
option on the Snapshot Screen.
Settings that cannot be crossfaded (switches) can either switch at the beginning, in the middle of the crossfade or after the crossfade. This behavior can
be defined in the Snapshot Automation Options window selected from the
Options menu. There, it is also possible to define a Default Crossfade Time.
For an explanation of the Enable Trim Mode option, refer to chapter
4.4.4.5.

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4.4.4.3

Additional Snapshot Functionality

In addition to the dedicated MAKE SNAPSHOT hardware key, there are four
SNAPSHOT 1...4 keys for saving and recalling four individual snapshots on
these keys.
Dedicated
Snapshot Keys

Recall Snapshot
Make Snapshot

Assign a Snapshot to a Key:

To save a snapshot onto one of the 4 keys, push and hold down the MAKE
SNAPSHOT key, then hit the key you would like it to be saved on. Depending
on which of the keys you select, a snapshot will be generated in the Snapshot
List called __Snapx_Key, where x is the number of the selected button between 1 and 4. This snapshot can now be recalled at any time using the dedicated key by holding down the RECALL SNAPSHOT key and pressing the
desired SNAPSHOT key. The need for a two-key operation provides a certain
level of security.
A new snapshot can be applied to one of the dedicated keys even if the button
already has a snapshot saved to it. In this instance, the previously saved
snapshot will be overwritten.

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Tip

To ensure that a snapshot that has been saved on a dedicated key is not
overwritten, and hence lost from the snapshot list, always make the snapshot
twice, once to the key and once in the normal way just by pressing the MAKE
SNAPSHOT key by itself. In this case the same snapshot will appear in the
Snapshot list twice; once called __Snapx_Key and a second time as Snapshot
x. Rename the latter snapshot as required; this will ensure that the snapshot
is not lost even if is removed from the dedicated key.

Note:

It is possible to rename any snapshot already existing in the snapshot list

to __Snapx_Key. Doing this will put the renamed snapshot onto the chosen
hardware key directly without having to recall it first. Make sure that only one
instance of __Snap1_Key, __Snap2_Key, __Snap3_Key, or __Snap4_Key
exists in the Snapshot list at any time.

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Snapshot Preview:

4.4.4.4

By clicking on the PREVIEW button, the console enters this mode. Regardless of which Snapshot the user selects, pink elements within all Vistonics
elements will show any difference between the current console settings and
the settings within the previewed Snapshot. It is still possible to recall any
Snapshot by all mechanisms described above.
When pressing any of the four dedicated SNAPSHOT 1...4 keys without
pressing the RECALL SNAPSHOT key at the same time, that corresponding
snapshot is automatically only previewed. It is also possible to preview it
only momentarily by pressing e.g. the SNAPSHOT 1 key for a longer period;
the key will be lit as long as the preview is active.

Partial Snapshots
It is possible to create snapshots that do not affect the whole console when
recalled. They are called partial snapshots. When recalling such a snapshot,
only some of the channels or even only some of their elements are being
changed on the desk. Partial snapshots are being marked with a checkmark
next to the crossfade time.

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Creating a Partial Snapshot

The easiest way to create a partial snapshot is to gang some channels and
make a snapshot, while having the New Snapshots include: setting set to
Gang:

If no gang is present, the whole console settings will be saved in a full

snapshot. If the New Snapshots include: setting is set to No Mask, there
will always be made a full snapshot, regardless of a gang being present or
not. It is also possible to set the partial snapshot to Active Snapshot Filter.
This will actually create a partial snapshot out of the settings currently not
masked out by a Snapshot Filter.
4.4.4.5

Snapshot Filtering (Static Automation)

At the time of recalling a snapshot, there might be a filter active, leaving
some console settings unchanged upon recall of any snapshot. Each console
parameter can therefore be in one of the following states:
Isolate ( = part of the filter); this parameter will not be influenced by
snapshot recalls. Indication: yellow I.
Read ( = not filtered); this parameter may be changed upon recall of any
snapshots. Indication: none.
Trim ( = offsets applied to snapshot recalls); any changes since the last
snapshot recall will be applied in a relative way to upcoming snapshot
recalls. Indication: red T.
There are some different ways to define the parameters to be filtered out.
Note:

The static automation system (filtering) cannot be active on a console which

has dynamic automation available. The decision which functionality is available is made by an entry in a *.ini file before the system is re-booted, or by
using a special way to boot the system (alternate icon on the desktop).

Channel-Based Masking

You may add whole channels or only parts of them to your mask by pressing
the ISO key (see chapter 2.2 for details).

Entering Edit Filter Mode

When you click the Edit Snapshot Filter button in the toolbar, you will put
the whole console into edit snapshot filter mode. Exit by clicking/pressing
the same button or key again. While the console is in edit snapshot filter
mode, it is not primarily showing audio settings, but actually visualizing the
snapshot filter. Each LED will indicate that this parameter is currently part of
the snapshot filter, meaning being filtered out from snapshot recalling. Vistonics elements are indicating a small letter I Vistonics keys change
their color to yellow if they are part of the snapshot filter. E.g. seeing the EQ
key lit will indicate that this equalizer is currently part of the snapshot filter
including all its parameters. If the key is half-lit, there are some but not all
parameters of that equalizer part of the snapshot filter. If dark, it indicates
that none of the equalizer parameters are part of the snapshot filter. You may
make the whole equalizer be part of the snapshot filter or not by pressing its
key.

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If the console is in edit snapshot filter mode, this is indicated by the opened
EDIT SNAPSHOT FILTER window (as shown below); on a Vista console,
the Vistonics elements are marked by magenta-colored frames in addition.
Notes:

It is of course also possible to use ganging in order to add an element of

multiple channels to the snapshot filter.
To add a whole channel to the snapshot filter, press the ISO key on the channel
strip.
Also the copy/paste mechanism works in order to copy selections across one
or multiple channels.

Adding a Whole Bus to the Snapshot Filter

In edit snapshot filter mode (as described above), the following window is
shown on the GC screen:

This window allows adding a whole group of parameters to your snapshot

filter. Either select one of the four groups on top, or one of the listed buses.
Audio Settings:
Input/Bus Assign Settings:
General Patch Setting:

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Will add all channel processing functions to your snapshot filter.

Will add the input switches of all channels as well as all bus assignments to
your snapshot filter.
Will add the General Patch to your snapshot filter, meaning that no patch
points will change when recalling a snapshot.
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User Labels:
Bus:

Caution:

Will add all user labels (within the General Patch as well as within the channel
strips) to the snapshot filter.
This is a very powerful feature. By clicking e.g. on Aux m 1, you will add
all relevant parameters to your snapshot filter, such that the Mono AUX Bus 1
will not be influenced by any snapshot recalling. Included are:
The levels of all channels routed onto that bus
The bus assign (on/off switch) of all channels for that bus
The corresponding master channel with all its settings
The output patch made from that master channel to any output ports.
Clicking on the Clear All button will completely remove the snapshot filter
and therefore may change all console parameters upon the next snapshot
recall.
Clicking on the Mask All button will protect the whole console (with some
exceptions, such as Patch points) against snapshot recalls, afterwards allowing to enable just single elements to be activated.

De-activating Snapshot Filters

It is possible to de-activate an existing filter in order to re-activate it at a later

point. Click on the corresponding icon in the toolbar to activate/de-activate
the current snapshot filter, or press the MIX ON key on the Automation
panel.
If the snapshot filter is de-activated, the icon for entering the snapshot filter
edit mode is grayed-out and not accessible.

Trim Mode

It is also possible to put elements into Trim mode. In that mode, you may
have recalled a snapshot and make some corrections (e.g. push the fader up by
some dB). This change will then be applied to all following snapshots when
recalling them. This feature is very handy if you have prepared a performance
and need to correct some levels when the show really starts. Obviously it is
good to have that correction applied to all snapshots of the show.
When going back to Read mode, the elements will jump back to the original
snapshot value.

Note:

In order to activate the Trim mode as a third possible status of the elements,
the Enable Trim Mode option must be activated in the Snapshot Automation
Options window. Then the snapshot filter will not only contain two (Read and
Isolate) but three modes: Read, Isolate, and Trim. Switches cannot go into
Trim mode, therefore their indication is not different (yellow I). However,
the rotary controllers and faders will toggle between Read, yellow I for
Isolate and red T for Trim.

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4.4.4.6

Correcting the Mask of a Partial Snapshot

If a partial snapshot already has been made and the user finds that he forgot to
have some channels in that snapshot, there is a powerful method to correct the
mask contained in a partial snapshot. As it has been mentioned at the beginning of this chapter, each snapshot file in general contains all settings of the
console. A partial snapshot just adds an invisible mask to the audio settings.
Therefore it is possible to enter an edit mode, showing the mask of a partial
snapshot and giving the possibility to edit it. Lets say you had channels 1 to 5
in a gang and made a partial snapshot of them, it is easily possible afterwards
to tell the system that this snapshot should have also contained the channel
6. How to do this?

Next to each snapshot there is an Edit link at the very right of the snapshot
list. By clicking this button, you will put the console into the partial snapshot
filter edit mode. Then you will see the same edit dialog box on the screen as
when editing the snapshot filter. Also the desk doesnt show your audio settings anymore, but the mask defining the focus of that partial snapshot. You
may now press ISO on one or more channels, create a gang, and add multiple
channels to the partial snapshot, or touch and press any other control. The
same mechanism will apply as when editing the snapshot filter. Upon clicking
the Edit link again, you leave the edit mode, and the console is back to display
normal audio settings.
When you are not in the edit mode of the partial snapshots mask, you are also
able to copy and paste masks across from one snapshot to one or multiple
others. Simply right-click on the Edit link of a snapshot mask and use the
standard windows commands.

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4.4.4.7

Typical Application Examples

Isolate one or more channels from being changed by upcoming snapshot recalls:
Press ISO on the corresponding channels. On Vista the user may create a gang
first in order to isolate multiple channels at a time.
Isolate just the EQ of one or more channels from being changed by upcoming snapshot recalls:
Press and hold ISO in order to enter the edit snapshot filter mode, indicated by
magenta-colored frames within all Vistonics elements of this channel. All
LEDs will now display their isolation status but not the audio. E.g. if the EQ
button is lit at this time, the EQ is isolated. In order to change the isolation
status, press the corresponding key, touch the fader or knob while still holding
the ISO key. The word ISOLATE will now show up in the generic display
area, indicating that some element is currently isolated. You may also use a
gang in order to isolate one element of multiple channels.
De-Activate the whole snapshot filtering mechanism on the console
Press FILTER OFF on the Control Bay, or click on the snapshot filter icon in
the toolbar to de-activate the snapshot filtering while keeping its definition
for later use.
Create Snapshots, that contain only some of the channels, but not the whole console
Set the New Snapshot includes: option to Gang. Whenever a gang is present, only the gang will be part of the snapshot. If there is no gang, the whole
console is affected by the recall of freshly created snapshots. A snapshot not
affecting the whole channel is graphically marked by a checkmark ( ).
4.4.4.8

Presets
Presets are exactly the same as Snapshots. However, they normally can only
be recalled but not edited; so their main purpose is to represent as the name
implies a number of starting console setups that can be recalled, used to
build particular refinements from there, and then saved as normal Snapshot
files.
To access Presets from the Snapshot Page, click on the Presets tag. Presets
are saved with the Session Configuration, because it is assumed that they may
be valid for more than one Title.
The file extension is *.pre.
If the System Administration mode (refer to chapter 4.7) is activated (by
entering the appropriate System Administrator password), Presets can be
edited exactly in the same way as Snapshots.

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4.4.4.9

Default Settings
In the Preset List, there is always one line labeled defaultSettings. This is a
Preset that is automatically generated for every Session Configuration, but
no file will be found in the corresponding Session Configuration directory
(as would be the case for other Presets).
When recalled, the defaultSettings will reset the console to the defaults it
functions much like a Total Reset.

DefaultSettings cannot be edited, renamed, deleted or updated.

4.4.4.10

Files and Backup

Snapshots and Presets are saved as Windows-compatible files.
Usually, Snapshots are saved in the current Title directory, with a *.snp file
extension.
Usually, Presets are saved in the Session Configuration directory, with a *.pre
file extension.
All the Snapshot and Preset files can be copied and/or moved to and restored
from a backup medium using the Make/Restore Backup facility (refer to
chapter 4.6.1.3).

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4.4.5

Strip Setup
The Strip setup page can be called up in three different ways:
From the Page menu
Using the Page Icons
Using the STRIP SETUP function key in the Control Bay of the Vista surface.

The Strip Setup page has a number of functions. Primarily, the Strip Setup
window allows the user to assign DSP Channels onto the Vista surface. It
also, however, gives a very good overview of the console and may be used
during general operation of the console to help the user navigate around the
console.
Please refer to chapter 2.6.12 for information on navigation philosophy.
The Strip Setup page (see below) provides a representation of the six sections of the Vista virtual surface. Although the concept of navigation is
based on scrolling in a horizontal plane, the representation of the six sections
is displayed in a vertical plane because of the logistics of screen space. The
navigation system allows the user to decide which area of the virtual console
the Control Surface will represent. The number of bays within a section will
automatically be identical to the number of physical bays of the control surface. In the example shown below, the Control Surface will have five fader
bays a total of 50 faders. The total number of virtual channel strips available
to represent DSP channels is 6 x 50 = 300 in this example.

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Color is also used to aid the user in channel identification. The colors relate
to the channel type being shown and these are consistent with the use of color
for channel identification on the screens of the fader bays.

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4.4.5.1

How to Use the Strip Setup

To create a new strip setup or to adapt an existing strip setup, first call up the
strip setup page (see above).

4.4.5.1.1

Assigning a Single DSP Channel to a Single Channel Strip

To assign a channel to one of the virtual channel strips, right-click on the
virtual channel strip that the DSP channel is to be displayed on. This will
highlight the chosen channel and a selection menu will appear, listing all
the categories of channel types. These are submenus that contain a list of the
available DSP channels in the loaded Session Configuration. Move the cursor
to the drop-down menu of the desired channel type and select the desired
channel from the list to assign it to the highlighted channel strip.

4.4.5.1.2

Assigning Multiple Channels in one Single Action

It is possible to assign consecutive DSP channels onto consecutive channel
strips in one action. First use the hold and drag function of windows to select
a number of consecutive channel strips. This will highlight the selected channel strips. Right-click on any of the highlighted channels to open the channel
selector menus. Select the first channel of the consecutive channels to be
assigned. Consecutive DSP Channels will now be pasted to fill the number
of highlighted strips.
Tip

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By double-clicking on a single channel, the complete bay of 10 strips that the

channel strip resides is selected. Three clicks on a single channel will select
all channel strips within the complete Section.

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4.4.5.1.3

Moving Already Assigned DSP Channels to Other Channel Strips

If a DSP channel is already assigned to a channel strip, it is extremely easy to
change the channel strip on which it is shown. Simply click-and-hold the left
trackball button on the desired channel and drag-and-drop it onto any other
channel strip. This will remove it from its present position and place it in
the new channel strip. Whilst the left trackball button is held with a selected
channel, a ghost view will appear to aid navigation to its newly selected
channel strip. If it is dropped onto a channel strip which is already displaying
a channel, the new channel will replace the existing one.

It is also possible to move numerous consecutive channels in one block by

highlighting a number of channels. Click-and-hold the left trackball button
and drag-and-drop the channels to the new location. A ghost view of the
selected channels appears to help navigation.

Tips

Note:

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By holding the Ctrl key whilst dragging-and-dropping channels, the DSP

channels will be copied to the selected destination, instead of being moved
from their original position. Standard Windows Copy/Paste functionality
(Ctrl+c for copy, Ctrl+v for paste, Ctrl+x for cut) is possible once channel
strips are highlighted.
If ten channel strips are copied or cut, and only five channel strips are highlighted to paste the DSP Channels into, then only the first five DSP channels
of the copied ten will be pasted.

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4.4.5.1.4

Useful Information

4.4.5.1.5

Any DSP Channel can be assigned to any Channel Strip on the virtual control
surface.
Any DSP Channel can be assigned more than once to several different Channel Strips on any Section.
It is not necessary to assign all DSP Channels available in the loaded configuration; however, there will be no control of these channels from the control
surface.
Assigning DSP Channels to Channel Strips has no affect on audio. It is purely
a viewing function, and therefore changing the strip setup can be done at any
time whilst operating the console.
An indication is provided to highlight which bays are currently displayed on
the physical console. These displayed bays are in dark gray.

Labels in Strip Setup

The most useful label type to show in strip setup is the Inherited Label.
This is the session label of the source that is patched to a DSP channel and
also relates to the large label in the channel strip display. See chapter 4.4.2.6
for more information regarding the Vista labeling system. For this reason, a
checkbox is provided which locks the label type view of Strip Setup to show
the Inherited labels (see below). Check the Use Inherited Labels box to
always show Inherited Labels in the Strip Setup window.

If the Use Inherited Labels box is not checked, the label type shown in the
Strip Setup will follow the choice of the label displayed by the smaller label
in the Channel Strips. See chapter 4.4.2.6 for a description of this label.

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4.4.5.1.6

Meters
The Strip Setup page provides an excellent overview of the meter activity of
the channels on the virtual console.
Every channel displayed on the virtual console surface has a slow meter which
is a slow indication of signal activity at this channels input. Furthermore,
by use of color the user can identify whether the channel fader is open and
whether the channel is switched on. If the meter signal shown in the Strip
Setup window is blue, this means that the DSP channel has its fader open and
channel on. If the meter signal is gray, then the channel has a signal associated
with it, but either the channel fader is closed or the channel is muted. If the
meters are red, they are currently in Overload status.

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4.5

Second Level of Operation: The Toolbar Functions

The toolbar contains a number of short-cut icons for the most important Vista
system functions. There are four (or five) individual parts of the toolbar:
Page Selection
Channel Selection
Tools
System Functions
Multidesk Groups (if configured).
Each of the toolbar parts can be switched on and off individually. The easiest
way to do so is the View menu, item toolbar (refer to chapter 4.2.1):

Page Selection

4.5.1

Channel Selection

Tools

System Functions

Page Selection
There are five main Graphic Controller pages, each of them dealing with a
different Vista operating function:
General Patch Page
Channel Patch Page
Snapshot Page
Cue List Page
Strip Setup Page
General Patch:
This action brings up the General Patch page (also refer to chapter 4.4.2).
Channel Patch:
This action brings up the Channel Patch page (also refer to chapter 4.4.3).
Snapshot:
This action brings up the Snapshot page (also refer to chapter 4.4.4).
Cue List:
This action brings up the Cue List page (also refer to chapter 4.9.3).
Strip Setup:
This action brings up the Strip Setup page (also refer to chapter 4.4.5).
If multiple-page display is selected, this will only affect the currently selected
page.
Tip

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The Graphic Controllers main pages can also be called up as follows:

From the Page menu, by clicking on the appropriate menu item;
Using the Page icons, by clicking on the appropriate icon in the toolbar;
Using function keys on the control surface keyboard which is probably
the fastest way.

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4.5.2

Tools
The various control panels from the Tools section of the toolbar can be called
up or hidden in two different ways:
From the View menu;
Using the toolbar icons, by clicking on the appropriate icon.

4.5.2.1

Tools: Title Memo

The Title Memo editor page allows any relevant Title information to be kept
for later use. There is one Memo per Title. Its contents can include Studio
name, Producer Name, Engineer Name, Artist Name, plus a free-form Memo
pad. The Title directory location and modification date/time are displayed at
the top of the Title Memo page.
To open the Title Memo use:
notepad and pencil icon in the toolbar
The
The View menu, by clicking on the appropriate menu item.

Note:

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The Title Memo has no function key on the control surface keyboard.

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4.5.3

Channel Selection Tool

This tool allows one console Channel to be selected for control of various
centralized functions on the Graphic Controller, such as Channel Patch. There
are three arrow buttons:
Selects the previous channel from the list;
Selects the next channel from the list;
Opens the full Channel List to select a channel. Labels are displayed according
to the selected Label Mode (refer to chapter 4.3.3).

4.5.4
4.5.4.1

System Functions
System Functions: Protect/Unprotect SysAdmin Mode
This action allows the system user mode to be toggled from Standard to
System Administration. The System Administration mode allows access to
some system functions that are not needed in normal operation.
Accessing the System Administration mode can be accomplished in two
ways:
padlock icon in the toolbar;
Clicking the
Selecting SysAdmin in the User menu.
From Standard Mode (closed padlock icon): Click on the padlock icon, or
select SysAdmin in the User menu. You will be asked to enter the System
Administration Password.

After complying with the request, an additional menu item SysAdmin will
appear in the menu bar.
From System Administration mode (open padlock icon): Click on the padlock
icon or select Protect in the User menu to exit this mode.
For more details on the User/Protect menu and the System Administration
menu, refer to chapters 4.6.5 and 4.7.

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4.5.4.2

System Functions: Label Mode Selector

This icon allows the Label Mode for both Desk Labels and the Source/Target
Labels to be set at the same time.
Label Mode is toggled through to display:
Fixed Labels (labels created according to the Session Configuration);
User Labels (labels entered by the user in the General and Channel Patch);
Inherited/Device Labels (General Patch Source labels used on the control
surface).
Refer to chapter 4.3.3 for more information on Labels.

4.5.4.3

System Functions: The Surveyor

The Surveyor button keeps the operator informed about general system status.
The buttons icon changes to indicate the overall condition of the Vista. These
indications are as follows:
Yellow triangle: Loading. System is booting, look at the Status Bar;
Green square: OK. Everything is fine;
Green square with yellow diamond: Not Found. A system element cannot be
found. This is sometimes seen when a Session Configuration is loading. Other
time it may indicate a problem.
Red circle: Error: Something is wrong. Open the Surveyor to see what is
malfunctioning.
Grey circle: Not Used. A system element is defined but is not in use.

You can view more details about the System Status by clicking on the Surveyor button, which will then open the Surveyor page.
Tip

If you wish to determine which Session Configuration is currently loaded,

also click on the Surveyor button. Other current system files (such as monitor
files) may be found within the Surveyor, but may be nested within subdirectories.
For more information on the Surveyor refer to chapter 4.8.

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4.6
4.6.1

Third Level of Operation: Menu Items

The File Menu
The File menu contains most of the Vista systems bookkeeping functions.
Management of Projects, Titles, and Mixes, access to Session Configurations,
Backup and Import functions, and the Exit menu are controlled from here.

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4.6.1.1

Titles and Projects

The Title is the main container for all the session data. Titles contain all
Snapshot, Mix, Cue List, Title Memo, and other files that relate to each session. Titles also contain pointers that recall the appropriate Session Configuration, Monitor file, and so on.
Titles are found in a Project folder. Project folders may be created along with
a new Title. For example, a Project folder might be created at the start of an
album project when the Title for the first song was made. Subsequent Titles
could be created for each of the other songs and placed in that albums Project
folder. Projects are located in the D950PROJECTS folder.
New Title:

This action opens a dialog box that enables the creation and selection of a
name for a new Project and/or Title. You can freely create any number of
Projects and Titles.
Let us assume you wanted to create a new Project and Title in the Subdirectory
D950PROJECTS. Click on File in the Menu bar, select New Title, and youll
end up with a familiar Windows box:

Click on the New Project button and a name entry box will appear. Type in
a new Project name for example, CITY TV1 and click OK. A new folder
with the name you just entered will appear in the list. It will be highlighted
in gray, indicating that it has been selected to receive new Titles. The New
Title name entry field (at the bottom of the box) will now automatically display Title #1 (or the next available number). This will be highlighted in blue,
indicating that it is ready to be over-written with a proper name, for example,
BLUES CITY. Once a new Title name has been entered, click the New Title
button or press the Enter key. These actions will perform the following:
Creating a new Project subdirectory (C:\D950PROJECTS\CITY TV1);
Creating a new Title subdirectory (BLUES CITY) within the CITY TV1
project folder (C:\D950PROJECTS\CITY TV1\BLUES CITY);

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Creating the necessary Title-oriented files that are saved within this Title
subdirectory;
Display of the current Title name in the Title Bar.

Tip

If you do not create a new Title, all your subsequent data will be saved in
whichever Title is currently open. If a Title is not currently open (as is the
case after loading a Session Configuration), you will be prompted to open or
create a new Title before data can be saved.
You should generally organize your Subdirectories in such a way that C:
\D950PROJECTS remains the parent directory, because the system automatically searches for that particular directory while opening Projects, Titles, etc.
After several weeks of using the Vista system, your directory structure may
create something like this:
Parent

Your Projects

Your Titles
\FirstSong

C:\D950\Projects

\SuperProductions_1
\SecondSong

C:\D950\Projects

\SuperProductions_2

\EveningShow

C:\D950\Projects

\SuperProductions_3

\MorningShow

Your Data
\FirstSong.tit
\Snap1
\Snap2
\SecondSong.tit
\Snap11
\Snap12
\Mix1
\Mix2
\EveningShow.tit
\SnapBaby
\SnapBaby_new
\Mix
\MorningShow.tit
\CoffeSnap_1
\CoffeSnap_2
\MyNewMix

...and so on.

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Open Title:

This action opens the list of Project folders from the D950PROJECTS directory.
This enables the selection and opening of an existing Title from a selected
folder. Titles can also be deleted from this menu item.
To open an existing Title, first double-click on the desired Project Subdirectory, an action that will move you into its Subdirectory:

The desired Title can now be opened by double-clicking on the Title folder
or by highlighting it and clicking the Open button. This action will perform
the following:
Make the new Title the current Title, making available all snapshots,
mixes, etc;
Indicate the Current Title name in the Title Bar.
A Title can be deleted by highlighting a Titles name (while in Open Title)
and clicking on the Delete button. You will be asked to confirm this action.
You cannot directly delete a Project folder using this technique. However, if
you delete the last Title from within a Project folder, you will be notified that
the empty folder will be automatically deleted.
Note:

Black:
Blue:

Red:

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Titles are color-coded according to the status of the Session Configuration

that was in use during their creation. Black, blue, and red Title names indicate
the following:
The Session Configuration needed for this Title is currently loaded;
The Session Configuration needed for this Title is not currently loaded. You
will have the option of loading the needed configuration (if it is available
on the PC), converting the selected Title to work with the currently loaded
configuration, or canceling;
The Session Configuration needed for this Title is no more available on the
PC.

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Save Title As...:

Opens a Windows dialog box allowing to select a new name and to save the
current Titles data under a new name. The process is similar to New Title
because it creates a new Title under a new name. The difference is that it also
copies all the snapshots, mixes, etc., from the current Title into the new Title.
So, it will do the following:
Create a new Title subdirectory with the new name;
Copy all data from the Current Title into this subdirectory;
Make the new Title the current Title;
Indicates the Current Title in the Title Bar.
To save a current Title under a new name:
Select Save Title As... from the File menu;
Highlight the desired Project Folder;
Type an appropriate Title name in the entry box;
Click on the Save button or press the keyboard Enter key.

4.6.1.2

Save
Selection of the Save menu item will save all Title oriented information to
the currently opened Title.
Since this happens automatically when changing to an other title or when
leaving the application, this button possibly may never be used.

4.6.1.3

Make/Restore Backup
The Vista provides a powerful and easy-to-use data backup utility. This feature enables the creation of a Backup subdirectory that contains a copy of all
files from the Title folder and all pertinent Session Configuration and system
files needed to recreate the session on this or another Vista. These Backup
files can be used for data protection and easy transportation of Titles between
Vista equipped facilities.
Backup directories can be made on any storage media of sufficient size. They
can be used to restore all of the files and information needed to recreate the
Title at a later date or on a different Vista.
Make Backup:

This action opens the Create Backup window, where a destination for the
Backup directory is selected. Backup directories are automatically named by
the utility. After the BCK_D950_BACKUP portion of the title, names include
the Title name and dates of modification and origination.
To create a Backup directory for the current Title:
Select Make Backup from the File menu;
Select the destination for the Backup directory;
Click the OK button or press Enter on the keyboard
These actions will perform the following:
Creation of a new Backup directory at the desired location;
Name and date the directory.

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Restore Backup:

This action opens the Restore Backup window entitled, where a Backup
directory is selected for reloading.
To restore a Backup directory:
Select Restore Backup from the File menu;
Highlight the desired Backup directory;
Click the OK button or press Enter on the keyboard;
A pop-up dialog box will appear giving you the option of Replacing the Existing Title, Saving the Restored Title as a new Title, or Canceling the Backup.
If you select Replace the Existing Title, you will not be able to replace the
Session Configuration if it is currently loaded and will be given the option
to continue. You will also have the opportunity to replace the Monitor file
if it also exists. Choosing Restoring the Title As will result in the normal
Windows save screen.

Notes:

4.6.1.4

Regardless of the method used to create it, after a Backup has been restored,
the resulting Title must be opened before use.
If you move production data between different consoles, it is advisable not to
restore certain files onto the destination console, since it may have different
hardware. This is valid in particular for the monitoring.ini files. You will
be asked whether you want to restore these files as well; in this case answer
negative if the two consoles are not identical in terms of monitoring.

Import
Using the Import utility in the File menu, Snapshots, Presets, Mixes, and Titles
can be imported.

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Import:

This action is used to select the type of data you wish to Import. Once the
type of data is selected, an open window appears allowing to select the data
source. The following rules apply when using the Import utility:
Snapshots and Mixes can only be imported into an open Title;
Imported Presets will be saved with the current Session Configuration;
Items can be renamed as the are imported;
A Title will need conversion if it is imported for use with a different
Session Configuration.

Note:

Importing a Snapshot, Preset, Mix, and/or Title will not make it current. For
example, a Snapshot will not be applied to the console upon being imported,
it must be recalled using the Snapshot page.

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4.6.1.5

Load Session Configuration

Note:

If there is more than one Session Configuration on your Vista system, you may
need to access this menu item in order to load a different Session Configuration. Since Titles will automatically open the correct Session Configuration
(if its not already loaded), using the Load Configuration menu item is only
necessary when loading a Session Configuration without opening a Title.
Regardless of how a Session Configuration is recalled, this process takes 20
to 30 seconds to complete, and mutes the console during loading.
Keep in mind that all Titles contain pointers that enable the loading of the
proper Session Configuration and other appropriate files. If the Titles Session
Configuration is different from the one that is currently loaded, you will be
asked to either confirm the loading of the correct Configuration or to convert
the Title for use with the current one. Therefore, during routine operation,
it is not necessary to use the Load Configuration menu unless the user has
created or modified a Session Configuration during that session. Typically, the
Load Configuration menu item should only be used by the facilitys System
Administrator or by advanced users.
Session Configuration subdirectories reside in the C:\D950SYSTEMBD subdirectory. These subdirectories contain the following files:
Virtual Mixing Console (VMC) files: These files (with *.vmc extensions) are created by the Session Configuration Tool. They contain all the
Configuration data needed for the Session Configuration Tool to create a
core file;
Core files: These files (with *.cor extensions) are created by the Session
Configuration Tool. They contain the actual code used by the DSP core;
Preset files: These files (if any exist) are created within Titles but are
saved with Session Configurations so they can be used with any Title that
uses a particular Configuration. Preset files have .pre extensions.

Session Configuration:

This action opens a dialog box that allows the selection and opening of an
existing Session Configuration. A list of available Session Configurations for
selection will be displayed.

Tip

You should generally organize your Session Configurations in such a way

that C:\D950SYSTEMDB remains the parent directory, because the system
automatically searches for that directory during opening of a Title or Session
Configuration.
To load a configuration, double-click on it, or highlight it and click the Open
button. This will do the following:
Mute the consoles audio paths (including the monitoring section);
Load the appropriate VMC data (core file) into the system, and check
their validity;
Erase the old Session Configuration DSP software from the Flash
EPROM in the DSP Core, and load the new DSP software;
Reload the control surface desk (the Channel Strips will go blank for a
few moments);
Load the appropriate Monitor Configuration file;
Activate the last used preferences belonging to the newly loaded Session
Configuration.

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Notes:

4.6.1.6

When a Session Configuration is loaded via the Load Configuration menu,

the currently open Title will be closed; no new Title will be opened. Before
any data can be saved using the newly loaded Configuration, an existing Title
must be opened or a new one must be created.
If a Session Configuration is displayed in red this means that this Configuration has not been compiled properly by the Session Configuration Tool. Either
run the tool again or delete this Configuration.

Exit Vista Application

There are three possible ways of quitting the Vista Software application. It is
recommended to use the File menus Exit item.
Exit GC

This action will close the Graphic Controller (Vista System application) while
simultaneously muting all monitoring outputs, and returning to the Windows
NT operating system. All other programs and applications continue to run.

Exit System

This action will close the Graphic Controller (Vista System application) while
simultaneously muting all monitoring outputs. It also quits all other running
applications and the Windows operating System. The controller PC will then
be ready to be switched off.
In case the standard UPS (Un-interruptible Power Supply) is installed, and
the associated PowerChute utility is configured to do so, this will also turn
off the UPS/PC combination automatically after a pre-set time period.

Using Main Window Control

main window
It is also possible to quit the Vista application by clicking on
control. There is no confirm box in this case, and the application is terminated
immediately.
main
It could be potentially dangerous for your session if you click on
window control, because the application will be terminated, and audio will
no longer pass. However, the data that was in use will be written to the last
known session and shutdown files and will not be lost.

Note:

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It is possible for an expert to adjust settings in order to make the

disappear.

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4.6.2

The View Menu

The View Menu contains commands for opening various Pages and Tools,
and defining the appearance of the toolbar (refer to chapter 4.2.1).
View/Toolbar:

This action displays the various items of the Toolbar/Status Bar to be checked.
The toolbar contains a number of short-cut icons for accessing the Vistas
most important functions. When checked, the following icon groups are displayed:
Status bar
Page selection
Channel Selection
Tools
System functions
Multidesk Groups (if configured).

View/Snapshot Filter:

This action toggles display of the Snapshot Filter Panel (refer to chapter
4.4.4.5).
This action toggles display of the Title Memo Panel (refer to chapter
4.5.2.1).
This action opens the Clipboard Library window (refer to chapter 2.8).

View/Memo:
View/Clipboard Library:

The various Graphic Controller windows can be called up or hidden in two

different ways:
Via the View menu
Using the toolbar icons, by clicking on the appropriate icon.

4.6.3

The Page Menu

There are five main Graphic Controller pages, each of them dealing with a
different operating part of the Vista system.
This menu has been described in detail in chapter 4.4.

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4.6.4

The Option Menu

The Option Menu is used to set up various operating modes, preferences,
and options. It consists of several items, some of which may not be available
if the appropriate Vista option is not installed. Items in the upper part will
generally bring up a screen for selection of settings and operating modes; the
lower part contains two items that can be directly checked from the menu.

4.6.4.1

Option: Meter/Generator

The Meter/Generator page is used for adjusting various settings of the desk
channel strip metering and test generator. Generator defaults are automatically
saved in the D950system\shutdown.pfc file when quitting the system, so that
the last used defaults are available after the next start of your system.
Metering/Meter Position:

Generator/Level:

This action globally sets the metering signal source for all the channels of
the same type to the same point within the signal path. It is usual to set the
Input Channel and Monitor Channel meter sources to Input and those of the
Group, AUX and Master Channels to the Post-Fader position. Meter positions
can be changed on a channel-by-channel basis and saved with Snapshots and
Presets.
This action sets the test signal generators level to the desired value. Levels
can be set to off and, in 1 dB steps, from 90 to +10 dBFS. The Generator
Level can be turned off by moving the Level slider all the way to the left.

Generator/Frequency:

This action sets the test signal generators frequency (sine wave only) to the
desired value. The generator frequency can be set in 1/12th octave steps from
19.95 Hz to 19.95 kHz.

Generator/Signal:

This action selects the waveform of the test signal generator, from Sine Wave,
White Noise, and Pink Noise.

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Generator/Defaults:

Tip

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This action sets the test signal Generators level and frequency defaults by
using the arrow buttons to adjust the default values.
To quickly apply a level or frequency default, rather than to adjust it manually,
click on the appropriate Defaults button. Default levels can be set in 1 dB
steps, from 90 to +10 dBFS. The Generator Level cannot be turned off from
the Defaults controls. Default frequencies can be set in 1/12th octave steps
from 19.95 Hz to 19.95 kHz.
By default, the Test Signal Generator is patched to GEN (third channel input)
of all channels. It also appears as a signal source in the General Patch and can
be patched to any target from there.

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4.6.4.2

Option: N1 Assignment
The N1/Mix-minus Assignment window allows the setup and configuration
of the N1/CleanFeed/Mix-minus structure.
The principle of N1 is summing; i.e. all desired channels (N) get summed
to a bus except the minus one (1).
The N1/Mix-minus bus is a special bus that sums the contributions of
channels other than the Bus Owner of the Channel, thus performing the
N1 summation. Any number of Mono and/or Stereo N1 buses can be configured in a Session Configuration.
The Bus Owner channel is the channel which:
Does not contribute to the N1 bus
Contains the N1 bus output level and Talkback controls on the physical
channel strip assigned to it
Has an N1 indication on the assigned channel strip.
The setup and assignment of the N1 is done in three steps:
1 A Bus Owner (1 channel) must be assigned to an N1 bus.
2 The N1 Send Line (Physical Output) and Return Line (Physical Input)
must be patched in the General Patch
3 The channels which are to be sent to the 1 must be assigned to the bus.
The N1 Assignment window allows fast setup of this process.

Return Input
Selection
Send Output
Selection
See Chapter
4.9.7.8
Alt NX Option
Selection

Bus Selection
Bus Owner Selection
Assignment of
Channels to Bus

Setup is as follows:
1 First choose the N1 bus to be used with the drop-down menu, and the
Bus Owner Channel which will be the 1 channel.
2 Use the drop-down menus to select the Return Line (Physical Input) and
Send Line (Physical Output) to which the Outside Source (1) is connected
to the console. This is essentially making cross-points in the General Patch
without having to go to the General Patch page. Selections made using
these drop-down menus will change any previous patching of the Outside
Source. Please note that the label type shown is taken from the General
Patch.
3 The two Channel Assignment check boxes allow fast allocation of all Input
Channels to the chosen N1 bus. If only Mono inputs are chosen, then all
Mono input channels in the system (except the Bus Owner channel) are
routed to the chosen bus. If specific channels need to be routed instead of
all Mono or Stereo input channels, the Show Channels button should be
clicked. This will extend the window as shown below, to allow individual
assigning of the channels within the Session Configuration to the chosen
N1 bus.
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Tip
Option

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The chosen Bus Owner channel is shown in the list as

(in our example,
Ext Line 5), any assigned channels to the bus are shown in the list as
(e.g. Inp m 8).
Clicking on individual channel boxes will either select or deselect a channel;
this makes the N1 bus in fact being an Nx bus. It is also possible to mark
a number of channels to be assigned by left-clicking and dragging across a
number of channels for speed.
It is also possible to assign channels to a configured N1 bus by using the bus
assign window on the control surface.
The talkback and N1 bus level control will be displayed in the assigned
channel strip for the N1 Bus Owner Channel.
The right-hand bargraph channel meter for the Bus Owner Channel will
automatically show the N1 bus level output.
The N1 settings are saved within snapshots.
to bring back ALT NX status upon closing fader
Option active ( ) : The signal will switch back to ALT NX upon closing
the fader again, in case it was active before opening. This allows e.g. feeding
an off-air signal to the outside lines while there are not on air (e.g. output
signal from on-air console including commercials). Result: When the fader
is opened, the outside lines get the normal NX signal; when closed they are
switched to the off-air signal (also refer to chapter 4.9.7.8).
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4.6.4.3

Option: Control Group Filter

This feature is described in detail in chapter 4.7.6.

4.6.4.4

Option: VSP Microphones and Reverb

This feature is described in chapter 3.4.3.3.

4.6.4.5

Option: Snap Con rm

The Snap Confirm option can be checked or unchecked:
If checked, the Snapshots/Presets can only be recalled with user confirmation (the user must click OK or press Enter to finally recall the Snapshot/
Preset, or click Cancel to cancel the Snapshot/Preset Recall).
If unchecked, the Snapshots/Presets will be applied to the console immediately, and parameter settings not already saved will be lost.

Notes:

Date printed: 06.12.06

It may be advisable to leave Snap Confirm checked until fluency with

Snapshots/Presets is achieved.
Snap Confirm applies to both Snapshots and Presets.

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4.6.4.6

Option: EQ/Dynamics View

The EQ/Dynamics View option can be checked or unchecked. If checked, the
Graphic Controller will display an EQ and/or a Dynamics screen.
EQ Screen:

The EQ screen is displayed for the channel on which any of the rotary encoders is touched or operated while the channels controls are in the EQ/Filter
page. Please note that the EQ screen will appear when any EQ/Filter control
is touched. However, for the EQ screen to be displayed, EQ/Filter must be
engaged in the channel.

The EQ screen is time-limited and will automatically disappear several

seconds after the last touch, or when pressing Esc. It is always on top of any
other screens/pages.

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Dynamics Screen:

The Dynamics screen will appear when any Dynamics control is touched.
However, for the Dynamics screen to be displayed, one of the LIM, COMP,
EXP, or GATE functions must be engaged in the channel.

The dynamics screen is time-limited and will automatically disappear several

seconds after the last touch, or when pressing Esc. It is always on top of any
other screens/pages.

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4.6.4.7

Option: Vista Settings

The Vista Settings window allows different adjustments, most of them selfexplanatory; there are five tabs for selection of Desk (timeout and delay
time settings), Console Lighting, Speaker Calibration, and Misc(ellaneous)
settings.

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Speaker Calibration
Calibrate Mode:

Trim Mode:

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To allow access to the speaker calibration, the Enable Setup function must
be enabled. Please refer to chapter 4.7.4.
Calibrate mode allows setting a level offset for a whole monitor group (MAIN,
ALT or NEARFIELD) relative to the other two. To activate this mode, click
the Calibrate button and select a monitor group on the control surface
monitoring section. The offset range is from 20 dB to +10 dB. The current
calibration offset will be displayed in the display box. The calibration offset
can be changed in steps of dB.
Trim mode allows setting an offset for a single loudspeaker relative to others
in a group. The offset range is 10 dB. Trim mode is selected by clicking the
Trim button. Select the monitor group (MAIN, ALT or NEARFIELD) and SOLO
the speaker to be offset on the on the control surface monitoring section. The
current Trim value of the selected speaker will be displayed in the window.
The Trim offset can be changed in steps of dB. To clear all Trim offsets
within the selected monitor group, click the TrimReset button.

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4.6.5

The User Menu

The User menu allows the users to individually save various preferences
including page layout, size, and position of various windows.

User Save Preferences...:

This action opens a dialog box that allows selection of a name for a new
Preference file, and to create a new Preference file. You can freely create
any number of Preferences. The dialog box will usually display the C:\
D950SYSTEMDB directory with all the available Session Configurations. The
User Preference files are best saved together with the current Session Configuration in the Session Configuration directory, because they will probably
change only when the users change, and not with every Production/Title.
Enter a name for the new Preference file, or select an existing Preference file
to be overwritten, and then click Save to finish.
The User Preference files have the extension *.pfc, which is added automatically; you do not have to type it.

Tip

If you forget to save your preference, dont worry. The system will save the
last-used screen layout at shutdown. When you restart the system, the screen
will come up exactly as you left it.

User Load Preferences...:

This action opens a dialog box that allows selection of a User Preference
file for loading. The dialog box will usually display the C:\D950SYSTEMDB
directory with all the available Session Configurations.
Enter the desired Session Configuration directory, and select the Preference
file to open. Click Open or double-click on the file to load.

User Protect (or SysAdmin):

This action allows the system mode to be toggled from standard to System
Administration mode. The System Administration mode allows access to
some system functions which are not needed in normal operation.
Click on SysAdmin to enter the System Administration mode. You will be
asked to enter the System Administration Password. After completing that,
an additional SysAdmin menu item will be placed in the menu bar.
Click on Protect to exit the System Administration mode.

From Standard Mode:

From System Admin mode:

Refer to chapters 4.2.1 (toolbar) and 4.7 (System Administration menu) for
more details.

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4.6.6

The Window Menu

This menu helps with the organization of the Graphic Controller screen,
and works in the same way as with most Windows-compatible applications.
If multiple windows/pages are active, the lower part of this menu allows to
make a particular page the current page (put on top). A checkmark ( ) near
a particular page indicates that this page is currently on top.

Window New Window:

This action opens the New Window dialog box, and allows selection of an
additional (new) window to be displayed on the Graphic Controller. For more
details on working with multiple windows, refer to chapter 4.4.1.2.

Window Cascade:

This action arranges all active screens/pages in a cascaded layout on the

screen.

Window Tile:

This action arranges all active screens/pages in a tiled layout on the screen.

Window Arrange Icons:

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4.6.7

The About Menu

When selected, this menu item displays information pertaining to that specific
Vista installation. This includes the software Release Number (version), the
Build Number, and the Copyright notice.

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4.7

Fourth Level of Operation: SysAdmin Menu

The SysAdmin (System Administration) menu is normally hidden from view
within the Consoles standard operating mode, because it contains functions
that are only useful during building the console and setting it up for operation.
The menu contains various test and configuration possibilities that are not
required during normal operation.
Nevertheless, some of the functions from the SysAdmin menu will be explained here, since they may be useful if the console is radically reconfigured,
the Monitoring or Signaling systems are expanded, or some detailed troubleshooting is required.
Activating SysAdmin Mode from Standard Mode:
Click on the closed padlock icon in the toolbar. You will be asked to enter
the System Administration Password. After completing that, an additional
SysAdmin menu item will be placed in the menu bar.

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4.7.1

SysAdmin: General Patch/Subclassifying the Digital I/O Sections

There is only one accessible item in this menu: Subclassifying the Digital In
and Digital Out Interface Sections of the Patch.

For more information on Subclasses refer to chapter 4.4.2.3.

The Digital Inputs and Digital Outputs Patch Sections can be subclassified
into eight subclasses each. Subclasses 1 through 8 belong to the Digital Inputs,
and Subclasses 9 through 16 to the Digital Outputs.
The process of Subclassifying is usually done by the facilitys system administrator. You need to adapt the Subclass information only if there are changes
in the interfacing due to a system upgrade or rewiring.
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4.7.1.1

Setting the Subclass Labels

Click on the Edit labels... button to open the Subclass Label editor.

Within the editor page, enter the names you wish to appear for each of the
Subclasses in the Patch Lists. Confirm with OK, otherwise any changes will
be lost.

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4.7.1.2

Assigning Sources and Targets to Subclasses

To initiate the process of assigning, first select the interface type you want to
assign: Digital Inputs, or Digital Outputs.
IF List

Assigned Subclasses

Select what to Subclassify:

Input or Output List

Click on One to
Subclassify the
Selected IF

Click Here to Delete

a Subclass Item
Click Here to go to Label
Editing of Subclasses

On the left-hand side, the Digital Interface list is displayed. Some of the
Sources and/or Targets may already be assigned to certain subclasses. This
is visible from the Subclass column.
To assign, select the desired Sources or Targets from the list. Individual selection can be done simply by clicking on a Source or Target. Multiple selection
can be done by the Windows drag technique. Ctrl + click technique can be
used to select items from the list that are not contiguous.
Once all items are selected, click on one of the Subclass buttons to assign
the selected Sources or Targets to a Subclass. The list will reflect your new
assignment.
A Source or Target can be assigned to any of the Subclasses, but only to one
Subclass at a time.
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To reassign an item or items from a Subclass, use the same selection techniques as above. Then you can:
Click on the Clear Subclass button to remove the selected items from the
Subclass. This will return the selected items to the Digital Input or Digital
Output Patch Section;
Click on a different Subclass button to directly re-assign the selected items
from the current Subclass to another Subclass.
The result of this process is that the subclassified sections are now visible in
the Patch lists and can be directly accessed using the right trackball button.
For details, refer to chapter 4.4.2.3.
Notes:

4.7.2

SysAdmin: Surveyor
Surveyor:

4.7.3

Subclass names are saved and recalled with User Preferences.

Assignment of individual interfaces to subclasses is saved in each Snapshot
Preset and can therefor vary from Snapshot to Snapshot.

This action will open the Surveyor, which is used to check the status of the
Vista system. Refer to chapter 4.8.

SysAdmin: Show VMC Tree

This feature is primarily used in troubleshooting and typically does not have
a use in normal operation.
Show VMC Tree:

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This action will bring up the VMC tree View. This page will display a list of
all channels, inputs, outputs, buses, and other system elements that are defined
within the current Session Configuration. Double-clicking on one of these
items will display the contents of that items branch. Opening of subsequent
branches will take further and further inside the VMC tree. If the item has
a changeable parameter, such as EQ high frequency, that parameter may be
controlled directly from the VMC tree.

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4.7.4

SysAdmin: Monitoring
The Monitoring menu item contains several functions regarding the Vista
loudspeaker control:
Edit Monitor File:

This action brings up the Monitoring Setup editing utility. The title bar will
display the name and location of the currently loaded Monitor Configuration
file.

Panel Selection box:

This box provides a pop-up menu used to select a control room or studio
Assignable Source Selector panel installed in the control surface for editing.
The Source Selector keys for the selected panel will be displayed in the Keys
box, where they can be selected for editing. The name of the panel may also
be edited using this box.
The four subpanels popping up on the screen upon activated option (experts
only!) show up as individual panels with 12 source selectors each.

Note:
Key Selection box:

This box is used to select a specific Monitor Source Selector key for editing.

Display Name entry box:

Speaker/Source Selection entry boxes:

This is a name entry box for the selected Source Selector key. It will display
the name of the selected key, which can be edited.
These fields are used to connect a digital audio source (such as a direct output)
to a specific loudspeaker feed (such as left, right, center, etc.). This is accomplished by highlighting a source from the Source Selection list and assigning

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it to the desired loudspeaker feed using the appropriate double-arrow button

(<<). When such an assignment is made, the source name will appear in the
selected loudspeaker field. Selections may be cleared using the X buttons.
Clear Selection button:

This button will clear all Speaker/Source selections made for that Monitor
Source Selector key.

Source Type Selection box:

This box provides a pop-up menu used to select the type of digital source for
assignment (such as a mono master direct output or an AES interface). Once
an item has been selected, all the sources of that type will be displayed in the
Sources list below.

Source Selection box:

This box displays a list of digital sources of a specific type that are available
for assignment to loudspeaker feeds.

Load button:

This button brings up a familiar Windows box from which an existing Monitor
Configuration file can be loaded.

Apply button:

This button applies the current Monitor Configuration file to the Vista. This
is handy when testing a recently edited file or recalling a previously saved
file.

Save and Save As... buttons:

The Save button allows a previously saved Monitor Configuration file to be

updated after editing. The Save As... button allows a new file to be named
and created.

OK and Cancel buttons:

The OK button accepts the current Monitor setup and closes the window. Clicking OK does not apply or save the Monitor Configuration file. The Cancel
button exits the Monitor Setup screen.

Monitor File Name entry box:

This field is used to enter a name for a new Monitor Configuration.

Application Progress indicator:

This meter displays the progress of the loading of the Monitor Configuration
file when it is applied to the console.

Applied and Saved Status boxes:

These boxes display the status of the current Monitor Configuration file. If
checked, the current file is applied to the console and/or saved.
To create a new Monitor Configuration file:
First open the Monitoring Setup utility from the Monitor section of the
SysAdmin menu.
Select the desired Assignable Source Selector panel and key, using the
lists on the left.
Select a source type and source from the lists on the right.
Highlight the selected source and click on the double-arrow (<<) button
next to the desired loudspeaker feed in the Selection boxes. The source
name will appear in the selected location. Once a key is selected, its name
may be changed using the Display Name field.
Repeat these steps to complete the necessary assignments. Once finished,
the new file can be saved and applied to the console.
Please note that the edited file must be applied to the console before it takes
effect.
Existing Monitor Configuration files can be edited by recalling them with the
Load button and using the procedures described above.

Config Dump:

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This action will create a copy of the current Monitor Configuration file
and place it in the D950SYSTEM directory. The copied file will be named
MONCONFIGDUMP.DAT and is useful for troubleshooting. In this status this file
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is not executable since it does not have a *.ini extension. However, it does
contain all the parameter settings and other information.

4.7.5

Reinitialize:

This action will reinitialize the monitor system and reload the last used Monitor Configuration file. The monitors will mute during this operation.

Test Command:

This menu item is only used in the factory for testing the communication
between the work-surface, the control PC, and the monitoring racks.

SysAdmin: Signaling Setup

The Signaling Setup Menu allows on-line assignment of available Signaling
relays to functions, such as Red Light activation or Fader Start of remote
systems. It also allows Save and Load of such assignment configurations for
later use.
Output Signaling is always related to the Patch Sources. The Vista console is
fully assignable, meaning that:
A channel can be assigned to any channel strip;
An audio Source (for example, a CD Player) can be patched into any
channel and be accessed via any fader;
A Snapshot can change the entire Patch settings.
For these reasons, it is impossible to assign an output Signaling device, such
as a Fader Start relay, to a specific fader. Instead, it has to be assigned to the
Patch source which, in turn, is assigned to a fader via the Patch. In this way,
the system logic is able to activate, for example, the correct relay when a fader
is opened. All output Signaling always follows the Sources, and the Signaling
Assignment itself also is Source-oriented.
The Vista system automatically knows how many Signaling relays are available by accessing that information from the configuration and *.ini files.
The available Sources are read from the Session Configuration. The Signaling
Configuration is all about assigning the right relay to the right source, as we
will see next.

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4.7.5.1

Editing the Relay Labels

First, the System Administrator needs to determine how the relays will be
connected to peripheral equipment (machine-transport controls, lamps, etc.).
Then, the fixed relay labels can be edited to reflect their functions. For this
action, select the Edit User Labels button from the Signaling Output or Red
Light menu pages:

This action will open the Edit relay labels page and first allow selection of the
desired relay, and then to enter a User Label for each relay. Be sure to click
OK when finished; otherwise all changes will be lost.
The fixed relay labels have been automatically generated by the Vista
system. They have the format SIGOUT0_REL01, where SIGOUT0,
SIGOUT1, etc. define the relay card number, and REL01, REL02, etc.
define the relay number on a particular card.
There are 16 relays per card. Some of the physically present relays may be
assigned to internal system functions and may therefore not be available for
the Signaling Configuration.
Source labels can be edited in the Patch pages; refer to chapters 4.4.2 and
4.4.3.

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4.7.5.2

Signal Out Configuration

Signaling Outputs are generally relay contacts installed in the Monitoring
frame. They may be used for various purposes, such as:
Fader Start
Microphone ON actions (loudspeaker muting, etc)
Parallel Record/Ready mode of tape-machine tracks.
Up to four different relays may be configured for each source. They may feature different Trigger Setups (see later). For each relay, Latching or Impulse
operation modes can be selected.
Multiple sources can be configured to one single relay, forming a logical OR
combination.

1.
2.

There are four steps in the Signaling Configuration:

To configure the Signaling, first select a source in the Signaling Out List,
Within the Signaling Out Edit window, select the desired output 0 to 3. In
most cases the correct Output (the next one that is unassigned) will be selected
automatically. Now you can add or remove a relay to/from this source.

Selected Source
Add or Remove
a Relay

Select a Relay
Select
Operating Mode
Select Fader Start
or User-Defined

Click to Remove
Up to 4 Relays
all Assigned Relays can be Selected
per Source

3.

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Select which
of 4 Outputs

Set User-Defined
Triggers

Now you need to select the desired relay (use the arrow button to open a list
of relays), and to determine its mode of operation to either latching (contact
closed when trigger conditions are fulfilled) or impulse (contact closed for
a short time when trigger conditions are fulfilled, and then opened again).
Impulse mode closure time can be set to 100 or 200 ms.

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4.

The Triggers have to be set according to the application of the selected relay.
All Triggers always work in a logical AND fashion:
The desired Source must be patched to the appropriate Channel (implicitly understood and done in the Patch), and
There is the possibility to check up to five other Triggers to finally trigger the
relay:
User key 1, and
User key 2, and
Input Selector, and
Channel On (MUTE), and
Fader open.
Any combination of the five possibilities above can be used. It is also possible
to select from a default list of pre-configured Trigger combinations:
Fader start, or
User Defined.

Typical fader start setup for two stereo sources (D1 and D2):

Fader Start
Trigger Defaults

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The typical Fader Start Trigger combination is:

Input selector, and
Channel on (MUTE), and
Fader (open).
You can also remove all assigned relays from the list by clicking on the
Remove all outputs button.
Tip

4.7.5.3

For a typical stereo source, such as a CD player, the same relay should be
configured for both the left and the right signal part, as shown in the example
above for D1 (relay cd1) and D2 (relay cd2). This action ensures that the CD
player will start even if it is connected to two Mono Input Channels, and only
one of the faders is opened.

Red Light Configuration

Generally, Red Light Outputs are relays installed within the Monitoring
frame. Only one relay is normally used for the global Red Light Signaling,
but several relays can be configured independently if more than one Studio
exists.
The Trigger conditions for a Red Light relay to be activated are fixed to the
following:
A Source configured for Red Light is patched to a Channel, and
The Input Channel Input Selector is set to the above Source, and
The Input Channel Fader is open, and
The Input Channel ON (MUTE) is open, and
The Input Channel is routed to at least one Master Bus, and
The Master Channel Input Selector is set to the above Source, and
The Master Channel Fader is open, and
The Master Channel ON (MUTE) is open.
In other words, the audio signal has a fully open path from the Source to the
Master Channel output. If an Input Channel is routed to a group only, then the
Group has to be routed to a Master, etc., to fulfill the Trigger conditions.
Multiple sources are usually configured to one single relay they form a logical OR. For instance, all Mic Inputs from the same room would be configured
to the same Red Light relay.

1.
2.

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There are four steps in the Red Light Configuration:

To configure the Red Light, first select a source in the Red Light List;
You can then add or remove a relay to/from this source in the Red Light Edit
window.

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3.

4.

Now you have to select the relay itself (use the arrow button to open a list
of relays), and to determine its mode of operation to either latching (contact
closed when trigger conditions is fulfilled) or impulse (contact closed for
a short time when trigger conditions is fulfilled, and then opened again).
Impulse mode closure time can be set to 100 or 200 ms. Obviously, the actual
relay that is externally wired for Red Light must be selected.
In the Settings window, an association to a Studio can be set. Usually, only
one Studio is being used. If, however, more than one Studio should be present,
each may require its own Red Light relay and its configured Sources. In this
case, several relays can be configured independently. To select a Studio, click
on the arrow button, and select a studio from the list. If a Studio is associated,
the Red Light will also be shown on the Desks Studio Monitor Unit.
You can also remove all assigned relays from the list, by clicking on the
Remove all outputs button.

4.7.5.4

Load Signaling Configuration

This action opens a window that allows selection from existing Signaling
Configurations to load into the Vista. The C:\D950SYSTEMDB directory will
usually be displayed first, and a Session Configuration must be selected. The
Signaling Configuration files have a *.sig extension. This process will load
all saved relay assignments for both the Signaling Out and the Red Light
Configurations, and the relay User Labels.

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4.7.5.5

Save Signaling Configuration As

This action opens a window that allows entry of a new name for the Signaling
Configurations to be saved. The C:\D950SYSTEMDB directory will usually be
displayed first, and a Session Configuration must be selected. The Signaling
Configuration files have a *.sig extension. This process will save all relay
assignments for both the Signaling Out and the Red Light Configurations,
and the relay User Labels. Any number of such Configurations can be saved
and loaded at a later date.
Note:

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Each title contains at least one *.sig file that holds the signaling settings of
the time when the title was closed or saved manually.

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4.7.6

SysAdmin: Control Group Assign

4.7.6.1

Control Group Basics

Control Group Master

Control Group Members

Date printed: 06.12.06

A Control Group is a group of console channels controlled by a Control Group

Master (CGM), similarly to the VCA groups in analog consoles.
The Control Group Master is a dedicated channel of a special type. The sole
purpose of the Control Group Master is to control the audio functions of its
Members.
Up to 32 Control Group Master channels can be defined in the Session
Configuration. The number of each Control Group Master is shown on the
7-segment display in the channel strip of each CGM, following the rule:
Control Group No.
1
2
...
10
11
12
13
14
15
16
17
18
...
26

Display
0
1
...
9
A
b
C
d
E
F
0.

27

A.

28

b.

29

C.

1.
...
9.

30

d.

31

E.

32

F.

The Control Group Master channel controls the audio functions of the Members. Master channels can be assigned to desk strips in the same way as any
other console channel. The desk strip to which a Control Group Master is
assigned will display the following:
Control Group Master numbers in the seven-segment display next to
the fader: 0 through 9, characters A through F (and, for numbers above
16, the same but followed by a decimal point, as shown in the table
above);
The Fixed Label is set to CGM (Control Group Master), but can be set
to display user labels such as DRUM, LVOX, BVOX, RTHM, etc. in the
Control Group Filter dialog box in the GC.
Control Group Members can be selected to and deselected from a Control
Group during the console operation. This is done in a special Control Group
Edit mode. Any console channel can be selected as a member in a Control
Group. The members can be stolen from one Control Group to another.
When a channel is selected as a member in a Control Group, its channel strip
displays the Control Group in the seven-segment display next to the fader in
the same manner as described above.
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Operating an audio parameter on the Control Group Master influences that

parameter on all members (if that parameter has been selected in the Control
Group Filter Dialog Box during Control Group Edit mode). It offsets the
member value by the move amount of the Master. Operating the parameter
on the member influences only that members parameter.

Control Group Setup The Control Groups are edited in the Control Group Setup Mode. This mode
is activated through the SETUP: GROUPS key.

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On first press, the SETUP: GROUPS key is lit to show that an activity has been
started but not yet finished. All LINK/SEL keys of Control Group Master channels are half-lit. Pressing one of these enables setting up the corresponding
Control Group. The LINK/SEL keys of the Control Group members are lit,
the ones of non-members are half-lit. The Graphic Controller automatically
activates the Control Group Filter dialog (see above) for the selected Control
Group.
When a Control Group is selected for editing, member channels can be added
or removed from the Control Group by using their LINK/SEL keys. If the
MULTI SEL key is deactivated, all members are cleared upon pressing any
LINK/SEL key, similar to creating a gang. During editing, the Control Group is
not active, i.e. the setting of the Control Group Master can be changed without
influencing the members. This can be used to adjust the offset between the
Master and the Members if required.
Editing a control group can be terminated either by pressing the LINK/SEL key
of the master, or by exiting setup mode by pressing the SETUP: GROUPS key
in the control bay. If you now want to proceed with editing of another control
group, first deselect (using the LINK/SEL key) the Control Group Master you
have just finished with, and then select the new one that you wish to edit.
Control Group Filter

Note:

Absolute/Relative

Date printed: 06.12.06

When Control Group Editing is activated, the Graphic Controller automatically activates the Control Group Filter dialog box for the selected Control
Group (see screenshot on the previous page).
In the Control Group Filter dialog, the user can define functions to be grouped
or not. To group the desired function, the appropriate Select checkbox must
be checked. If Select is unchecked, the functions control can be moved freely
without influencing the members. Normally, when the members are grouped,
their local values of Fader/Mute are left untouched when the group is formed
they are grouped in a relative way. If absolute grouping is desired, values
can be copied from the master to the members:
By checking the Copy Enable checkbox and clicking on Copy;
By completing the editing of a group while the Copy Upon Setup checkbox is checked.
There is also a context menu available, called up by right-clicking within the
edit dialog:
If the cursor is placed over the Select items, the menu allows to check or
clear all select boxes;
If the cursor is placed over the Copy column, the menu allows to check
and clear all copy parameters;
and if it is placed over a white space, it does both.
The Control Group Filter dialog box can also be started by clicking on the
Control Group Filter item on the Options menu of the Graphic Controller.
Clicking on the Close button does not terminate the Desk editing mode.
Faders are implicitly controlled in a relative way. This means that all the
members will remain in relative positions to each other when the Master Fader
(or other control) is moved. The member Faders can be forced to match the
Master Fader using the Copy function in the Control Group Filter dialog, see
above.
Muting can be controlled in absolute and relative mode. The relative (Toggle)
mode for the Mutes can be selected by the user in the Group Filter dialog.
If selected, the Mutes can be set to On or Off on the members and will be
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toggled when the Master Mute is used. If Toggle is not selected, all Mutes
on the members will be forced to the same status as the Master Mute the next
time the Master Mute is used, regardless of their original status.
Member Behavior

When a new member is added to a Control Group, it keeps its values until
a change is made in the Control Group Master. At that moment, the change
is transferred to all members. When a member is separated from a Control
Group it keeps its current setting which includes the Master offset(s) that
have been applied along the way. Member values can be changed locally at
any time, without affecting the status of the other members or of the Control
Group Master.

Over-Range

All controls can have an over-range. The over-range condition can occur if the
Member Fader has reached its top or bottom position while the Master Fader
is still moving. During over-range, the relative levels of the members are kept
intact, even if the Fader (and the audio level) can not move anymore.
Over-range can be positive or negative. The maximum value of over-range
can be twice the normal working range of the Fader (100 dB) in both up and
down directions.
The over-range of a Member can be zeroed easily. Simply move the Fader of
a Member in over-range by a bit, and the over-range will be zeroed.
This will, however, clear the initial relative level of that particular Member
with respect to the other Members.

Note:

Snapshots

4.7.6.2

Control Groups are part of the snapshot. Their data comprise three parts:
Members of a Control Group (which channels are Members in a Control
Group);
Control Group settings (filter and Copy settings);
Parameter values of the Control Group Masters.

Control Group Assignment

A Control Group Assignment dialog window can be started from the SysAdmin (System Administration) menu in the Graphic Controller. This
window allows to view the members for a selected Control Group and to
edit the members by clicking or dragging them graphically on the screen.
Selection of the control group to be edited is not synchronized with the Desk
selection so two different control groups can be viewed at a time.
The Control Group Assignment window serves a similar function as the
SETUP: GROUPS key on the control surface, except assignments are made
via software, and the Control Group Filter window does not open.
To assign a channel to a Control Group, select a Control Group Master using
the pop-up menu in the field at the top of the window. Channels can be assigned or de-assigned by double-clicking the channels name. Keep in mind
that a channel can belong to only one Control Group at a time. If assigned,
a yellow N will appear in the box to the left of the channel name, and the
number of the Control Group will be displayed in the channels fader. Control
Group Assignments are saved within Snapshots and Presets.

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4.8

Fifth Level of Operation: The Surveyor

Vista constantly monitors the status of all major hardware and software systems. This information is provided to the user via the Surveyor. The Surveyor
is also the primary diagnostic tool used for troubleshooting and fault finding.
The Surveyor displays its information in two ways:
The icon shown on the Surveyor Button in the Toolbar;
The Surveyor page.
The Surveyor Icon:

When enabled, the Surveyor icon is located in the Toolbar. It is intended to

keep the operator informed about general system status. The icon changes to
indicate the overall condition of the Vista. These indications are as follows:
Yellow triangle: Loading. The system is booting (look at the Status Bar);
Green square: OK. The console will operate normally;

Tip

Green square with yellow diamond: Not Found. A system element cannot be
found. This is sometimes seen as a Session Configuration is loading. If this
icon remains on, a problem is indicated. The status bar will prompt you to
check the systems status;
Sometimes an element cannot be found just because it has not been switched
on.
Red circle: Error. An error, fault, or failure is detected in the system. This is
sometimes seen as a Session Configuration is loading. If this icon remains
on, a problem is indicated. The status bar will display Check Status;

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Grey circle: Not Used. A system element is defined but is not in use.
Surveyor Page:

The Surveyor Page may be opened from the SysAdmin menu or by clicking on the Surveyor button. The main window contains all the major system
elements displayed as a directory tree. The status icon at the start of each
directory indicates the general status of its contents. These icons utilize the
same indication system as the Surveyor button (see above).
If all elements display the OK icon (green square), the system will operate
normally. If any of the directories display the Error icon, it can be opened to
determine which of its contents has a problem. Since some system elements
have many subsystems, several nested subdirectories might be contained
within the main directories. As with the typical Windows directory system,
directories that contain subdirectories have a + symbol on the left of the
status icons. To open these directories either click on the + symbol or
double-click the directory name or status icon. It might be necessary to open
several directories to find the specific element that is having a problem.

Surveyor Tools:

The Surveyor features several tools to enhance its operation. These are available as buttons on the Surveyor Page:
Refresh: Real-time updates of system element icons are not provided
when the Surveyor Page is open. If a fault is corrected during troubleshooting, the system must be re-interrogated before the Surveyor Page
will display the result. Clicking the Refresh button will survey the entire
system and display the current the status of all elements.
View Log File: This tool allows the Vista Log Files to be viewed from
within the Surveyor.
Save Log File: This button saves the current Vista Log File.
Enable All: It is possible to tell the Surveyor to ignore some problems by
right-clicking on one of the red symbols. This will make the main symbol
in the task bar remain green, even if there is an error reported in some
sub-area. Enable All clears these exceptions and makes the Surveyor
work as usual. Inactivated sub-areas are always re-activated upon system
startup for safety reasons.
OK: Clicking this button will close the Surveyor Page.

Surveyor Information:

When it is initially opened, the Surveyor displays some information without

the need to open any directories or subdirectories:
Computer Name: This field displays the name of the PC that is being used
to control the Vista system;
Vista System: This is the main directory in the Surveyor, which contains all of the other system element subdirectories. Its name displays
the Vista software Application Release number (version) and the Build
number. This directory will always be open to show the primary system
element subdirectories (and their status) when the Surveyor is opened;
VMC Session Config: This item displays the currently loaded Session
Configuration file in a directory name format, such as: C:\D950SYSTEM\
VMC directory name\VMC name.vmc.

Tip

Other current system files (such as monitor files) may be found within the
Surveyor, but will be nested within subdirectories.

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4.9

Add-Ons, Based on SW V3.6 (as Opposed to SW V3.3)

4.9.1

Updating Multiple Snapshots

Note:

4.9.1.1

Very often, certain parameters should be overwritten in multiple snapshots.

It may be important that only certain parameters are overwritten and others
are left as they are in the individual snapshots. In order to achieve this, place
those parameters into Isolate mode and recall a snapshot. If this action is
now followed by an Update command, the values are changed as requested.
By using Trim mode (see chapter 4.4.4.5), it is even possible to apply relative
changes to individual parameters of snapshots. E.g. place the fader 1 into Trim
mode and lower it by 8 dB. Recall the next snapshot and click Update. This
will save the original value of the second snapshot, reduced by 8 dB, to the
hard disk. See example 2 below for details.
This can be done even faster: First select multiple snapshots and click Recall
and Update once.
The Update button is changing its name whenever multiple snapshots are
selected.

Selecting Multiple Snapshots

Multiple snapshots can be selected at the same time
by using the keyboard
SHIFT and CTRL keys. The
selection of multiple snapshots is following standard
windows rules: SHIFT + click selects all snapshots
in between the two, CTRL + click allows selection of
individual snapshots.

Example 1:

Goal:
Procedure:

Date printed: 06.12.06

The value of channel 3 should be overwritten and set to 20 dB on Snapshot

#1, Snapshot #3, and Snapshot #5
Place the fader to 20 dB.
Hold ISO on channel strip 3. Touch the fader in order to put it into isolate
mode.
Select Snapshot #1 with the trackball.
Hold the CTRL key on the control bay, and select Snapshot #3 and Snapshot #5.
Click on Recall and Update, and confirm that you want to overwrite these
snapshots.
The console will automatically recall and update the selected snapshots.

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Example 2:

Goal:

Procedure:

The value of channel 3 should be reduced by 4 dB on Snapshot #1,

Snapshot #3, and Snapshot #5.
These snapshots currently contain the following fader values:
Snapshot #1: 0 dB; Snapshot #3: 5 dB; Snapshot #5: 10 dB.
Therefore, after the update they should contain the new, updated values:
Snapshot #1: 4 dB; Snapshot #3: 9 dB; Snapshot #5: 14 dB.
Make sure the Enable Trim mode option in the Option: Snapshot Automation menu is set.
Recall any snapshot.
Hold ISO on channel strip 3. Touch the fader twice in order to put it into Trim
mode.
Lower the fader of channel 3 by 4 dB (the exact trim value will be displayed
on the Vistonics screen).
Select Snapshot #1 with the trackball.
Hold the CTRL key on the control bay, and select Snapshot #3 and Snapshot #5.
Click on Recall and Update, and confirm that you want to overwrite these
snapshots.
The console will automatically recall and update the selected snapshots.
Since the console assumes that the controls being in Trim mode have been
placed into this mode for the purpose of this update, the operator will be asked
whether these controls should be taken out of Trim mode afterwards.

4.9.2

Saving Snapshot Masks

When working with partial snapshots (option available in Option: Snapshot
Automation), it is possible to right-click on the Edit link to the right of the
snapshots. A context menu will allow not only copying and pasting of masks
between snapshots, but also saving and loading of masks to/from files. The
files will be saved in the C:\d950System\Users directory.
This function can be very helpful when multiple operators are working on
the console. During rehearsals, both operators may randomly save snapshots.
After the rehearsal they select their snapshots and apply a prepared mask to
them. This will make these particular snapshots only influence the part of the
console which the operator was working on. Other applications may contain
any recall of more complex masks.

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4.9.3

Cue List
When using software V3.5 or newer, an extensive Cue List functionality is
available. The Cue List allows sorting snapshots as well as attaching MIDI
and HiQNet commands to each of them. Each title can contain one Cue List.
The Cue List can be controlled from external controllers using MIDI. It is
possible to use standard MIDI show control commands as well as recalling
certain cues with a user-defined MIDI command (note and program change).
The Cue List is only available in static mode, hence not when dynamic
automation is active. Opening the cue list is done either by clicking on the
Cue Icon in the GC screens toolbar, or by using the LIST key on the control
bay.

4.9.3.1

Activating Theatre Cue List Functionality

In order to activate the theatre cue list functionality, enter the Option
- Static Automation menu. (Explanation of further options see following
paragraphs)

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4.9.3.2

Creating a Cue

Drag&Drop Events

MIDI Out Event

MIDI In Event
Event Options
(if Event Selected)

To create a cue, simply drag-and-drop one of the available SNAPSHOTS

from the left, or one of the Events from below the snapshots into the cue
area. A cue can be created using the Make button on the right side of the cue
list. It doesnt have to contain a snapshot; it is also possible to just fill in any
event without activating any console setting changes.
4.9.3.3

Recalling a Cue
There are different ways to recall a cue:
Double-click on its name
Click on the NEXT or PREV button on the GCs control screen
If the cue list is armed: Attach an incoming MIDI event to it and send the
appropriate note or program change command to the console
If the cue list is armed: Press NEXT or PREV on the control bay
Send MIDI show control messages to the console, according to the specification given below.

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4.9.3.4

Cue Numbering and Sorting

The cue will automatically be given a number, but it can also be edited manually in order to match cue numbers with other teams within a project (such as
the lighting department). To do so, select the desired cue and click on Name / #
in the right-hand part of the cue list. When modifying the cue number, it will
automatically be re-sorted depending on the current number. The numbers
used may contain a decimal point and up to two digits thereafter (#.##). When
re-sorting cues using drag-and-drop, the numbers are automatically extended
using a decimal point followed by up to two digits. In order to sort the cues,
simply drag-and-drop the cue name to the desired location.

Automatic numbering example: When inserting a cue between the cues 11 and
12, this cue will automatically be numbered 11.1. If another cue is inserted
between 11 and 11.1, this new cue will be numbered 11.01. Please note that
the system doesnt allow further cues to be inserted between 11 and 11.01
without manually modifying the number 11.01 first.

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4.9.3.5

Cross-fading Between Cues

Each cue displays a value for the cross-fade time when activating this cue. To
modify the cross-fade time, point to the digits, hold the left trackball button,
and scroll up or down. Alternatively, enter the number using the numerical
keypad.
When clicking on the cross-fade time once, options for the behavior of switches during cross-fades become visible in the left part of the window (Options
Area). For each cue it can be defined whether the switches should change their
state before, in the middle, or after the cross-fade while the other parameters
are changing seamlessly.
Within a cue, a partial snapshot may be recalled, influencing only certain
parts of the console. If a larger cross-fade time is applied to this and the next
cue is recalled before the last cross-fade has been finished, there will be two
cross-fades happening at the same time, possibly with different cross-fade
times. Only if the two cues change the same parameters, the first cross-fade
will stop and the second one is applied from this point onwards.

Example:

Given:

Procedure:

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All Faders are set to 0 dB.

Cue #1 contains a partial snapshot, setting faders 110 to 20 dB, cross-fade
time 10 s.
Cue #2 contains a partial snapshot, setting faders 1120 to 40 dB, crossfade time 1 s.
Recall Cue #1, e.g. by double-clicking on its name. Faders 110 will start
moving down slowly.
Five seconds later, Cue #2 is recalled. Faders 1120 will start moving
down.
After six seconds, faders 1120 have finished their cross-fade and are set to
40 dB.
After ten seconds faders 110 also have finished their cross-fade and are set
to 20 dB.

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4.9.3.6

Organizing Events

It is possible to move events from one cue to a different one by using dragand-drop. Also, snapshots may be moved between cues using drag-and-drop.
In this way, snapshots can be replaced or exchanged within cues.
4.9.3.7

Updating Snapshots

Note:

MIDI

Date printed: 06.12.06

The snapshot names displayed in the cue list are only referring to the corresponding snapshot contained in the snapshot list. It is therefore possible to
use the same snapshot in multiple cues, possibly using different cross-fade
times. When updating a snapshot, the cues containing it will automatically
use the updated snapshot.
Snapshots can be updated from within the cue list window; right-click on the
snapshot within the snapshot list in the top left corner in order to get different
options, such as Make, Update, Name, etc.
Alternatively a button has been introduced which allows updating a snapshot
directly out of the cue list window (not shown in illustrations above.)
MIDI note and program changes can be used both as sources for firing a
cue, or as events to be sent out of the console upon recalling a cue. In order
to attach a MIDI command as a cue trigger, drag-and-drop the MIDI icon to
the left side of the cue name. If a MIDI command should be sent out upon
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cue recall, drag-and-drop the MIDI icon to the right side of the cue. Multiple
events may be added to the right side of a cue.
4.9.3.8

Event Options

BlackOut Event
(On/Off)

Attaching Notes

After having attached an event to a cue, various parameters may be modified,

depending on the event. When selecting the event icon within the cue list, the
corresponding options are displayed within the Configuration area of the
window (bottom left). The following options are available:
Program change, note change, and controller commands may activate the corresponding cue.

MIDI In:

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MIDI Out:

BlackOut:
Notes:
HiQNet:
4.9.3.9

Program change, note change, controller,

and system exclusive (Sysex) commands may be triggered by this event.
A TEST button allows sending out this
parameter during system setup without
actually recalling the cue.

Console lights on/off (see below).

Enter your notes.
Venue change message sent out from the console to any HiQNet device.

BlackOut
It is possible to make the whole console surface go dark. This function is
useful in case complete darkness is required, e.g. in a theatre environment.
This function also includes the optional console illumination. It can only be
activated if the cue list is armed. The console lights come back on again either
by the next BlackOut event (Parameter: OFF) or by pressing F3 in the control
bay.

4.9.3.10

Arm CueList
To avoid undesired influence by external devices, the cue list inputs may be
armed or disarmed. If not armed, the BlackOut function, the MIDI IN events,
and the NEXT and PREVIOUS keys in the control bay are disabled.
It is possible to set the default value of the ARM CUELIST button by using
the Option - Static Automation menu.

4.9.3.11

XFade Active
It may be useful to temporarily disable cue cross-fades (e.g., during rehearsals). This can be done by un-checking this item.

4.9.3.12

Preview
The snapshot/cue preview mode can be activated either by a hardware key or
by clicking on the button located in the top right corner of the cue list window.
When in preview mode, the cue or snapshot currently selected (single click)
is compared to the current audio settings. If there is a difference, Vistonics
shows both values at the same time, using a pink graphical indication. When
pressing the dedicated snapshot keys above the trackball, the preview mode
is automatically activated until the same key is pressed again.

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4.9.3.13

Cue List Options

In the Option - Snapshot Automation Options menu the following options
are available:

Default Crossfade Options:

The system allows cross-fading between two cues. The default cross-fade
values may be defined here. These will be used whenever a new cue is created.

Switch Options:

Describes the behavior of switches (e.g. MUTE, EQ on/off etc.) when crossfading. They apply if a switch changes its state in the next cue. They may
change their state before, during, or after the cross-fade.

Default Crossfade Time:

Set default value of cross-fades when new cues are created.

Enable Trim Mode:

When pressing-and-holding the ISO key on the channel strip followed by

touching individual controls (e.g. faders, rotaries), their state can be isolated
from snapshot recalls. If this option is on, the particular parameter may be
touched a second time. This will set it into Trim mode. In this mode all changes to that parameter since the last snapshot recall will be applied relative (!)
to all upcoming snapshot recalls thus, not modifying them on disk.

Enable Partial Snapshots:

Activates the Partial Snapshot feature. It will be possible to include only

ganged channels when making a snapshot. Options are available within the
snapshot window of the GC screen.

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Enable Theatre Cue List:

Enables extensive functionality of cue lists.

LIVE (On-Air) arms Cue List:

When pressing LIVE in the EXT PFL SPEAKER area of the Vista 8 control bay,
the state of the cue list will change accordingly.

Show Next Cue when Armed:

Defines whether the currently active or the next cue should be highlighted
when the cue list is armed. This also allows reading the attached notes ahead
during the live event.

Restore Armed on Startup:

The system will switch the console into the armed state whenever the
software is started. This allows e.g. constant reception of external MIDI
commands for firing off cues.

MIDI Show Control Device ID:

4.9.3.14

See below.

MIDI Show Control Device

It is possible to control the cue list by using MIDI Show Control commands.
Vista 8 acts as a slave in this case. The following MIDI Show Control commands are supported: Go, Stop, Resume, Load, Reset, Standby+, Standby,
Sequence+, Sequence.
Vista is designated as a Music Command Format (0x11). The MIDI device
ID is set in the Option: Snapshot Automation menu.

Examples:

Next Cue:
Previous Cue:
Recall Cue 3.5:

Date printed: 06.12.06

F0 7F [Device ID] 02 11 01 F7 (Go command)

F0 7F [Device ID] 02 11 12 F7 (Standby Command), then
F0 7F [Device ID] 02 11 01 F7 (Go Command)
F0 7F [Device ID] 02 11 01 33 2E 35 F7 (Go Command with Q specified)

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4.9.4

Naming Auxiliary Buses

A name can be given to the auxiliary master channel, which is automatically
propagated backwards to all displays of the input channel. Renaming the
auxiliary master user label is done within the channel patch window. Doubleclick on the Usr (label) area and enter a name, e.g. the name of the device
attached to the output of this auxiliary master channel. The given name will
then automatically show up on the input channels rather than the auxiliary
number.

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4.9.5

Matrix Buses
This type of bus/output is used very often for live applications, particularly
in PA operation. A matrix bus is a kind of an auxiliary bus typically fed only
by master channels (subgroups, masters, aux masters), but not from input
channels. The Configuration Editor 3.4 application (and newer) offers the
possibility to talk from master channels to auxiliary buses. It is therefore possible to have a super auxiliary bus that can be fed from any channel within
the console. However, very often this may be confusing. The Configuration
Editor software easily allows the software to know whether you intend to use
a certain auxiliary bus as a typical aux bus (no actions necessary) or whether
you want to use it as a matrix bus with typical feed possibilities (right-click
on the Aux Bus field in the CHANNEL/BUS view, as shown below). The
latter will remove the possibility to talk to this bus from input channels, but
instead will add feeds from all master channels. This is identical to a matrix
bus, and the corresponding master channels can be used as matrix outputs.
They may even be equipped with signal processing, such as EQ, dynamics,
or delay, in order to satisfy the specific needs of each customer.

Standard AUX Bus

Matrix-Style AUX Bus
Standard AUX Bus
Matrix-Style AUX Bus

Right-Click to Define AUX Usage

To avoid confusion about which master is a true auxiliary master and

which one is a matrix output, it is recommended to rename the user label of
the matrix style master channels to MATRIX 1, for example. This name
will then be propagated and properly displayed on the input channels as
described at the beginning of these notes.
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4.9.6

Multi-Track Buses with Switch for Pre-/Post-Fade and Pan On/Off

When configuring the Multitrack Enhanced bus type, additional parameters
become available on the console. In the global OUT n1 view or the local
CHANNEL view, a multi-track send level is visible. This level is used for all
multi-track buses. A Pan ON/OFF key allows the user to select whether
the channel pan setting may affect the multi-track buses or not. By using the
PRE/POST modifier key on the bottom right corner of the fader bay, the switch
function may be changed to become a PRE/POST key for multi-track buses.
So it can be determined:
whether the multi-track buses are fed by a pre- or post-fader signal
whether the channel panner should be active for the multi-track bus feed
level.
Note:

4.9.7

When working with channels equipped with Virtual Surround Panning

(VSP), only normal amplitude panning functions will be active on the
multi-track buses. If full VSP is desired on the multi-track buses, the standard
Multitrack bus type must be used.

NX
As a replacement for the previously offered N1 bus type, now a bus type
with enhanced functionality is available. When configuring an NX bus,
additional functionality, such as contribution level adjustment (NX level
on each input channel in order to balance the signal going to all NX buses)
and the possibility to define and activate a conference between multiple NX
owner channels is obtained. An alternate source signal may be sent out of
an NX output (e.g. station ID signals) while the channel fader is closed.
The NX bus types have to be configured using the Configuration Editor
software.

4.9.7.1

Of ine Conferencing
When configuring the NX buses, a subset of NX owner channels may be
defined to be members of a conference. Whenever their fader is closed, they
will automatically hear all other members (without hearing themselves back),
rather than the normal NX signal. As soon as the fader is opened, they will
instantly hear the NX signal again.

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4.9.7.2

Setting up the Of ine Conference

By pressing the SETUP CONF key on the control bay, the console is put
into conference setup mode. The LINK / SEL keys of all possible conference
member channels (all NX owner channels) are half-lit, and the user may
select any number of them to be members of the conference. If the user
wishes to adapt this setting frequently, he may even stay in this mode during
a live production, since the channels are instantly added or removed from the
conference when pressing their LINK / SEL key (however, other features such
as ganging will not be available while in setup mode).
All the channels currently defined as conference members are marked in the
strip setup window.

The conference icon in the toolbar has three states:

Grayed out
Colored
Colored, crossed out
Note:

4.9.7.3

No conference active nor defined

Conference active (if member faders closed)
Conference defined, but temporarily deactivated (even if member faders
closed).
In certain circumstances, also an AUX master can be selected as a conference
member (indicated by its half-lit LINK / SEL key). This is intended for adding
e.g. an on-air signal to the conference. See details below.

Talk to the Conference

When pressing the TALK key on a channel which is currently conferencing,
the talk function is automatically activated on all members of the conference
at the same time.

4.9.7.4

Deactivate Conference Temporarily

The conferencing may temporarily be deactivated by clicking on the confein the toolbar or the CONF ON key. In this case the conference
rence icon
definition is retained. As soon as the conference is reactivated globally (by
pressing CONF ON or clicking on the conference icon in the toolbar again),
the previously selected channels may talk to each other again. Temporary
activation of the CONF ON key is possible as well.

4.9.7.5

Conference Level
While in conference mode, the NX send level of the channel conferencing
may be adjusted. This level will then be used as a conference send level only.
When opening the fader, the level previously set returns. In other words, the
system remembers two level settings; one of them is active when conferencing, the other one is activated in normal NX mode.

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4.9.7.6

Monitoring the Conference Using the MPX Bus

Within the new Configuration Editor software, the MPX bus type has been
added. This bus only exists once within a configuration (similar to a PFL
bus) and is used to monitor the conference. It is a mono bus. Any channel
currently conferencing is automatically assigned to the MPX bus, and the
MPX bus output may be monitored using a source selector key. Since the
MPX bus output is a normal bus output, it can also be patched to any console
output. This allows, for example, feeding this signal to a small loudspeaker
for constantly playing back the conference signal.

4.9.7.7

Adding On-Air Signal to the Conference

It is possible to add an amount of the master signal to the conference, in case
the conferencing members should want to constantly hear whats happening
on air. This functionality is provided by a special function, whereby an auxiliary master channel is added as a conference member. This AUX bus is fed
by the on air signal from the masters.
Procedure:

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Have one AUX bus configured with an On/Off symbol at the master channels. Have another On/Off symbol between this master channel and all NX
buses (this step is normally performed by the NX wizard available in the
Configuration Editor software.)
Define your conference members by pressing MPX and selecting any of the
half-lit NX owner channels, and add the AUX master channel as a further
conference member.
Go to the console master channels and open some level to this AUX bus.
Vary the N1 send level on the corresponding AUX master channel in order
to add the on-air signal to the conference. Since this feed is taken pre-fader,
this masters fader has no effect.
Typically, one auxiliary bus is reserved for this use. It may be the one with
the highest of all bus numbers, in order to avoid confusion with the rest of the
buses. By using the new NX setup wizard within the Configuration Editor
software, this functionality can be easily added with all typical settings.

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4.9.7.8

Alternate Signal to NX Outputs (CUE)

The new NX bus type allows defining an alternate NX bus assignment.

It is possible to select any console channel (or multiples) to be the alternate
NX output signal. This signal is activated by the USR 1 or USR 2 key on the
channel strip (defined in screen shown above). This can be done only if the
owner channels fader is closed.
If you dont want to use normal console channels to be the alternate signal,
feel free to configure simple input channels not used otherwise during the
production. Such a channel can be the alternate cue signal source for all
NX buses or you can define a different alternate source for each NX bus
separately.
Set-up an alternate NX signal for a specific NX bus:
Open the Option: N1 Assignment menu in the graphic controller
screen
Select the NX bus you want to define the alternate signal for
Check the Edit Alt. Source checkbox
Select any channel (or multiple) to be the alternate signal source for the
selected NX bus (their pre-fader signal will be used that can be weighted
with the N1 send level to form the alternate signal for this NX bus).

Date printed: 06.12.06

Notes:

To avoid having to repeat this process too often, such a setup may be saved
in a snapshot or preset to be used at any time by all operators.

Option

to bring back ALT NX status upon closing fader.

Option active ( ): The signal will switch back to ALT NX upon closing
the fader again, in case it was active before opening. This allows e.g. feeding
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an off-air signal to the outside lines while there are not on air (e.g. output
signal from on-air console including commercials). Result: When the fader
is opened, the outside lines get the normal NX signal; when closed they are
switched to the off-air signal.
Option inactive (original behavior): If the ALT N-X key (i.e. USR 1 or USR 2
key defined above) was active and the fader was opened, the return signal
would automatically switch to normal NX. After the fader is closed again,
the signal would stay on NX.

4.9.8

D21m I/O System

The D21m I/O system has been completed by mic/line input cards as well as
the possibility to connect remote I/O boxes (stage boxes) over a MADI link
to a hub frame located next to the DSP core. For systems already installed,
there is nothing new with this software. However, for new systems delivered
with the D21m I/O system, the additional functionality provided by the D21m
I/O system will be explained below.

4.9.8.1

Automatic I/O Setup Detection

The D21m I/O system is very much a plug-and-play unit. There is no longer
any need to tell the system which ports have mic/line preamplifier cards connected, nor is it necessary to define the presence of such cards at the time of
configuration (in the Configuration Editor Software). This also means that
there is no more External Devices sub-patch in the general patch window.
The philosophy of automatic I/O detection works as follows:
At startup time of the console software, the I/O structure is scanned and
compared with the structure previously found when the system was started
for the last time. If the system detects any I/O structure changes (e.g. a stage
box has been removed to work temporarily with another console), a warning
is displayed for the user. He then may confirm that this situation is ok and
the system should not expect the missing components for this session. The
user also has the possibility to confirm the new I/O structure as the standard
(and this will be the structure the system expects when starting the next time).
If the channels within the configuration are equipped with the D21m input
function, the user can go ahead and patch audio to input channels while
automatically getting control over all parameters of the I/O system.

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4.9.8.2

Enhanced Surveyor Information

The information on the I/O system displayed in the surveyor is much enhanced. Now not only the mic/line preamplifier cards are indicated, but the health
state of all I/O cards. Power supplies (main and redundant) are indicated as
well.

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4.9.8.3

Automatic Generation of Intelligent Fixed Labels

AES input 3 (out of 16) of I/O card 1

inserted in Hub 4 (COM port 4)

Structure of Intelligent Fixed Labels:

I21 B 0 R4/6 Line In 1/5

Audio is transferred over HD link channel #3,

connected to DSP card #0
Board and I/O
Mic input 2 (out of 4) of Mic/Line In card 3 (slot 3)
inserted in Remote I/O Box 6 (slot 6), connected via MADI
to Hub 4 (COM port 4)
Audio is transferred over HD Link channel #26,
connected to DSP card#0

I/O Frame
(H: Hub, R: Remote I/O Box)
DSP Card
HD Link Channel
Frame numbers represent double-width slot in
corresponding hub frame to which the MADI link
is connected (16).
Card numbers represent slot number of frame
into which the card is inserted.

Audio coming through the D21m I/O components is always reaching the
core over Studers proprietary HD (high density) link. This link is present
between the local hub(s) and the DSP core. Each link may carry up to 96
audio channels. Instead of displaying these channel numbers in the general
patch, the software 3.4 is able to give more intelligent names to the input and
output ports shown in the general patch. You will then see frame numbers as
well as card types and channel numbers within each card. This generation is
automatically active whenever the D21m I/O system is present and the hub
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frame is connected to the console via a serial link. However, when recalling
a snapshot containing the non intelligent fixed labels (e.g. from older productions), this will overwrite the fixed labels as well and make the intelligent
fixed labels disappear. In this case, select Regenerate Intelligent Fixed
Labels within the SysAdmin menu and update this snapshot.

4.9.9

VCA-Style Masters (Motors Off Option)

The Control Group Masters in a classic sense were implemented in such a
way that all channel faders belonging to a certain control group would automatically move whenever the master fader was moved. This has the advantage
that you always visually see the audio settings currently active in the DSP
core. However, there are two drawbacks to this behavior:
When the Control Group Master fader is closed, the user cannot adjust the
balance between the member channels, since they are moved down together
with the master fader.
When the master fader is closed, it is still possible that there is some audio
passing through some of the member channels, since their fader is not completely closed.
With software release 3.4, there is now an alternative way of how the control
group master channels can work, that is very similar to the VCA groups of an
analog mixing console. Sometimes, this new behavior is also called motors
off. In this mode, the value set on the control group master channels (as
seen on their scale) is added to or subtracted from all member channels, and
the resulting (audio) level is set in the DSP core. The faders of the member
channels dont move up/down, and so it is possible to have the master fader
closed but still to correct the balance between the member faders. In addition,
the user can be sure that whenever the master channel is closed, no audio can
be heard from the member channels. Since the fader of a member channel
doesnt represent the real audio value anymore, the digits below the label
display are indicating the real audio value.

Date printed: 06.12.06

Note 1:

If VCA style operation is active, you may see member channels change their
fader values as soon as they are added to a control group. This is the case if
the master channel is already set to a value different from 0 dB at the moment
when a new slave channel is added to the group. This behavior is by intention,
in order not to have any audio changing when adding or subtracting member
channels from a control group. Example: You have set a microphone channel
to 15 dB, and you add it to a VCA group the master channel of which is
already set to 10 dB. In the moment the microphone channel is added to that
group, the user will see the microphone fader jump up to 5 dB. This results
in no audio change, as requested.

Note 2:

The VCA style Control Groups option can be found in the Option menu
of the graphic controller screen.

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4.9.9.1

Hierarchical CGMs
It is now possible to have control group masters (CGMs) being a member of
other CGMs. The indication of the control group number on master channels
has therefore slightly changed: The green display next to the fader is now
constantly showing to which master a channel belongs. If there is no further
hierarchical level above a CGM, this area is dark. The number of the CGM
itself can now be seen in the second line of the label display area.

This Channel is CGM No. ...

This Channel is Member of CGM No. ...

4.9.9.2

Control Room DIM Level Adjustment

Hold the DIM key next to the control room level rotary. After a short while
you will see the current DIM level on the level display. Turn the dB SPL CR
level control to adjust the dimming level, and then release the DIM key.

4.9.9.3

Studio DIM Level Adjustment

Hold the DIM key next to the studio monitor LEVEL rotary for two seconds.
Turn the LEVEL rotary control to adjust the dimming level and release the
DIM key. The current dimming level is displayed with the LED ring around
the LEVEL control.

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4.9.10

3rd-Party Control of Console Patch (Native Pro-Bel P-02/08 Support)

Starting with version 3.5 of the Vista Software, these products are able to
support Pro-Bel enabled devices natively, and so a second PC is no more
necessary for this functionality. However, we do not recommend that existing
installations are altered that are already in use with a second PC for Pro-Bel
interfacing.
The explanations below are therefore intended for installation personal and
not for the console operators.
Supported Functionality

Our implementation enables the ability to map certain Pro-Bel connect

requests to a set of definable patch connections. The control of patch points
is not restricted to set output patch points. It is possible to set any patch points
within the console patch upon reception of a Pro-Bel command. The set-up
procedure is done from the General Patch screen, where certain patches can
be selected (by just selecting the affected targets) and which are being mapped
to a Pro-Bel source/destination combination with a single click on a dialog.

Enabling Pro-Bel Setup

In order to activate and see the Setup Pro-Bel button on the General Patch
window, the system has to be in SysAdmin mode. The SysAdmin menu
contains a General Patch sub menu and a Use Pro-Bel on General Patch
item.

This setting will be written to the D950System.ini as well, resulting in

the same behavior as if it was edited by hand in the first place.
The button will then be visible whenever the system enters SysAdmin
mode.

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Enabling COM Ports for Use with the Pro-Bel Protocol

Ports that are used for Pro-Bel need to be specified in D950System.ini
in the [d950SerialPorts] section. This gives the possibility to use nonstandard data rates and parity settings.
[d950SerialPorts]
1= {p} COM1 baud=115200 parity=N data=8 stop=1
2= {b} COM6 baud=38400 parity=E data=8 stop=1
b is used to indicate Pro-Bel use. Only the COM ports defined in this way
will be available in the Pro-Bel set-up dialog.
Pro-Bel Set-up Dialog

With Use Pro-Bel on General Patch enabled, the General Patch displays an
additional button on the bottom right.

When clicking on this button the system brings up the set-up dialog and enters
Pro-Bel set-up mode.

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Targets with their respective connections can be selected by clicking on them

in the list on the general patch. Selected targets change their color to pink to
show their selection state.

Clicking on the Map Currently Selected button maps the patches for the
selected targets (the pink-colored ones) to the Pro-Bel connect command
specified on the left.
With Listen to messages enabled, incoming connect messages are mapped
to the edit fields on the dialog. To select targets affected by this connect command simply click on them in the target list of the general patch (color is set
to pink).
Make sure to always associate the same Pro-Bel destination to the same set
of targets.
Any connection on the patch may be mapped to certain Pro-Bel connect
commands. You are not limited just to outputs or inputs!
With Send spontaneous messages enabled, the corresponding CONNECTED message is sent whenever one of the defined patch combinations
matches the same combination as when they were defined.

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Files Used to Save Pro-Bel Set-up

Example for a .Pro-Bel File

The system creates human-readable files (ini format) in the D950System

directory to save the set-up. The files are named according to the COM port
used: PortX.Pro-Bel with X being the COM port used.
[TARGET_1 SOURCE_6]
Im23 Inp m 23 In1 left=D12L
Im24 Inp m 24 In1 left=D12L
[TARGET_1 SOURCE_7]
Im23 Inp m 23 In1 left=D11R
Im24 Inp m 24 In1 left=D11R
[TARGET_1 SOURCE_4]
Im23 Inp m 23 In1 left=
Im24 Inp m 24 In1 left=
[TARGET_0 SOURCE_0]
Im23 Inp m 23 In1 left=D11R
Im24 Inp m 24 In1 left=D11R
Im25 Inp m 25 In1 left=
Im26 Inp m 26 In1 left=

AES B 1 In4L left

AES B 1 In4L left
AES B 1 In3R left
AES B 1 In3R left

AES B 1 In3R left

AES B 1 In3R left

This file basically has a section for each used Source/Target combination. The
fixed labels are being used; left is appended for left or mono sources/targets,
and right is appended for right sources/targets.
Alternatively a short form of this file may be used in order to support the
standard case where all combinations of certain inputs and outputs should
be under control of an external device, there is a new file format introduced
allowing to only list the required inputs and outputs.
The alternate file format looks as follows:
[TARGETS]
1=i 1 B 1 Ch 1 left
[SOURCES]
1=I 1 B 1 Ch 1 left
This example defines Pro-Bel destination 1 to be i 1 output interface
and Pro-Bel source 1 to be I 1 output interface using the patch points
fixed label syntax.
The format is:
destination|source=fixed label of patch element + left
The appended left is kept on purpose in order to keep both formats
compatible.
Note:

4-128 GC Operation

If a source or destination is listed twice by accident, once in the simple format

and once in an x/y combination, the simple format has priority, and the x/y
listing isnt recognized. This situation is regarded as an error and should not
occur in regular cases.

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Vista 5 Digital Mixing System

4.9.10.1

Pro-Bel P-08 support

In case the user wants to extend the number of controlled patch points to above
1000 it is recommended to use the Pro-Bel P-08 protocol. This protocol also
supports transferring labels from 3rd party router systems at the same time (see
chapter 4.9.10.3). However, no control over internal patches such as patching
from an input port to an input channel is provided. Only one port can be used
for P-08. Therefore continue to use P-02 in case of multiple controllers present
or if you want to set system internal patches, e.g. channel input patches.
A special mapping file is present in the system translating Vista interfaces to
Pro-Bel P-08 commands (no fixed labels used):
Pro-Bel SW-P-08 Issue 21
2/1/0/0/0/0,1,1,0,
2/1/0/0/0/1,2,1,0,
2/1/0/1/0/0,2,2,0,
2/1/0/1/0/1,1,1,5,
2/4/0/0/0/0,9,0,0,
2/4/0/0/0/1,0,9,0,
2/4/0/1/0/0,0,0,9,
The format is as follows:

IO/InterfaceType/BoardNumber/PortNumber/ChannelNumber/PatchNumber,Index,Matrix,Level,

InterfaceType
BoardNumber
PortNumber
ChannelNumber
PatchNumber
Index, Matrix
Level

Date printed: 06.12.06

1 = AES in, 3 = Madi in, 9 = IO21 in

4 = AES out, 8 = Madi out, 10 = IO21 out
Certain interfaces use board numbers
Certain interfaces use port numbers
Interfaces do not use channel numbers and its usually 0
The zero-based index of the patch of the selected board and port
Index and Matrix as defined in the Probel specification
Level is evaluated for sources only. As this might be used differently with
OnAir 3000 systems, we recommend using 0 for the Level.

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Vista 5 Digital Mixing System

4.9.10.2

Exclude Certain Patch Targets from Being Changed by Snapshots

Some customers are using our consoles as audio routers for other studio installations, controlling the internal router by protocols such as Pro-Bel or ARMI.
When recalling console snapshots, the patch points set by these devices are
reset to the value of the snapshot, even if this was not always requested. With
software release 3.4 it is possible to define certain patch targets as isolated
from snapshot recalls. In other words, the user defines the patch outputs are
controlled by Pro-Bel/ARMI devices and therefore makes those targets completely independent from snapshot recalls by the console operator. This set-up
is typically done once on a system. See service instructions for information
on how to set-up this isolation.

4.9.10.3

Label Import from 3rd-Party Systems

In addition to getting patch control it is possible to exchange label information
with external router systems, such as Pro-Bel and Grass Valley. Using a serial
connection, a permanent label exchange can be set up in such a way that the
device labels used in Vista and D950 systems are permanently overwritten
by received labels from the 3rd party router. This means that you will automatically see the name of the original sources on your channel strip, even if
a large routing system is placed before your console.
Studer supports two label exchange protocols: Pro-Bel SW-P-08 and Grass
Valley Group Series 7000. Normally this feature is only used for label import
from the external devices. However, when using the Pro-Bel SW-P-08 protocol, also export of output interface labels is supported. It is therefore possible
to connect two Vistas together and get the labels automatically from one Vista
transferred to the second.
Note:

4-130 GC Operation

The Pro-Bel P-08 interface also allows patch control and not only transfer of
labels.

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Vista 5 Digital Mixing System

4.9.11

Support of External Monitoring Source Selector Panels

As an alternative to controlling patch points of the console by using 3rd-party
controllers (Pro-Bel protocol), Studer offers a mini Pro-Bel controller
module. The module may be mounted within the Vista console or anywhere
externally. It hosts 32 freely programmable keys to set any number of patch
points within the console. Each key may be defined to set a certain patch point
(or a set of patch points.) The keys on the hardware panel are illuminated,
if all of the defined patch points are currently set. As soon as one of them is
cleared or changed, the key gets dark. This intelligence allows free grouping
of the 32 keys to e.g. 16 groups of two sources each, or to one single group
of 32 sources. Any combination in between is possible. It is also possible to
use 16 keys as one group while using the remaining keys as two groups of
eight, for example.
If a set of keys are setting patch points to the same destination they are
automatically recognized as a group and therefore their illumination will
automatically indicate the correct patch state. Rule: A key is illuminated as
long as all defined patch points are set. If at least one of them is changed (e.g.
by pressing another source selector or by the consoles trackball) the key
becomes dark.
Note:

4.9.11.1

Switching patch points is not only possible to outputs of the console, but
everywhere within the patch (e.g. input patches to input channels or inserts).
Therefore the Studer panel may also be used to switch any number of input
patches of the console to different inputs.

Patch Point Isolation

These patch points cannot be isolated against changes by snapshot recalls,
unless the inputs of the channels are isolated. The general function of isolating
patch points against snapshot recalls may be applied to output patches only.

4.9.11.2

Patch Mapping Setup

The setup on the console side happens in the same way as when setting up
normal Pro-Bel control; see chapter 4.9.10 for details. The panel itself needs
an address set. This address will guarantee that multiple panels may work
at the same time. Multiple panels may be connected to one serial port of the
console. Please refer to the service manual for more details.

Date printed: 06.12.06

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Vista 5 Digital Mixing System

4.9.12

Fader Ramp Control (Audio Follows Video)

Enable Fader Ramp:

4-132 GC Operation

Faders of all console channels can be externally controlled. When using this
feature, the console operator determines the Fader Open/Close values, as
well as the fade in/out speed. Various triggers are available in order to activate the fade. The channel patch window allows adjustment of all necessary
settings.
The fader ramp function might be particularly useful when doing TV work.
Opening and closing of certain microphone channels may be controlled by
the video switcher, using GPIs (general-purpose inputs, i.e. closure contacts
in the monitoring rack). Another possible use is radio/TV talk-shows: Different people have their microphones constantly opened and lowered. This
action may be pre-programmed, and the fade in/out may be activated by just
touching the fader or pressing one of the USER keys. The following options
may be set in the channel patch window:
Select if you want to use one of the two USER keys to enable the fader ramp
on a specific channel. It is also possible to activate it constantly, leaving the
USER keys free for other functions.

SW V3.6

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Vista 5 Digital Mixing System

ON (Fader Value):

OFF (Fader Value):

Note:

Speed ON:
Speed OFF:
Activation:

GPI:
Fader Touch:
Note:
User Key 1/2:
Note:

Date printed: 06.12.06

Clicking on the Capture button will set the current fader value to be used
when the GPI is active, hence the value used when the fader is opened.
Alternatively the value may be typed using the keyboard or by using the trackball: Click in the number field and drag the pointer up or down. This action
is similar to the way time values are adjusted in the dynamic automation of
the Vista consoles.
Clicking on the Capture button will set the current fader value to be used when
the GPI is inactive, hence the value used when the fader is lowered/closed.
Alternatively the value may be modified as described above.
By using the same GPI on two channels and setting the ON value to the fader
closed position on one of the two and vice versa allows using one GPI to
control opening and closing of different channels at the same time.
Determines the time used for fading in the corresponding channel.
Determines the time used for fading out the corresponding channel.
The fade actions may be activated by different events. Several events may
be enabled at the same time. The fade will take place whenever one of the
activated events is detected:
Select one of the general-purpose inputs available on the console for triggering the fade.
Touch-and-release the fader in order to activate the fade.
If the fader is moved while being touched, no automatic fade is being executed. This prevents from accidental fading.
The fade is activated when pressing the corresponding USER 1 or USER 2 key
on each channel.
In case adjusted values should constantly jump back to their previous values,
check that the C:\D950System\Sig...ini file is not write protected.

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Vista 5 Digital Mixing System

4.9.13

New Options in Options - Vista Settings Menu

The MUTE key may be disabled whenever the console is in On Air

(live) mode.
The state of sending the alternate n-x signal instead of the regular one
may be restored after opening and closing the fader.
If the broadcast PFL mode (also referred to as PFL cut on channel
active function) is enabled, audio signals are cut from the PFL bus if
the channel is ON and the fader is open. For this mode, a Remember PFL
State option has been added in the Option: Vista Settings menu. If this
option is set, the channel will also go back into PFL state when the fader
is closed again.
An option has been added in the Option: Vista Settings dialog. If
selected, all auxiliary buses are muted if the channel MUTE key is
activated. If this option is not active (default), only the auxiliary buses
switched to post-fader are muting upon channel mute.
The output metering of the n-x signal occupying the right-hand side of
the bargraph meters may be disabled.

4-134 GC Operation

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D950/Vista7 Digital Mixing System

CHAPTER 5
5

AutoTouch+ Dynamic Automation ...............................................................................................................................5-5

5.1
Getting Started Quickly ............................................................................................................................................5-5
5.1.1
Basics................................................................................................................................................................5-5
5.1.2
The AutoTouch+ Panel.....................................................................................................................................5-6
5.1.3
Automation Keys on the Channel Strips ...........................................................................................................5-8
5.1.4
Mix Passes ......................................................................................................................................................5-10
5.1.5
Write Zones ....................................................................................................................................................5-11
5.1.6
How to ........................................................................................................................................................5-12
5.2
Now the Details: Introduction.................................................................................................................................5-14
5.2.1
About this Chapter ..........................................................................................................................................5-14
5.2.2
Description......................................................................................................................................................5-15
5.2.3
V2.5 vs. V3.0..................................................................................................................................................5-15
5.2.3.1 New Features ..............................................................................................................................................5-15
5.2.4
Operational Philosophy...................................................................................................................................5-18
5.3
Essential Concepts ..................................................................................................................................................5-20
5.3.1
Static and Dynamic Objects............................................................................................................................5-20
5.3.1.1 Static Objects ..............................................................................................................................................5-20
5.3.1.2 Dynamic Objects.........................................................................................................................................5-22
5.3.1.3 Mix Snapshot ..............................................................................................................................................5-23
5.3.2
Touch & Un-touch Events ..............................................................................................................................5-24
5.4
File Management ....................................................................................................................................................5-25
5.4.1
Mix Tree .........................................................................................................................................................5-26
5.4.1.1 Passes in the Mix Tree ................................................................................................................................5-27
5.4.1.2 Active Pass..................................................................................................................................................5-29
5.4.1.3 Mix Tree Display Modes ............................................................................................................................5-29
5.4.1.4 Mix Tree Click Functions ...........................................................................................................................5-32
5.4.2
Creating a New Mix........................................................................................................................................5-34
5.4.3
Loading an Existing Mix.................................................................................................................................5-35
5.5
Mix Pass .................................................................................................................................................................5-37
5.5.1
Mix Pass Stack................................................................................................................................................5-37
5.5.1.1 Mix Comparison .........................................................................................................................................5-38
5.5.1.2 Undo/Redo..................................................................................................................................................5-39
5.5.1.3 Kill Pass ......................................................................................................................................................5-41
5.6
Control Modes ........................................................................................................................................................5-42
5.6.1
Read ................................................................................................................................................................5-43
5.6.2
Write ...............................................................................................................................................................5-44
5.6.3
Trim ................................................................................................................................................................5-46
5.6.4
Isolate..............................................................................................................................................................5-49
5.6.5
Control Mode Entry........................................................................................................................................5-50
5.6.5.1 Global Mode Entry .....................................................................................................................................5-50
5.6.5.2 Local Mode Entry .......................................................................................................................................5-53
5.6.5.3 CAS Mode Entry (D950 only) ....................................................................................................................5-54
5.6.5.4 Vista Mode Entry........................................................................................................................................5-54
5.6.6
Control Mode Indicators (D950) ....................................................................................................................5-55
5.6.7
Control Mode Indicators (Vista).....................................................................................................................5-59

Date printed: 27.08.03

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5.7
Touch and Hold...................................................................................................................................................... 5-62
5.7.1
Touch and Un-touch....................................................................................................................................... 5-63
5.7.2
Touch Record ................................................................................................................................................. 5-64
5.7.3
Touch Hold..................................................................................................................................................... 5-65
5.7.4
Touch Record + Touch Hold.......................................................................................................................... 5-66
5.7.5
Held Controls ................................................................................................................................................. 5-67
5.7.5.1 Held Plays Mix........................................................................................................................................... 5-68
5.7.6
Auto Mode Key Function............................................................................................................................... 5-69
5.7.6.1 Modified Un-touch Inverts ......................................................................................................................... 5-70
5.7.6.1.1 Option Modified Un-Touch Inverts <Touch Record>.......................................................................... 5-70
5.7.6.1.2 Option Modified Un-Touch Inverts <Touch Hold> ............................................................................. 5-71
5.8
Global Record ........................................................................................................................................................ 5-74
5.8.1
Pre-Selectors .................................................................................................................................................. 5-74
5.8.2
Manual Punch-In/Out ..................................................................................................................................... 5-75
5.8.3
Write Zone ..................................................................................................................................................... 5-75
5.8.4
Auto Punch-In/Out ......................................................................................................................................... 5-78
5.8.5
Auto GPI In/Out ............................................................................................................................................. 5-78
5.9
Data Transition Behaviors...................................................................................................................................... 5-79
5.9.1
Write To: ........................................................................................................................................................ 5-79
5.9.2
Extend Back To:............................................................................................................................................. 5-83
5.9.3
Glide............................................................................................................................................................... 5-85
5.10 Switch Automation................................................................................................................................................. 5-88
5.10.1 Switch Classifications..................................................................................................................................... 5-88
5.10.2 Switch Control Modes.................................................................................................................................... 5-90
5.10.3 Switch Operation............................................................................................................................................ 5-91
5.10.3.1
Press and Release ................................................................................................................................... 5-92
5.10.3.2
Press and Hold........................................................................................................................................ 5-93
5.10.3.3
Modified Press Function......................................................................................................................... 5-94
5.11 Graphic Controller Automation.............................................................................................................................. 5-95
5.11.1 General Patch ................................................................................................................................................. 5-95
5.11.2 Channel Patch................................................................................................................................................. 5-97
5.12 Other Automated Functions.................................................................................................................................. 5-100
5.12.1 Bus Assignments .......................................................................................................................................... 5-100
5.12.2 Snapshots/Presets ......................................................................................................................................... 5-101
5.12.3 GC Menu Items ............................................................................................................................................ 5-102
5.13 Mix Protection...................................................................................................................................................... 5-104
5.13.1 Protection Sets.............................................................................................................................................. 5-105
5.13.1.1
Creating Protection Sets ....................................................................................................................... 5-105
5.13.1.2
Saving Protection Sets.......................................................................................................................... 5-107
5.13.1.3
Loading Protection Sets........................................................................................................................ 5-108
5.13.2 Applying Mix Protection.............................................................................................................................. 5-109
5.13.3 Removing Protection.................................................................................................................................... 5-110
5.13.4 Isolate via Protection.................................................................................................................................... 5-111
5.14 Miscellaneous Controls/Modes ............................................................................................................................ 5-112
5.14.1 Mix On ......................................................................................................................................................... 5-112
5.14.2 View Dynamic.............................................................................................................................................. 5-112
5.14.3 View Alt ....................................................................................................................................................... 5-112
5.14.4 AutoTouch+ Panel Presets ........................................................................................................................... 5-113
5.14.5 Function Keys............................................................................................................................................... 5-113
5.14.6 Static Data (D950 only)................................................................................................................................ 5-113
5.14.7 Scene Capture/Recall ................................................................................................................................... 5-114
5.15 Special Operating Modes ..................................................................................................................................... 5-116
5.15.1 Stop Frame Automation................................................................................................................................ 5-116
5.15.2 Read Lock .................................................................................................................................................... 5-118

5-2 AutoTouch+

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D950/Vista7 Digital Mixing System

5.16 Offline Mix Editing...............................................................................................................................................5-119

5.16.1 Event List Editing .........................................................................................................................................5-119
5.16.2 OFLA Editing ...............................................................................................................................................5-125
5.16.2.1
Object Picker ........................................................................................................................................5-128
5.16.2.2
Channel Selector Panel .........................................................................................................................5-129
5.16.2.3
Object Selector Panel............................................................................................................................5-131
5.16.2.4
Channel/Object Tree Display Area .......................................................................................................5-133
5.16.2.5
Function Controls..................................................................................................................................5-135
5.16.3 Mix Controls.................................................................................................................................................5-136
5.16.3.1
Active Mix ............................................................................................................................................5-136
5.16.3.2
Spread Source Mix................................................................................................................................5-138
5.16.3.3
Merge Mix ............................................................................................................................................5-139
5.16.3.4
Update Snap Source Mix ......................................................................................................................5-140
5.16.4 Timecode Controls........................................................................................................................................5-142
5.16.4.1
General Information..............................................................................................................................5-142
5.16.4.2
Editing Timecode Entries .....................................................................................................................5-142
5.16.4.3
Timecode Entry Controls ......................................................................................................................5-145
5.16.4.4
Locking Timecode Fields......................................................................................................................5-146
5.16.5 Selected Objects Display ..............................................................................................................................5-148
5.16.6 Edit Types.....................................................................................................................................................5-149
5.16.7 Offline Editing Tutorial ................................................................................................................................5-150
5.17

User Files..............................................................................................................................................................5-151

5.18 AutoTouch+ Panel ................................................................................................................................................5-154

5.18.1 D950 .............................................................................................................................................................5-154
5.18.2 Vista..............................................................................................................................................................5-158
5.19 Desk Automation Controls....................................................................................................................................5-161
5.19.1 D950 Desk Automation Controls..................................................................................................................5-161
5.19.1.1
D950 Channel Strip Controls................................................................................................................5-161
5.19.1.1.1 D950 Auto Mode Key.......................................................................................................................5-161
5.19.1.1.2 D950 Channel Strip Fader Controls..................................................................................................5-163
5.19.1.1.3 D950 Channel Strip Mute Controls ..................................................................................................5-164
5.19.1.1.4 D950 Channel Strip Switch and Encoder Controls ...........................................................................5-165
5.19.1.2
D950 CAS Controls ..............................................................................................................................5-167
5.19.1.2.1 CAS Fader Controls..........................................................................................................................5-168
5.19.1.2.2 CAS Mute Controls ..........................................................................................................................5-170
5.19.1.2.3 CAS Switches and Encoders Controls ..............................................................................................5-171
5.19.2 Vista Desk Automation Controls ..................................................................................................................5-174
5.20

Auto Touch Plus Window.....................................................................................................................................5-177

5.21 Mix Options ..........................................................................................................................................................5-181

5.21.1 Saving/Loading Mix Options........................................................................................................................5-182
5.21.2 Control Mode Options ..................................................................................................................................5-185
5.21.2 Glide .............................................................................................................................................................5-187
5.21.2 Hold ..............................................................................................................................................................5-189
5.21.5 Master Panel .................................................................................................................................................5-190
5.21.6 Panel Presets (D950 only).............................................................................................................................5-192
5.21.7 End Of Pass...................................................................................................................................................5-193
5.21.8 Miscellaneous ...............................................................................................................................................5-194
5.22

GC Automation Menu...........................................................................................................................................5-196

5.23

Hot Keys ...............................................................................................................................................................5-198

Date printed: 27.08.03

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5-4 AutoTouch+

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Date printed: 27.08.03

D950/Vista7 Digital Mixing System

AUTOTOUCH+ DYNAMIC AUTOMATION

5.1

Getting Started Quickly

For Beginners:

5.1.1

This short introduction to the AutoTouch+ Automation is meant to give

the user an easy entry point in order to start working with the dynamic
automation. For simplicity some facts are not totally accurate and may
have exceptions. Also it is possible to modify the behavior of AutoTouch+
automation very much by varying option settings. In order to get a detailed
overview of all available functions, please refer to chapters 5.2 and up.
We recommend to set the automation to factory default settings. This is
done by exiting the Vista/D950 application and deleting the
C:\D950system\D950Ofla.mop file. After restarting the application, you
have the factory default settings applied.

Basics
The operation is based on the individual channel strip as well as on the
AutoTouch+ panel, located near the center of the console.

Definitions:

Objects:
Held Objects:

Date printed: 27.08.03

An object in the context of the AutoTouch+ automation is any channel

parameter, such as a fader, a key (for e.g. switching an EQ on and off), or a
knob (for adjustment of anything like gain, etc.).
This is an object being touched with a finger (or an object after being untouched, but with the un-touch suppressed by a special mode). Held objects are indicated by underlined values (Vista), displayed fader values in
dB (Vista) or an associated LED being lit (D950).

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D950/Vista7 Digital Mixing System

5.1.2

The AutoTouch+ Panel

D950:

Vista:

[4]

[3]
[1]
[2]

[3]
[1]
[2]

[1]

[3]

[2]

[2]
[1]

[3]
[2]
[1]
[2]

[1]
[2]
[3]
[4]
Pre-selector Keys [1]

Action Keys [2]

Mode Keys [3]

5-6 AutoTouch+

Most keys on these panels can be roughly divided into three or four
groups, respectively:
Pre-selector keys
Action keys
Mode keys
Setup keys (D950 only)
These keys select the group of functions that will be influenced by the
action keys located below them: FDR, MUTE, ENC / KNOB, SW / SWIT, or all
current HELD objects. The pre-selectors for faders, mutes, encoders/knobs,
and switches influence the whole console, not only specific channels.
These keys perform an immediate action when pressed, e.g.:
PUNCH IN, PUNCH OUT
Set objects into READ, WRITE , TRIM , or ISOLATE mode
CLR (clear) the held state of all held objects
These keys put the automation into a specific mode, influencing its behavior for the next time the corresponding event occurs, e.g.:
GLIDE will switch on or off the glide mechanism for upcoming punchouts.
HOLD will suppress the detection of the physical un-touch of an object.
The object will therefore stay in a held state.
Note: This key will only influence future physical un-touch of objects.
RECORD tells the system whether it should punch-in when (upcoming)
touches are being detected. If this switch is off, the automation is in an
audition or rehearse mode.
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D950/Vista7 Digital Mixing System

Application Examples:

Setup Keys [4] (D950 only):

Date printed: 27.08.03

WRITE TO: LEVEL MATCH, NEXT CHANGE, END, and PUNCH OUT will
write the value at the time of punch-out possibly further ahead, rather
than immediately stop recording. The neutral setting is PUNCH OUT.
This will record no more after punch-out.
EXTEND BACK TO: (D950) / WRITE TO: (Vista) BEGIN, PUNCH IN: These
keys can only be activated before starting a mix pass. They will write
the value at the time of punch-out as a constant value back to the begin
(setting BEGIN) or back to the point where the user punched in (setting
PUNCH IN).
In WRITE mode:
1 Correcting a constant value throughout a mix (WRITE TO: BEGIN)
2 In a music mix, when a solo is played: For finding a value while listening and applying the final value to the whole passage (WRITE TO:
PUNCH IN).
In TRIM mode:
1 Trim an object back to the beginning of a mix while keeping its movements (WRITE TO: BEGIN)
2 Trim an object by a constant value between punch-in and punch-out
point, while keeping the movements (WRITE TO: PUNCH IN).
For storing or recalling mix option settings which define the behavior of
the automation system. Such a preset contains all option settings and can
either be assigned to specific keys or just stored in files.

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D950/Vista7 Digital Mixing System

5.1.3

Automation Keys on the Channel Strips

Vista:

[8]

[7]

[9]

[6]
[5]
Punch IN/OUT:
[5]
[6]
[7]
[8]
AUTO MODE [9]:

5-8 AutoTouch+

Four keys are representing the recording state of its member objects:
Fader
Mute
Knob
Switches
Toggles between different automation modes: READ, WRITE, TRIM,
ISOLATE. As a standard, only the objects selected in the pre-selector
area of the AutoTouch+ panel (e.g. FADER) are toggled, but not the
whole channel.
This key has also the important function to suppress the detection of a
physical touch or un-touch of any objects. It is therefore possible to modify
a value without putting the object into held mode. Or vice versa it is
possible to physically un-touch an object so that the automation doesnt
detect the un-touch (object is still considered as held). This is the reason
why this key is sometimes referred to as modifier key.

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D950/Vista7 Digital Mixing System

D950:

[13]

[11]
[12]

[10]

Punch IN/OUT:
[10]
[11]
[12]
AUTO [13]:

Date printed: 27.08.03

Three keys are representing the recording state of their member objects:
FADER STAT
MUTE STAT
S/E PB, S/E REC (S/E stands for switches and encoders/knobs)
Toggles between different automation modes: READ, WRITE, TRIM,
ISOLATE. As a standard, only the objects selected in the pre-selector
area of the AutoTouch+ panel (e.g. FADER) are toggled, but not the
whole channel.
This key has also the important function to suppress the detection of a
physical touch or un-touch of any objects. It is therefore possible to modify
a value without putting the object into held mode. Or vice versa it is
possible to physically un-touch an object so that the automation doesnt
detect the un-touch (object is still considered as held). This is the reason
why this key is sometimes referred to as modifier key.
If this key is lit, the fader is in held state.

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5.1.4

Mix Passes
Normally a new mix pass is automatically being created when play speed
of incoming timecode is detected. A mix pass finishes upon detection of
non-play speed.
In order to record slower than play speed (slow motion) or even write
automation data between two locate points, it is necessary to start and stop
a mix pass manually.
Note for D950 Users:

Note:

Recording in slow motion is only possible when using the Studer TC3
timecode reader or newer.
A mix pass is manually started by switching Stop Frame automation on
using the STOP FRAME keys [14]. It is finished when this key is switched
to off again.
The automation cannot record backwards; the automation records data up
to any incremented timecode value. Therefore it is not possible to erase
data by going backwards using the jog wheel.
In order to locate precisely to a certain frame without overshooting, it
might be useful to suspend the reading of timecode while searching for
that specific frame. This can be done by activating the TC OFF (Vista) or
SUSPEND (D950) key.

D950:

Vista:

[14]
[14]

Example:

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The user wants to write data between 1:00:01:00 and 1:00:09.20, using the
jog wheel to locate both points precisely.
Procedure:
1 Find the starting point with the jog wheel.
2 Start a mix pass by switching STOP FRAME on.
3 Punch-in requested objects.
4 Activate TC OFF (Vista) or SUSPEND (D950).
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5 Locate the end point 1:00:09:20 using the jog wheel (the user can freely
jog around this point and even overshoot in order to locate precisely). It
is possible to use locate commands as well.
6 Deactivate TC OFF (Vista) or SUSPEND (D950). Automation data is
written up to the current timecode value.
7 Finish the mix pass by switching STOP FRAME off.

5.1.5

Write Zones
In order to protect any passages from being overwritten by automation
data, it is possible to define a write zone in the graphical controller. If activated, it is not possible to write any data outside that zone. When working
together with machine control (looping), it is possible to synchronize this
write zone constantly with the set In and Out points of the machine control.

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5.1.6

How to

...put the whole console into write mode?

Activate pre-selector keys FDR, MUTE, KNOB/ENC, SWIT/SW (or press the
ALL/CLR key) and press automation mode WRITE (make sure you have
TOUCH RECORD active in order to record any changes against timecode).
...put all faders into write mode?
<Option>

Select FDR as pre-selector and press WRITE underneath in order to put all
faders into write mode (make sure you have TOUCH RECORD active in order to record any changes against timecode).
There is an optional setting (see menu Automation Options, Control
Modes, Mode Enable sets non-selected to READ, also refer to chapter
5.21.2) which determines whether the non-selected functions (e.g. MUTE,
KNOB / ENC, SWIT / SW) will change their state to READ or whether they
dont change their automation state when putting the faders into WRITE.

...put a group of faders into write mode? (Vista)

Select FDR as pre-selector (section ENABLE MODES) and create a gang of
the channels that should change their automation mode to Write. Then
toggle through the automation modes by pressing the AUTO MODE key on
any of the linked channels several times, until the automation state indication on the TFT says W (make sure you have TOUCH RECORD active in
order to record any changes against timecode).
...use Rehearse mode?

Note:

Basically you just have to switch off the RECORD key. This will prevent
all upcoming touches from switching into recording. To rehearse some
settings, you will normally have HOLD on, since you want your settings to
stay when you physically un-touch an object. In this way you will see all
objects you changed in order to rehearse some alternate settings indicating
held state, either by underlined values (Vistonics module) or in the fader
case by the displayed dB values. You can now stop the tape, rewind, and
all objects will stay held. Now you activate the HOLD key from the preselectors of the section GLOBAL RECORD (PUNCH IN / PUNCH OUT) and
play the tape again. When you press the PUNCH IN or PUNCH OUT key, you
will now put all your rehearsed objects in and out of recording.
If objects are moved in rehearse mode, you will always hear what you see.
However, if you want to switch over and hear the underlying original mix,
simply activate the PLAY MIX key.

...correct a mix pass and let the automation take over whenever the level matches?
Select WRITE TO: LEVEL MATCH. Please note that these WRITE TO keys
will only affect automated objects after they are punched out. This is to
prevent unwanted punch-outs while you are still touching an object and
doing corrections. In order to move e.g. a fader manually over the point of
level match and make it punch-out upon level match, you need to punchout first and afterwards touch the fader again without the automation detecting the touch. This means you will have to hold down the AUTO MODE
modifier key when touching the fader again. Now you can move the fader
towards the point of expected level match. As soon as this level is reached,
this fader will stop recording.
There is also an alternate way of suppressing the detection of the touch:
Switch TOUCH RECORD off and then touch the fader, followed by a
manual movement over the point of matching levels.

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...activate a glide on one channel while another one shouldnt glide back?
As stated above, GLIDE is a mode key and does only influence upcoming
punch-outs. You can switch this key while mixing.
E.g.: GLIDE is off and you punch-out channel 8. It will punch-out without
gliding. Then you switch GLIDE on and punch-out channel 9. Since GLIDE
mode is now activated, channel 9 will punch-out and glide back to the
value of the last mix pass.
...keep an object in held mode while another one should not be held?
There are two easy ways for this. The first one is similar to activating and
deactivating GLIDE: Switch HOLD on and physically un-touch an object it
will stay held. Change the HOLD state to off, and the next time you
physically un-touch an object it will also come out of held state.
A second way is to hold down the AUTO MODE modifier key while releasing an object. This will invert the HOLD state for that specific event.
Note: The behavior of the modifier key can be defined in the automation options
(Misc, Modified Un-touch Inverts) whether TOUCH RECORD or TOUCH
HOLD will be modified.
...make an object louder for the entire mix while keeping its movements?
In the MIX PASS (D950) or WRITE TO (Vista) section, activate EXTEND
BACK TO / WRITE TO BEGIN and WRITE TO END.
Select TRIM mode for the desired objects (section ENABLE MODES /
CONTROL MODES, use pre-selectors). Start a mix pass and move the desired objects by the amount you want them to be corrected.
In this case the movements of the objects will be kept, only the offset
will be written to the new mix pass.
Note: When TRIM mode for faders is selected, the faders will jump to the 0 dB
position and therefore indicate the correction level rather than the real
fader values.
Vista: The real values will still be displayed in the touch-screen area. On rotary
controls, Vista will display the amount of corrections in digits while
displaying the real values graphically.
...erase all movements of an objects on the entire mix? Or, how to...
...turn a dynamic object back into a static object again?
In the MIX PASS (D950) or WRITE TO (Vista) section, activate EXTEND
BACK TO / WRITE TO BEGIN and WRITE TO END.
Select RECORD mode for the desired objects (section ENABLE MODES /
CONTROL MODES, use pre-selectors). Start a mix pass and set the desired
objects to the value you want to have for the entire mix. This will write the
level at the time of punch-out to the time between END and BEGIN.
Note: The exact meaning of END and BEGIN can be defined on the graphical
controller screen, but defaults to begin of mix and end of mix.

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5.2

Now the Details: Introduction

Welcome to the AutoTouch+ dynamic automation system for Studer D950
and Vista digital mixing consoles. For new D950 and Vista users, AutoTouch+ provides a powerful and comprehensive automation system that is
easy and efficient to use. For current D950 users, V3.0 AutoTouch+ is a
major revision to the previous AutoTouch system (V2.5 or earlier). While
maintaining many of the V2.5 operations, AutoTouch+ provides a multitude of refinements, new features, and options. All users will find the
flexibility to work in the way most appropriate for the task at hand without
overly complicated procedures. Users will also find the power to efficiently create and fine-tune the optimal mix.
AutoTouch+ allows any control defined within a VMC file to be automated. This includes faders, encoders, switches, and bus assignments.
Connections made within the new and improved General Patch, audio oriented objects in the Channel Patch, and select Graphic Controller (GC)
menu items may also be automated.

5.2.1

About this Chapter

Assumptions:

This chapter is designed to explain the operation of the Studer AutoTouch+ dynamic automation system. It will prepare the reader for basic to
advanced operation of the system. It assumes the user will have basic
D950 familiarity and operational proficiency. The full understanding of
many of the terms and concepts depends on this familiarity. Refer to the
Console Operation chapters of the D950 and Vista manuals as necessary.

Redundant Information:

In several chapters information is repeated. This is to accommodate those

who will use this document as a reference, only going to the chapter(s) in
which help is needed. Redundant chapters will become obvious to those
who will read this document as a text, and may be skipped as desired.

Conventions:

Automation in V2.5 software and earlier software is known as AutoTouch.

In V3.0, it is known as AutoTouch+. The similarities of the names may be
confusing, so for the purposes of this document, older versions of AutoTouch may be referred to as V2.5 and AutoTouch+ as V3.0.

Disclaimer:

The information provided in this document is as accurate as possible at the

time of its creation. Minor difference may be present in the final release
version and in subsequent releases.
This document is designed to provide information to those new to D950
and Vista, as well as long time D950 users. Basic information is sometimes presented and is not intended to offend advanced users.

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5.2.2

Description
AutoTouch+ is a software and hardware package that is fully integrated
into Studer D950 and Vista digital audio mixing systems.
Software:

AutoTouch+ is part of the V3.0 software package. V3.0 represents a major

revision to the D950/Vista system software and in addition to the overhaul
of the automation, it contains other new features and bug fixes that address
other parts of the system. There is also a set of ancillary software (much of
which is new) that supports system operations.
The AutoTouch+ portion of the V3.0 software provides a clear and easy to
use human interface. Its intuitive and uncluttered windows have control
and display elements whose labels and screen positions are obvious to
their purpose.

Hardware:

AutoTouch+ requires a new Automation Master Panel. For current D950

users, the new panel will replace the old AutoTouch panel in both M2 and
Classic work surfaces. The panel is an integral part of the Vista desk surface.
The Automation Master Panel integrates the software and work surface
aspects of the system. It also provides a logical and ergonomic interface
for the user.

User Release Notes:

5.2.3

For details of the V3.0 package, please refer to the Studer D950 Version
3.0 User Release Notes. This document provides information regarding the
installation and use of the V3.0 software set. Details of AutoTouch+ is
provided in this document.

V2.5 vs. V3.0

AutoTouch+ is an evolution of the original D950 AutoTouch system. Because of this, operation of AutoTouch+ is very similar to V2.5 automation.
If desired, AutoTouch+ may be set up to emulate the operation of previous
versions.
Being a major revision, AutoTouch+ also goes well beyond the capabilities of V2.5 or earlier systems. It permits the most complex automation
tasks to be carried out within a clear and logical workflow while remaining
straightforward and simple to operate.

5.2.3.1

New Features
There is an impressive array of new features built into AutoTouch+. A
summary of these features follows.
New Mix Management:

Date printed: 27.08.03

Automation Mix files are managed via a new Mix Tree System (MTS).
The MTS will work in conjunction with the expanded Mix Pass Stack (8
Mix Passes). Each and every Mix Pass will be automatically saved and archived within the Mix Tree. Multiple Mix Trees can be created within a
Title. Any previous mix can become the Active Pass (or Read Mix Pass)
for a subsequent Record Mix Pass. The MTS is maintained between sessions, so that when a mix is recalled days or weeks later, the entire Mix
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Tree will be available to the new session. The Mix Tree may also be hidden so that all mix management can be done within the Mix Pass Stack. At
any time the Mix Tree may be made fully visible again. Mix Passes may be
named and comments may be added. A full mix link history is maintained.
Static Objects:

When a mix is first created (when a Mix Tree is first opened) all automatable controls are Static Objects. Static objects act just like manual
controls except that their final setting is remembered by the automation.
All controls remain Static until a Dynamic move is recorded.
Any switch, fader or rotary control (automation objects) may be classified
as a Static object. They may be adjusted at any time during the mix process
without needing to put them into a WRITE or RECORD automation mode
(similar to mixing on an analog console). The value of all static objects is
maintained on a pass-by-pass basis. This simplifies the tweaking of the
hundreds of controls within a mix session that must be adjusted, but will
never change at timecode locations. Should a Dynamic move be required
for a Static object, the move can be simply written into the mix, and the
object is transformed automatically into a Dynamic automation object.
This simple and effective system will greatly enhance the mix process and
dramatically improve mix efficiency.

Independent Automation Modes:

Different channels may be in different automation Control Modes. For

example some channels may be in WRITE while others may be in TRIM.
In addition, different controls (objects) within channels may be in different
modes. For example the fader may be in TRIM, while the mute is in
WRITE, and the rotaries are in READ. Any combination is possible.

Touch Record Function:

Touch Record allows an enabled control to enter RECORD when touched.

With Touch Record turned off, a control be auditioned before it is
punched-in to Record. With Touch Record engaged touching a Held enabled control will permit an intentional jump level punch-ins if the
Audition value is different from the Read Mix value.

Touch Hold Function:

With Touch Hold engaged, the setting of a touched control will be maintained when it is released. If Touch Record was enabled before the control
was touched, it will stay in RECORD upon release. Touch Hold can function for faders, rotaries, and switches and can work in READ, WRITE, and
TRIM modes.

Held Plays Mix:

This feature allows the read mix to be heard, even though one or more
objects are being held in an audition state awaiting a punch-in. This allows
true emulation of the resultant mix, while the mix pass is being run.

Mix Pass Control:

Full flexibility is allowed for how a new Mix Pass automatically merges
with the Active Pass Read Mix data. The setting of a control when it is
punched out may be written to the punch-out point; the next data change in
the read mix; when a level match occurs (auto-takeover); or the end of the
mix, the end of time (23:59:59:2x), or a fixed cue point. In addition, the
setting at the punch-out point may be extended back to the punch-in point,
the beginning of the mix, the beginning of time (00:00:00.00), of a fixed
cue point.

Enhanced Glide Control:

When the Glide function is active, every transition between the Read Mix
data and the new pass will Glide from one to the other according to the
current glide time. In addition, some Glide transitions may be optionally
set to back time the Glide so that they are completed at the desired edit

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point, rather than started there. Also, specific Glide transitions may be
suppressed while others are allowed.
Scene Capture:

Any specific set of controls, their settings, and automation modes can be
saved in the Scene buffer. This allows the exact settings of those controls
to be punched into the mix at a later time when the scene occurs again.

Read Lock:

This forces the automation system to playback the current Active Mix and
ignore any and all key and control changes. This ensures a perfect audition
playback or layback to the final master record machine.

Real Time Switch Editing:

Switch data may be edited in real time allowing the movement of the inpoint and or the out-point, as well as adding or deleting Mutes and Ins or
Outs.

Event List Editor:

All automation events may be edited (moved, copied, or deleted) offline

using the Event List Editor.

Full Offline Editing:

The D950 OFLA application is integrated in AutoTouch+. Mix data comprising the entire mix, or any specified objects for any specified time range
may be changed, merged, or copied with other mixes or itself.

Protection:

Any set of controls may be placed in a protected status. Protected controls

playback their recorded moves, but are prevented from being enabled for
Write or Trim operations. This is useful for protecting channels or controls
that have already been written, while working on other aspects of the mix.

Write Zone:

A Write Zone may be specified so that no data can be written outside the
time range specified. This is useful for working on a specific scene or section while protecting the rest of the mix from accidentally writing into it.
This will also facilitate the automatic punch-out (with or without glide) at
the end of the Write Zone.

Auto-Punch:

When Auto-Punch is active the system will automatically punch Write

Enabled controls into RECORD at the beginning of the Write Zone.

Stop Frame Automation:

The Stop Frame automation feature makes it possible to write specific

control values between timecode locations. The user can stop timecode
playback at a specific location, set any number of controls to desired values, and move to the next location forward in time where values may again
be adjusted. The initially set values will be recorded between the timecode
locations.

New Automation Master Panel:

A new Automation Master Panel is required to run AutoTouch+. It will

replace the existing Master Panel in both Classic and M2 versions of the
D950 work surface. (V3.0 software will run on the D950 without the new
panel, but the automation system will be inoperative.)

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5.2.4

Operational Philosophy
The automation system follows the paradigm that there is audio under each
control. It is as if this were a conventional analog moving fader system, in
which case the fader position always represents the audio level. This is referred to as WYSIWYH (What You See Is What You Hear). However,
in order to enhance the operation of the system, this rule is broken from
time to time. Those cases will be noted and they are the exception. The
general rule is WYSIWYH.
Formula Based System:

In order to make a very powerful system, that is also easy to understand,

the system is based on a set of consistent Rules that pertain to the behavior
of each mode or function. It is the consistency of these Rules, that allow
the system to be simple to understand, yet very deep and powerful.
To these Rules, Conditions and Options may be imposed that further define the behavior of the basic modes or functions. It is these Conditions
and Options that add extra facility and flexibility to the system.
Options essentially fine-tune the functionality or operation of specific
areas of the system.
The combination of Rules, Conditions, and Options allows the user to start
using the system in a basic and easy to use manner. As familiarity increases (and based on the needs of the production), more complex operations may be carried out by applying the appropriate Conditions and/or
Options. The system also provides extreme flexibility so operation may be
essentially customized to the task at hand and/or the working style of the
user. The net result is a powerful and flexible automation system, that is
easy to use, but can address even the most complex needs of any production.

Rules:

Rules define the basic behavior(s) of a control, function, or feature. The

basic Rules are simple and straightforward. In the simplest form, these
Rules will dictate the basic functionality of the system. In this regard,
Rules mostly apply to the basic modes of operation, but it should be noted
that all aspects of the system have their own set of rules.
In some cases the Rules will be broken or modified depending and the
exact function will be determined by a given set of Conditions and Options.

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Conditions:

Conditions further define the behavior(s) of a control, function, or feature.

They are imposed by the selection of combinations of modes/features and
in some cases by way in which controls are operated. Conditions may be
influenced by the selected set of Options.

Options:

Options apply operational or functional details to specific areas of the

system. Options further define the behavior of the associated mode, control, feature, or function. In some cases, Options may influence the system
independently of the Rules and Conditions being applied. Options are set
by selecting the appropriate tab on the Mix Options page. They are indicated throughout this document within brackets, i.e. <Option>.

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Operational Formula:

The essential aspect to understanding the system is the following formula:

Rules + Conditions + Options = Exact Function
The key to efficient operation is knowledge of this formula and the elements within. Rules provide the basis of operation and functionality, Conditions further define behaviors, and Options provide specific parameters
to the various elements being used.
In some instances (such as Switch and GC automation), the operation of
the control will also influence its functionality. However, in the majority
of cases the formula above will apply.

Document Note:

When appropriate this document will organize information with the operational formula in mind.

Functional Formula:

Three basic areas should be kept in mind when conducting most AutoTouch+ operations:
Selected Control Mode: Basic operating modes (READ, WRITE,
TRIM, and ISOLATE). Refer to chapter 5.6.
Selected Touch and Hold Functions: Determine the effects of touching
a touch-sensitive control or operating a switch. Refer to chapter 5.7.
Transition of data: How the data transitions between previously recorded data and newly recorded data. Refer to chapter 5.9.
If these areas are considered, especially when learning the system, logical
and predicted results will routine.

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5.3

Essential Concepts
In addition to the various Rules, Conditions, and Options, there is a small
set of essential concepts that must be understood when operating AutoTouch+. An explanation of these concepts follows.

5.3.1

Static and Dynamic Objects

One of the primary tenants of the AutoTouch+ system is the concept of
Static and Dynamic controls. By definition, the value of a Static control is
remembered by the system, but does not change during the course of a Mix
Pass. Dynamic controls are defined by having one or more changes recorded at specific timecode locations within a Mix Pass.
Note:

5.3.1.1

The terms objects and controls may be used interchangeably.

Static Objects
The addition of Static (objects) controls allows mixes to be created in
much the same way as mixes would be made on an analog console with
fader/mute automation, but with the power to automate any audio control
as needed (not just faders and mutes). Once set to the desired values, the
vast majority of controls will not need to be automated. However during
the course of a mix, the engineer may need to periodically adjust the settings of these controls (such as tweaking an EQ). As with an analog console, the new values will be applied with the expectation that settings will
be retained from Mix Pass to Mix Pass. In AutoTouch+, Static controls
will perform in this manner and allows the user to work in a very familiar
and intuitive fashion.
Static Objects:

A Static object is defined as any automatable control that has no dynamic

changes recorded within the Mix Pass. Therefore, Static objects retain one
value throughout a Mix Pass. Any switch, fader, rotary control and some
GC items (automation objects) may be classified as a Static object.
Static objects act just like manual controls except that their final setting is
remembered by the automation. They may be adjusted at any time during
the mix process without needing to put them into a WRITE or RECORD
automation mode or needing to update the Mix Snapshot. The value of all
Static objects is maintained on a pass-by-pass basis. This simplifies the
tweaking of the hundreds of controls within a mix session that must be
adjusted, but will never move against timecode.
All objects are Static until a dynamic move is recorded. Should a dynamic
move be required for a static object, the move can be simply written into
the mix, and the object is transformed automatically into a Dynamic automation object.

Note:

If a control is put into Isolate, its static value will not change. If changed
while in Isolate, the controls current value will be heard, but its Static
value will not be updated in subsequent Mix Passes.

Changing Static Values:

When a new mix (Mix Tree) is first opened, the Static value for every
control is stored in the first Mix Pass. The stored Static values will be the
current values of all controls at the time the new Mix Tree was created.

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This value will be retained in subsequent passes unless the Static value is
changed.
Any time a control is adjusted (without being in RECORD), its Static
value will change. In other words, Static values may be changed as long as
RECORD is not engaged for the control.
Static Data Buffer:

Changed Static values are temporarily stored in the Static Data Buffer.
The next time a new Mix Pass is created (usually by recording a Dynamic
change on another control), the contents of the Static Data Buffer will be
stored in the new pass. The old Static values will be retained in the previous pass. The new values will be retained in any new Mix Passes made
from the just created pass. The Static Data Buffer may be cleared by
clicking the Clear Static button in the AutoTouch+ window. D950 users
may also use the STATIC key on the Automation Master Panel. In this way,
Static Values may be Auditioned.

D950:

Clear Static Button:

The Clear Static button in the AutoTouch+ window (and the STATIC DATA
key on the D950 desk AutoTouch+ Panel) has two functions:
When lit, the Clear Static button indicates there is information in Static
Data Buffer and there is a difference between the current Static values
and those stored within the Active Mix Pass.
Pressing/clicking the Clear Static button clears the values in the Static
Data Buffer and restores those stored within the Active Mix Pass.
Clearing the Static Data Buffer cannot be undone.

Notes:

There is no STATIC key on the Vista work surface.

Static data may also be cleared by clicking the Clear Static button in the
AutoTouch+ window.

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Note:

Note:
<Option>

5.3.1.2

When the first Static object is changed within a Mix Pass, the STATIC key
illuminates. As mentioned above, this indicates that there is data in the
Static Data Buffer. The values in the Static Data Buffer will be retained
and the button will remain lit until one of two things occur:
A new Mix Pass is created;
The STATIC key is pressed.
Static values can only be cleared on a global basis and cannot be cleared
individually.
When a new Mix Pass is created, the current Static values are written to
the new pass and the Static Data Buffer clears. When the Static Data
Buffer is cleared with the STATIC key, the temporary Static values are
erased and the Static values stored in the current pass (Active Pass) are restored. In either case the STATIC key goes out.
Static objects are new in V3.0.
In the Automation Options... menu, item Misc (also refer to chapter
5.21.8), static objects can be protected under certain circumstances.

Dynamic Objects
A Dynamic object is defined as any automatable control whose value
changes at one or more timecode location within a Mix Pass. Any switch,
fader, rotary control, and some GC items (automation objects) may be
classified as a Dynamic object. All moves applied to a Dynamic object
are remembered by the automation and replayed at the corresponding
timecode location.
Dynamic controls may be adjusted at any time during the mix process and
recorded to a new Mix Pass using WRITE or TRIM automation modes. In
this way, the value of selected Dynamic objects is updated from pass to
pass. Dynamic controls may also be Auditioned and/or pre-set before a
punch-in.
All objects will remain static until a move is recorded. Once a move is
recorded, the object becomes a dynamic control. A dynamic control may
be made static by erasing all recorded moves for that control for the entire
pass.
The majority of this document discusses the automation of Dynamic controls.

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VIEW / VIEW DYN key

Pressing VIEW (Vista) or VIEW DYN (D950) will cause the lights for all
dynamic controls currently on the work surface to illuminate. This provides a very quick and easy means of identifying dynamic controls.

D950:

5.3.1.3

Vista:

Mix Snapshot
The Mix Snapshot contains two types of data:
The values for Static objects.
The initial values for Dynamic objects from the beginning of the Mix
Pass up to the first recorded change.
Every Mix Pass has a Mix Snapshot. When a Mix Tree is first opened, a
Mix Pass is created that contains a Mix Snapshot with a Static value for
each control. The Static value stored in the Mix Snapshot is the current
value of the control at the time the Mix Tree was first opened. As a mix
progresses the following operations occur:
Changes to Static values are written directly to the Mix Snapshot each
time a new Mix Pass is created.
Changes made to Dynamic objects are written to timestamps (timecode
locations) within the Mix Pass.
When changes are made to Static Objects, the Mix Snapshot is automatically updated when the next Mix Pass is generated.
The Mix Snapshot for Dynamic objects may be updated in two ways:
Using the Extend Back To Begin Mix Pass function. The value of the
control at the time of a punch-out will be written back to the beginning
of the Mix Pass (essentially updating the Mix Snapshot).
Performing a Update Mix Snap edit using the OFLA offline mix editor.
In normal V3.0 operation, use of the Mix Snapshot is mostly transparent to
the user and there is no need for manual updates.

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5.3.2

Touch & Un-touch Events

Another crucial, but easy to understand concept is that of Touch and Untouch. AutoTouch+ is a very tactile system and relies on physical actions
for efficient operation. Faders and encoders are touch-sensitive and can be
made to respond in different ways depending on the mode and operation
being performed. Switches and automatable GC items are not sensitive to
physical touch, but their actuation can generate similar messages as faders
and encoders.
Touch Events:

The physical touching of a fader or encoder produces a Touch Event.

Actuating an automatable switch or GC item may also generate a Touch
Event, depending on the current mode.

Un-touch Events:

The physical release of a fader or encoder produces an Un-touch Event.

Automatable switches and GC items may also generate an Un-touch Event,
depending on the current mode.

Events and AutoTouch+:

In most cases, Events come in Touch and Un-touch pairsthat is a Touch

followed by an Un-touch. An example would be touching a fader, moving
it for a short period of time, and then releasing it. When the fader was first
touched, a Touch Event will be sent and when released an Un-touch will
be sent. AutoTouch+ will either use both Events, ignore both Events, or
suppress one or the other. Details of how these events are used and the operations this makes possible are discussed throughout this document.

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5.4

File Management
Mix File Structure:

There may be multiple mixes within each Title. Each Mix has its own
name and a folder in which its files are kept. There is one Mix Tree for
each Mix. A Mix Tree is a collection of Mix Passes, along with a Mix
Tree file. Each Mix Tree and its files are kept in the Mix Folder. So unlike
V2.5 where all mixes for a given Title were just stored within the Title directory, in V3.0 each Mix has its own folder within the Title. This really
eliminates clutter within the Title folder because no matter how many Mix
Passes are stored, they are all within their own separate folder.

Mix File Organization:

The files and folders created and used by AutoTouch+ are identified as
follows:
The Mix tree database file has an .mt extension (filename.mt);
Each Mix Pass ends in the pass number with a .mix extension (filename-004.mix);
The folder that the mix tree file and mix pass files resides in is the name
of the mix (filename).
The following example shows the file structure for a Mix named Baby
Blues:
D950Projects (Main D950 projects folder)
---WP Mixdown (Project folder)
-----Untold Story (Title folder)
--------Baby Blues (Mix folder)
-----------Baby Blues.mt (Mix tree)
-----------Baby Blues-001.mix (Mix passes)
-----------Baby Blues-002.mix
-----------Baby Blues-003.mix
-----------Baby Blues-004.mix
-----------Baby Blues-005.mix
etc.

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5.4.1

Mix Tree
Automation Mix files are managed via the Mix Tree System (MTS). Each
and every Mix Pass is automatically saved and archived within the Mix
Tree.

Used in a linear fashion, the Mix Tree will have no branches. If at some
point a previously written Mix Pass becomes the Active Pass, a new
branch of the Mix Tree will start growing as new passes are generated. In
this way, the Mix Tree provides a graphic representation of the evolution
of all Mix Passes. See above.
Each Mix Pass is displayed as well as its linked history (the branch of the
Mix Tree from which the pass evolved). Working in conjunction with the
Mix Pass Stack, the Mix Tree provides an efficient means of organizing
the multiple Mix Passes that are created during the course of a mix. This is
particularly useful when creating several final versions of a mix.
The MTS is maintained between sessions, so that when a Mix is recalled
days or weeks later, the entire Mix Tree will be available to the new session. All Mix Passes will be recalled and placed in their proper positions
when the Mix Tree is opened. The last Active Pass used will be loaded to
the top of the Mix Pass Stack and becomes the Active Pass. (The Mix Pass
Stack is not maintained when the Mix Tree is closed.)
Any number of new Mix Passes may be generated. Any existing Mix Pass
from any Title may be added to the Mix Tree.

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5.4.1.1

Passes in the Mix Tree

Mix Pass Info:

Assigned Mix Pass Numbers:

Each completed Mix Pass has the following information:

Assigned Mix Pass Number
Mix Pass Name
Mix Pass Notes

Assigned Mix Pass Numbers are used by the system to identify each Mix
Pass. For example, a Mix Pass is identified only by its number when its
part of the Mix Pass Stack.
As Mix Passes are added to the Mix Tree, an Pass Number is automatically
assigned to each. Mix Pass numbers are assigned in the order in which
passes were added to the Mix Tree. For a new Mix Pass, the assigned
number will serve as a temporary Mix Pass Name unless an new one is
entered. For an existing Mix Pass, the assigned number will be displayed
before the stored pass name as it appears in the Mix Tree.

Mix Pass Names:

As mentioned above, the assigned Mix Number will serve as a temporary

Mix Pass Name for new Mix Pass. This name will persist until the current
Mix Tree or Title is closed (or a new Mix Tree or Title is opened). If no
name is entered, the assigned pass number will appear as the Mix Pass
Name in the Mix Tree. The resultant stored file name will be the name of
the Mix Tree and pass. For example, if a name is not entered, Dulcimer002.mix would become the stored file name for the second Mix Pass in
the Mix Tree named Dulcimer. The next time this Mix Tree is opened,
this Mix Pass would appear as the second Mix Pass in the Mix Tree and
have the pass name 2. If this same Mix Pass was loaded in another Mix
Tree, it would appear as Dulcimer_Pass_002 with the number of its position within the current Mix Tree.

Editing Mix Pass Name:

A Mix Pass must be the Active Mix Pass before its name can be entered
or edited. To enter or change a Mix Pass Name, use the following procedure:
Make the Mix Pass to be named or renamed the Active Mix Pass by clicking its icon on the Mix Pass Stack or double-clicking its icon in the Mix
Tree.
Click the Pass: button next to the current Mix Pass Name (to the right of
the Mix Pass Stack). The Pass Info entry box will appear with the Pass
Name highlighted.

1
2

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Type the new name for the pass and click the OK button. The new Mix
Pass Name will appear in the Pass Name field and in the Mix Tree.

Mix Pass Notes:

A set of notes can be entered and stored for each Mix Pass. Combined with
the Mix Pass Name, this can greatly benefit the organization of a large
number of passes.

Editing Mix Pass Notes:

A Mix Pass must be the Active Mix Pass before notes can be entered or
edited. To enter or change Mix Pass Notes, use the following procedure:
Make the desired Mix Pass the Active Pass if it is not already. (Click its
icon in the Mix Pass Stack or double-click its icon in the Mix Tree.)
Click the Pass: button next to the current Mix Pass Name (to the right of
the Mix Pass Stack). The Pass Info entry box will appear. See #2 above.
Type the new notes in the Notes: field and click the OK button. The
first few lines of the new Mix Pass Notes will appear in the AutoTouch+
window whenever that Mix Pass becomes active. If the notes are lengthy,
the complete set may be viewed by opening the Pass Info entry box.

1
2
3

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5.4.1.2

Active Pass
The Active Mix Pass provides the Read Mix data for subsequent RECORD
Mix Passes.
When a Mix Pass becomes Active the following events occur:
In the AutoTouch+ window:
- The name and assigned number of the Mix Pass appears in the
Pass: field
- The name of the Mix Tree appears in the Mix: field
- Any notes belonging to the pass appears in the Notes: field
- The Green Light illuminates above the associated position in the
Mix Pass Stack
In the Mix Tree window:
- The Mix Pass is highlighted in green

The Active Mix is normally the mix on the top of the stack. Refer to
chapter 5.5.1 for details regarding the Mix Pass Stack.
5.4.1.3

Mix Tree Display Modes

Hide Tree/Show Tree Button:

AutoTouch+ may be operated with or without the Mix Tree displayed. The
Mix Pass Stack will be available in either case and can be used without the
Mix Tree if desired (as in V2.5). To facilitate working without the Mix
Tree, it may be hidden so that all Mix management can be done within the
Mix Pass Stack. The Mix Tree is hidden by clicking the Hide Tree button
in the AutoTouch+ window.

The Mix Tree will disappear as indicated below and the Hide Tree button
changes to Show Tree. At any time, the Mix Tree may be made fully visible again by clicking the Show Tree button.

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Whether or not the Mix tree window is displayed, the Mix Pass number,
name, and notes are always displayed for the currently selected Active
Mix. See above.
Mix Pass Display Modes:

Within the Mix Tree, Mix Passes are displayed in one of three ways:
Pass Name:

Pass Number:

Pass Name and Number:

Changing the Display Mode:

5-30 AutoTouch+

There are two methods to change the Mix Pass display modes:
Display Mode button: Clicking the Display Mode button will cycle
through the three display modes. The Display Mode button is located
in the AutoTouch+ window.

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Display Options menu: Right-clicking within the Mix Tree window

will bring up the Mix Tree menu. Selecting Display Options from this
menu will open a context menu which contains the three display modes.
The desired mode can be selected from this menu.

Note:

Until a Pass Name is entered, the name defaults to the pass number. The
system detects this and when the display mode is set to display the name
AND number, if they match, only the number is displayed.

Note:

The Mix Pass number, name, and notes for the Active Mix are always displayed in the AutoTouch+ window.

Round and Square Corners:

Mix Passes within the Mix Tree have either rounded or squared corners.
Rounded corners indicate the Mix Pass is part of the Mix Pass Stack.
Squared corners indicates it is not. See graphic below.

Green Highlight:

The Active Mix Pass is highlighted in green in the Mix Tree and by a
green LED symbol in the Mix Pass Stack.

Asterisk:

An asterisk will appear in the Mix Tree icons for all Mix Passes that contain Mix Pass Notes. This condition will persist regardless of the chosen
Display mode. See graphic below.

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5.4.1.4

Mix Tree Click Functions

A variety of click functions are available within the Mix Tree. These
functions range from
Left-Click Functions:

Single-clicking a Mix Pass within the Mix Tree will mark that pass
by highlighting it in red. Clicking a marked pass will unmark it and
remove the red highlight. Only one mix at a time may be selected using
this method.
Control-clicking (holding the Ctrl key and single-clicking) allows individual Mix Passes anywhere within the Mix Tree to be marked or unmarked. Any combination of passes may be marked.
Shift-clicking (holding the Shift key and single-clicking) two Mix
Passes allows these passes and those in-between to be marked or unmarked. The passes must be within the same branch or root-branch of
the Mix Tree. In this way, multiple passes may be marked. More importantly, the link history of these passes is maintained.
Double-clicking a Mix Pass adds it to the top of the Mix Pass Stack and
makes it the Active Pass. The Active Pass will be highlighted in green
in the Mix Tree.

Right-Click Functions:

Right-clicking within the Mix Tree will open the Mix Tree Menu. Only
the items that dont pertain to individual passes or branches are shown.

Right-clicking a Mix Pass within the Mix Tree will open the Mix Tree
Menu with all available items shown.

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The Mix Tree menu items function as follows:

Set As Read Mix: Makes the selected Mix Pass the Active Pass (this is
the same as double-clicking a Mix Pass in the Mix Tree)
Unmark This Pass: Unmarks the selected Mix Pass
Clears All Marks: Unmarks all marked Mix Passes (always available
when any passes are marked)
Invert Marked Passes: Reverses which Mix Passes are marked and
which are unmarked. (always available)
Mark This Branch: The selected Mix Pass and all subsequent passes
made from this pass will be marked
Mark All Except This Branch: All branches except the one in which the
selected Mix Pass is a member will be marked. Selecting a Mix Pass in
the middle of a branch will prevent any member of that branch from
being marked whether they were made before or after the selected pass.
All other branches will be marked.
Pass Info: Opens the Pass Info entry box for the selected Mix Pass.
The selected pass does not need to be the Active Pass in order to open
the Pass Info entry box in this way.
Display Options: Opens the context menu for Mix Tree Display modes.
Name, Number, and Name & Number may be selected. (always available)
Save Pass As New Tree: Creates a new Mix Tree with the selected Mix
Pass loaded as the first pass. This function is only available for the Active Pass. The newly created Mix Tree will not automatically open, but
may be opened as needed.
Delete Marked Passes: Any marked passes will be deleted. Because this
action is not undoable, the user will be prompted to verify this action.

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5.4.2

Creating a New Mix

New Mixes:

To create a new Mix use the following procedure:

1. Select New Mix Tree from the Automation menu in the GC.

The New Mix Tree box will open and a display of existing Mixes will
be shown.

2. Enter a name for the Mix in the New Mix Tree Name: entry field.
Please note that the selected directory is given by the opened Project
and Title and cannot be edited.
3. Click the New Mix Tree button. A new Mix folder, Mix Tree file,
and first Mix Pass file will be created in the Title folder.
A new Mix Tree will appear on the screen underneath the AutoTouch+
window. A Mix Pass (#1) will be at the start of the tree and will be the
Active Pass in the Mix Pass Stack.
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5.4.3

Loading an Existing Mix

Existing Mixes:

Previously created Mixes from both V3.0 and V2.5 automation systems
may be used with AutoTouch+. Any previous Mix Pass can be loaded into
the Mix Pass Stack and become the Read Mix pass (Active Mix Pass) for a
subsequent Mix Pass. Mixes are accessed via the Automation menu on the
GC.

V3.0 Mixes:

Existing Mix Trees and Mix Passes made with V3.0 software may be
loaded by selecting the following from the Automation menu:
Open Mix Tree: Loads an entire Mix Tree. A directory of existing
Mix Trees within the current Title will be displayed.

Double-clicking the desired Mix Tree (or selecting it and clicking

Open) will load that tree. The last used Mix Pass will be loaded in the
top position of the Mix Pass Stack and becomes the Active Mix.
Load Mix: Loads a single Mix Pass into the current Mix Tree. A
directory of existing Mix Trees within the current Title will be displayed.

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Double-clicking the desired Mix Tree folder will open that tree and the
Mix Passes within will be displayed. The desired Mix Pass may be
loaded by double-clicking its name or icon. The newly loaded Mix Pass
will be loaded in the top position of the Mix Pass Stack and becomes
the Active Mix. Mixes may also be loaded from other Titles.
Use the Import function (menu File Import Mix), select the Mix
Pass in the desired Project/Title/Mix Tree, and click Open.
Now you can select the Project/Title/Mix Tree folder to save the selected Mix Pass. It is even possible to rename the Mix Pass if required.
Use the Load Mix function to load the Mix Pass into the current Mix
Tree.

5-36 AutoTouch+

Notes:

Whenever a single Mix Pass is loaded (whether V2.5 or V3.0) it starts a

new branch at the start of the Mix Tree.
The Mix Pass Stack is not maintained after the Mix Tree is closed. However, the last Active Mix Pass is loaded at the top of the Mix Pass Stack
when an existing Mix Tree is opened.

V2.5 Mixes:

Existing Mixes made with V2.5 or earlier software are fully compatible
with V3.0 software. However, a Mix Tree must be open in the current Title
before a Mix Pass can be loaded. Once a Mix Tree is open, V2.5 Mix
Passes may be loaded by selecting the following from the Automation
menu:
Load Mix: Loads a single Mix Pass into the current Mix Tree. Locate the desired V2.5 Mix Pass within the Title to which it belongs using the Look In pull-down menu at the top of the box. Once located,
the desired Mix Pass may be loaded by double-clicking its name or
icon. The newly loaded Mix Pass will be loaded in the top position of
the Mix Pass Stack and becomes the Active Mix.

Notes:

When using V3.0 software, a new Mix Tree must be added to any Title
created with V2.5 software before any existing Mix Pass (V2.5 or V3.0)
can be loaded. Since V2.5 software doesnt create Mix Trees and since the
Open Mix Tree menu item only looks in the current Title, opening an
existing Mix Tree is not possible.
Whenever a single Mix Pass is loaded (whether V2.5 or V3.0) it starts a
new branch at the start of the Mix Tree.

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5.5

Mix Pass
A Mix Pass contains a set of records for each dynamic control, fader Trim
Replay Data if any, and a set of values for static controls.
Creating a Mix Pass:

A new Mix Pass is created whenever any of the following occur:

A change in a dynamic control is recorded (such as using Touch Record
or Global Punch-in/Out);
Make/Save Pass is selected from the GC Automation menu;
An offline edit is performed with either OFLA or the Event Editor
In all cases above, the new Mix Pass is added to the Mix Tree and to the
top of the Mix Pass Stack. It also becomes the Active Mix Pass.
As part of the Mix Tree, each new Mix Pass is stored to the hard drive.
Because of this, every Mix Pass created is retained by the system unless
purposely deleted. Refer to chapter 5.4, File Management.

Notes:

5.5.1

Mix Tree folders or Mix Passes need to be deleted in the Windows Explorer.
Making changes to Static controls or using Audition modes will not generate a new Mix Pass.

Mix Pass Stack

There is an eight-position Mix Pass Stack which holds up to eight Mix
Passes in memory for immediate use. Mix Passes can only be played back
from the Mix Pass Stack. The Mix Pass Stack is located on the AutoTouch+ screen on the D950 GC.

Organization:

The eight positions of the Mix Pass Stack are represented by eight Mix
Pass boxes arranged horizontally. The number of the Mix Pass will appear
within the Mix Stack position (box) in which it is stored. A Mix Pass can
appear only once within the Mix Pass Stack.
The box the furthest to the right is the position where Mix Passes are
added to the stack. As Mix Passes are added, any existing passes shift to
the left. When the Mix Pass Stack is full and a new pass is added, the Mix
Pass in the last position (far left position) will be deleted from the stack as
one to its right is shifted down.
In the example above, only three Mix Passes are loaded into the Mix Pass
Stack and the #5 pass is Active.

Adding a Pass to the Stack:

Date printed: 27.08.03

Mix Passes are added to the Mix Pass Stack in the following ways:
Creating a new Mix Pass: The newly created Mix Pass will be added to
the top of the Mix Pass Stack and becomes active. See Creating a New
Mix Pass above.
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Double-clicking a Mix Pass in the Mix Tree: The selected Mix Pass
will be added to the top of the Mix Pass Stack and becomes active.
Right-clicking a Mix Pass in the Mix Tree: The Mix Tree Right Click
menu will open. Selecting Set As Read Mix will cause the selected
Mix Pass to be added to the top of the Mix Pass Stack and become active.
Active Mix Pass:

The Active Mix Pass is the one played back and will be the basis for a
new Mix Pass if any changes are made. It contains the Read Mix Data
that is used as new passes are created. The Active Mix Pass is indicated by
a green light above the active position and the box containing the pass
number is highlighted.
The Active Mix Pass may also be referred to as the Active Pass or Read
Mix Pass.

Selecting an Active Mix Pass:

Conditions:
5.5.1.1

The Active Mix Pass is selected from the Mix Pass Stack in one of three
ways:
Clicking a Mix Pass in the Mix Pass Stack: That Mix Pass will become
active.
Double-clicking a Mix Pass in the Mix Tree: If that Mix Pass is already
in the Mix Pass Stack it will become active. If it is not already in the
stack, the selected Mix Pass will be added to the top of the Mix Pass
Stack and becomes active.
Creating a new Mix Pass: The newly created Mix Pass will be added to
the top of the Mix Pass Stack and becomes active.
Right-clicking a Mix Pass in the Mix Tree: The Mix Tree Right Click
menu will open. Selecting Set As Read Mix will cause the selected
Mix Pass to be added to the top of the Mix Pass Stack and become active.
The Active Mix Pass cannot be changed while RECORD is engaged.

Mix Comparison
One of the unique features of AutoTouch+ is the ability to compare Mix
Passes while the mix is running. Any Mix Pass in the Mix Pass Stack can
be accessed at any time, even while a mix is being played back.
Comparing Mix Passes:

Conditions:
Note:

5-38 AutoTouch+

Mix Pass comparisons can be performed in one of two ways:

Clicking a Mix Pass in the Mix Pass Stack: The clicked Mix Pass will
become active after a short processing delay. Using this method, passes
in the Mix Pass Stack can be activated in any order.
UNDO/REDO keys: The UNDO/REDO keys activate adjacent Mix Passes
in the Mix Pass Stack (see below).
Mix comparison is disabled once RECORD has been entered.
A fair amount of processing must take place when switching between Mix
Passes. Due to the time it takes to perform this processing a slight delay is
normal.

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5.5.1.2

Undo/Redo
UNDO and REDO keys are located in the top row of the Automation Panels.
They allow the user to essentially undo and redo changes as they are
made within the course of a mix. They also provide a method for real-time
mix comparison.

D950:

Vista:

Using these keys activates adjacent Mix Passes within the Mix Pass Stack
with UNDO moving backward through the stack and REDO moving forward.
Note:

The UNDO and REDO keys move consecutively through the Mix Pass
Stack. The order of passes heard while using the UNDO and REDO keys
may not necessarily be in numeric order, depending on the order in which
passes were added to the stack.

UNDO / REDO:

The precise functions of the UNDO and REDO keys are as follows:
UNDO: Pressing the UNDO key will activate the most previous Mix Pass
in the Mix Pass Stack from the currently active position. In other words,
pressing UNDO will allows the previous adjacent Mix Pass to be activated.
REDO: Pressing the REDO key will activate the next Mix Pass in the
Mix Pass Stack from the currently active position. In other words,
pressing REDO will allows the next adjacent Mix Pass to be activated.
Consecutive presses of either key will continue through the Mix Pass Stack
in the direction the key indicates (UNDO = backward or to the left, REDO =
forward or to the right). If the first pass in the Mix Pass Stack is the Active
Pass, the system provides eight levels of undo/redo.

Conditions:
Notes:

Date printed: 27.08.03

UNDO and REDO are disabled once RECORD has been entered.
Since all Mix Passes are stored in the Mix Tree, it is always possible to
retrieve any Mix Pass at anytime. However, passes must be in the Mix Pass
Stack to be played. In addition, the UNDO / REDO keys do not apply to the
Mix Tree and activate only the passes in the Mix Pass Stack.
The UNDO / REDO keys only allows activation of adjacent passes within
the Mix Pass Stack. The order of passes may or may not follow the
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branches of the Mix Tree. This is depending on the order in which Mix
Passes were added to the Mix Pass Stack.
Using UNDO / REDO:

5-40 AutoTouch+

Discarding an Undesired Pass: If a new Mix Pass was just completed,

the new pass will be at the top of the stack and will become active. If it
contains unsuccessful moves, going back to the previous pass is as easy
as pressing UNDO. When UNDO is pressed, the previous Mix Pass will
become active and therefore the basis for the next new pass. In this regard, consecutive presses of UNDO will allow the user to back up to a
Mix Pass that provides a suitable point from which to restart.
Real-time Mix Comparison: Pressing UNDO / REDO while a Mix Pass is
being replayed, adjacent passes in the Mix Pass Stack may be compared
in real-time.

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5.5.1.3

Kill Pass
The Kill Pass function prevents a new pass from being written if flaws
are detected while a new Mix Pass is being created. This is useful if a
mistake is made during a RECORD pass and the resultant pass would not
be worth keeping.
The KILL PASS key is located next to the UNDO / REDO keys in the Automation Panels.

D950:

Vista:

Killing a Mix Pass:

If KILL PASS is engaged when timecode is stopped, the new mix pass will
not be written. To prevent a new Mix Pass from being written, press the
KILL PASS key before playback of timecode stops.

Note:

KILL PASS may be engaged and disengaged at any time while timecode is
being played back. This allows the user to kill a pass and then change his
or her mind before the timecode is stopped. As long as timecode hasnt
stopped, Kill pass may be toggled on an off at will. The Kill Pass state that
exists when timecode is stopped will dictate the fate of the Record Mix
Pass
KILL PASS will always disengage at the end of a Mix Pass.

Conditions:

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KILL PASS functions only when RECORD passes are in progress.

<Option>

With <Protect Static From Kill Pass> checked on the Misc Options
page, changes made to Static controls are retained when KILL PASS is
used; also refer to chapter 5.21.8.

Note:

The Mix Options window is opened by clicking the Options button in

the AutoTouch+ window. Clicking the appropriate Tab will open the corresponding page.

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5.6

Control Modes
There are four Control Modes used in the AutoTouch+ mix system:
READ
WRITE ENABLE
TRIM ENABLE
ISOLATE
Each automatable control within the system is always in one of these four
modes.
Rule-Based System:

As mentioned before, the system is based on a set of consistent rules that

pertain to the behavior of each mode or function. It is the consistency of
these rules that allows the system to be simple to understand, yet very deep
and powerful. The key to using the system is simply to learn the rules. The
rules define how an control or feature will function under a given set of
conditions.
The conditions that define the exact function of each mode are determined
by the selection of other functions, selected options, and record status.
With this in mind, it may be helpful to think about Control Mode as the
primary function which maybe modified to yield the precise operation the
user desires.
In a few cases the basic rules will be broken, but these will be clearly
noted.

Independent Control Modes:

Different channels may be in different automation modes. For example,

some channels may be in WRITE while others may be in TRIM. In addition,
different controls within channels may be in different modes. For example
the fader may be in TRIM, while the mute is in WRITE, and the rotaries are
in READ. Any combination is possible.

READ LOCK

With READ LOCK engaged, all controls are placed in READ mode. All
mode changes are locked out, Audition mode is defeated, and only written
values will be heard. In this regard, READ LOCK over-rides Control Mode
selections.

D950:

5-42 AutoTouch+

Vista:

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5.6.1

Note:

In describing the behavior of each Control Mode it is assumed that the MIX
ON function is active and timecode is running. If MIX ON is not active then
all controls behave as if there were in ISOLATE mode.

Document Note:

The next several chapters will provide a set of basic rules for each Control
Mode. A set of conditions and options that further define the modes operation will also be provided. The most pertinent conditions and options
for each mode will be discussed, but it would be impractical to list every
permutation. Some system conditions and options will be discussed as
stand alone elements and their effects upon other areas will be noted.

Read
READ is the data replay mode of the system. Controls in READ mode will
playback changes written in the Mix Pass.
READ Rules:

Record Off:
REPLAY: The control plays back the mix data to timecode.
- Static controls will be set to the value stored within the Mix Pass.
(Static values are not timecode stamped.)
- Dynamic controls will be set to their stored values and subsequent
changes will be replayed.
AUDITION: If the control is moved or prevented from following written changes, the audio changes to reflect the audition level.
- When released the control will snap back to its written value
- A new Mix Pass is not generated when controls are auditioned.
Record On:
A control in READ cannot be placed into record.

Date printed: 27.08.03

Conditions:

If touched, the control will enter AUDITION for the duration of the
touch. When released (un-touched) the control snaps back to its written
value.
With TOUCH HOLD engaged, the control will enter AUDITION when
touched and holds the audition value when released (un-touched).

<Option>

With <Read Safe> checked on the Misc. Options page, AUDITION

mode is defeated for controls in READ and only written values will be
heard.

Static Controls:

Changes may be made to Static controls while AutoTouch+ is in READ (or

any other mode). Changes to Static values are temporarily stored in a
global memory buffer (Static Buffer). If a new Mix Pass isnt written,
changes to Static controls will be retained in the buffer over time. For example, a section of a song might be looped while adjustments to EQ, Pans,
and other controls are made. Changes to these Static controls will accumulate in the Static buffer until a new Mix Pass is generated or the Static
Buffer is cleared. The values in the Static Buffer will saved as part of the
next Mix Pass created.

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5.6.2

Write
WRITE is the primary data recording mode of the system. Controls in
WRITE ENABLE are armed for recording and those in WRITE RECORD will
write changes to a new Mix Pass.
WRITE Rules:

Record Off:
WRITE ENABLE: The control acts the same as if it were in READ (replaying the mix Read data), but is armed to go into WRITE RECORD.
- A new Mix Pass is not generated unless RECORD is engaged.
Record On:
WRITE RECORD: The absolute value (level) of the control is written into
a new Mix Pass.
- Read mix values are overwritten.
- At the end of a pass in which at least one control was in WRITE
RECORD, a new Mix Pass is generated based upon the Active Mix
Pass and the newly recorded data.

Note:

D950 Null Indications

WRITE RECORD is a destructive mode in regard that previously written data

is overwritten. However, mix data is never lost because a new Mix Pass is
generated at the end of every RECORD pass. All Mix Passes are retained in
the Mix Tree unless purposely deleted.
When a control is being written, a Null indication is provided. In basic
terms, the null indication provides information regarding the difference between the current value of a control and its Read Mix value.
Write mode null indications are handled the same for faders and encoders,
however null indications are given only for the last encoder used.
4

Rotary Null Indicators:

AUT

n-1

Fader Null Indicators:

TALK

For the last knob touched... Always shows the

difference between the rotary value and the effective
read value. En exception is to show the offset form the
trim null point when in TRIM mode (this is always the
absolute position of the rotary from 0 dB or the center
value).

10
5

FADER
STAT

OVL

READ

ISO
WRT

10
OVR

15

INP
MON

20

Always show the difference between the fader value

and the effective read value. An exception is to show
the offset from the trim null point when in TRIM mode
(this is always the absolute position of the fader from
0 dB).

GRP
AUX
MAST

30

CGM
L/C

40
50
60
80

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When a fader or encoder is placed in WRITE RECORD and is moved from

its Read Mix value, an arrow will illuminate to indicate which way the
control must be moved to match the Read Mix value. If it is the first time
the control is put into WRITE RECORD, its Read Mix value is the same as
its Static value.
Vista Null Indications

The Vistonics concept allows to display the current and replay values of
rotary and fader controls in a very clear and comfortable way.

Rotary Values:

Current and replay value of the rotary control: If the current value is different from the one within the last mix pass, a pink colored element indicates the value of the last mix pass, while the main display is indicating the
current value.

Fader Values:

Current and replay value of the fader: If the current value is different from
the one in the last mix pass, a pink colored element indicates the value
within the last mix pass, while the main display is indicating the current
value.

If touched and not in RECORD, the control will enter AUDITION for
the duration of the touch. The control will snap back to its Read value
upon release.
With TOUCH RECORD engaged, the control will enter WRITE RECORD
(Punch-in) when touched and return to WRITE ENABLE (Replay) when
released (Punch-out). When released the control will snap back to its
Read value unless GLIDE is engaged. If glide is engaged the control will
glide back to its Read value.
With TOUCH HOLD engaged, the control will enter AUDITION mode
when touched and holds the audition value when released.
With TOUCH RECORD and TOUCH HOLD engaged, the control will enter
WRITE RECORD (Punch-in) when touched and stays in WRITE RECORD
when released. The control will stay in WRITE RECORD until punched
out or the Mix Pass has ended.

Conditions:

Note:

Date printed: 27.08.03

Refer to chapter 5.7.5.1 for information regarding HELD PLAYS MIX.

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Entering WRITE RECORD:

5.6.3

Controls in WRITE ENABLE can change to WRITE RECORD using any of the
following three methods:
1. Local Touch (Touching the control on the Channel Strip), CGM Touch
(or, for D950 only: CAS Touch). TOUCH RECORD engaged or the AUTO
MODE modifier key must be used.
2. (for D950 only) Local punch-in using the Channel Strip STAT (record
punch) key or the appropriate CAS controls.
3. Global punch-in via GLOBAL RECORD PUNCH IN key or Auto-Punch or
GPI (see chapter 5.8.5).

Trim
TRIM is the update mode of the system. Controls in TRIM ENABLE are
armed for recording offsets and allows Trims to be Auditioned. Those in
TRIM RECORD will apply the offset to previously written mix data and the
resultant values will be written to a new Mix Pass.
Faders vs. Other Objects

TRIM is handled slightly different for faders than for other automation objects. In both cases, Trim offsets are applied to the Read Mix Data for the
Active Pass, and a new Mix Pass is generated. The Read Mix data in the
new pass contain the values of the previous Active Pass plus the Trim offset. In addition, for faders, the Trim offset values are stored separately as
Trim Replay Data.

Trim Replay Data

For faders not only is the Trim offset applied to Read Mix data to generate
a new Mix Pass, but the offset is stored within the new pass as Trim Replay Data. Trim Replay Data are absolute values that are used to offset
fader Read Mix values. Since the Trim Replay Data is separate from the
Read Mix Data, it may be manipulated as an independent entity. This
means that Trim Replay Data can be rewritten, modified, disabled from replay, and cleared.

Notes:

Since the trimmed fader values are merged with the Read Mix data in the
new Mix Pass, the new pass has integrity even if the Trim Replay Data is
disabled or cleared.
While mixes created on earlier versions of D950 software are compatible
with AutoTouch+, mixes made on V2.5 or earlier versions do not contain
Trim Replay Data. However, Trims made with older versions are incorporated into Read data at the end of each Trim Pass. An older mix may be
played back using AutoTouch+ and Trim Replay Data may be added.
Mixes created using V3.0 software can be played back on systems using
earlier D950 software versions. The net results of all Trims will be heard
and the mix will playback perfectly. However, in V2.5 and earlier software, the Trim Replay Data will be ignored and is not displayed by the
fader.

Null Indications

When a control is being trimmed, a Null indication is provided. In basic

terms, the null indication provides information regarding of the Trim offset
value. However, null indications are handled differently for faders than for
other controls.

Faders:

The first time a fader is placed in TRIM, the null point is 0 dB and the
fader will snap to this position. It should be noted that the fader is showing
the null value rather than the Read Mix values and in this case it is 0 dB.
As the pass is played, the changes in the Read Mix values will be heard

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with a 0 dB offset and the fader will not move. When the fader is moved
from 0 dB, an offset equivalent to the amount of the move will be applied
to the Read Mix data and the net result will be heard.
On the D950 desk, the amount of the offset will be indicated in the Null
display and an arrow illuminates to indicate which way the fader must be
moved to match the Trim Replay value.
On the Vista desk, the offset is displayed by a pink bar (replay value) and a
gray bar (current value).
When a recorded Trim is played back with TRIM enabled, the fader will
move to indicate the Trim offset from 0 dB. If the value of the Trim Replay Data is recorded at 3 dB and then moves to 5 dB, the fader will
move
3 dB and then to 5 dB at the appropriate time. The underlying Read Mix
data will be heard with the Trim offset applied. The Trim Replay Data may
be updated using TRIM RECORD techniques, thus allowing Trims to be
modified.
It should be noted that faders in TRIM do not follow the WYSIWYH
(What You See is What You Hear) paradigm. The recorded moves plus
Trim offsets will be heard, but only the Trim Replay values will be shown
by the fader.
Encoders:

Any time an encoder is placed in TRIM, the null point will be 0 dB and the
encoder will auto-null to this value. Since there is no Trim Replay Data
for encoders, the null value can show only the offset of Read Mix values
from 0 dB. The null point for encoders is always a 0 dB offset from the
Read Mix value.
Whenever an encoder is put in TRIM, a 0 dB offset will be used. When a
recorded Trim is played back with TRIM enabled, the encoder will move
to indicate the Trim offset from 0 dB. As the pass is played, the changes in
the Read Mix values will be heard with a 0 dB offset and the encoder will
not move. When the encoder is moved from 0 dB, an offset equivalent to
the amount of the move will be applied to the Read Mix data and the net
result will be heard.
On the D950 desk, an arrow will illuminate to indicate which way the encoder must be moved to match the Read Mix value.
On the Vista desk, the pink-colored bar or dot (replay value) is used to
match the current value to the replay value

TRIM Rules:

Record Off:
TRIM ENABLE: The control is armed to go into TRIM RECORD.
Faders move to their Trim Replay values and both the Read Mix Data
and Trim Replay Data are replayed. The Read Mix values plus the Trim
offset will be heard. Any changes made to the Trim value (+/- from the
nominal Trim Replay value), will offset the Trim Replay value by that
amount. The first time TRIM ENABLE is used, faders will display a
nominal Trim value of 0 dB. Since the default offset value is 0 dB, the
Read Mix Data will be heard unaltered if the control is not moved.
While Read Mix data will be heard, it will not be indicated by the
faders position.
Encoders display a nominal Trim value. The nominal value will vary
depending on the control (i.e. 0 dB for levels/gains, center for stereo
panner, etc.). Read Mix Data (Written changes plus any previous

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Trims) is played back. Any changes made to the Trim value (+/- from
the nominal Trim value), will offset the Read Mix values by that
amount.
On the D950 desk, read Mix data will be heard; no be indication by the
controls position.
On the Vista desk, the Read Mix (replay value) is roughly indicated by a
pink-colored element.
-

If the control is moved while in TRIM ENABLE (no Touch modes

engaged), the Trim value will be AUDITIONED. The Trim values
will offset the Read Mix Data and the net result will be heard. In
other words, if the control is moved, the audio reflects the sum of
the Read Mix Data plus the offset from the nominal Trim value of
the control. So, if the Read Mix Data had a moving value, you will
hear that same moving value, except it will be offset by the amount
that the control has been moved from the nominal trim value.
If changes to Trim values have been previously written, faders in
TRIM will normally replay the Read Mix Data (which incorporates
the previous Trim values) and the Trim Replay values will be
shown on the faders and null indicators. Other controls will replay
the Read Mix Data (which incorporates the previous Trim values).
Changes to Trim values will be displayed by the control.

Record On:
TRIM RECORD: Everything is the same as with Record Off, except
that the Trim values are written into a new Mix Pass. For all controls,
the Trim offset is combined with the Read Mix data in the new pass.
The Trim Replay data is also modified for faders.
- Previous Trim values are updated (modifying a trim).
- At the end of a pass in which at least one control was in TRIM
RECORD, a new Mix Pass is generated that contains the previous
Mix Pass Read data plus the Trim offset. For faders, the newly recorded Trim Replay Data is generated as well.

5-48 AutoTouch+

Note:

TRIM RECORD is a destructive mode in regard that previously written

Trim data is updated. However, Trim data is never lost because a new Mix
Pass is created at the end of every Trim RECORD pass. All Mix Passes are
retained in the Mix Tree unless purposely deleted.

Conditions:

If touched and not in RECORD, the control will enter TRIM

AUDITION for the duration of the touch. The control will snap back to
its Trim value upon release.
With TOUCH RECORD engaged, the control will enter TRIM
RECORD (Punch-in) when touched and return to TRIM ENABLE (Replay) when released (Punch-out). When released the control will snap
back to its Trim value unless GLIDE is engaged. If glide is engaged the
control will glide back to its Trim value.
With TOUCH HOLD engaged, the control will enter TRIM
AUDITION mode when touched and holds the audition value when released.
With TOUCH RECORD and TOUCH HOLD engaged, the control will
enter TRIM RECORD (Punch-in) when touched and stays in TRIM
RECORD when released. The control will stay in TRIM RECORD until punched out or the Mix Pass has ended.

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<Option>

With <Disable Trim Replay> checked on the Misc Options page, the
offset of fader Read Mix Data using Trim Replay Data is defeated and
untrimmed audio is heard (also refer to chapter 5.21.8).

Automation Menu:

Selecting Clear TRIM Replay Data from the Automation menu in the
GC deletes the fader Trim Replay Data and creates a new Mix Pass
with 0 dB recorded as the new Trim Replay value.

Entering TRIM RECORD:

Controls in TRIM ENABLE can change to TRIM RECORD using any of

the following 3 methods:
1. Local Touch (Touching the control on the Channel Strip), CGM
Touch, or (D950 only) CAS Touch. TOUCH RECORD engaged or
the AUTO MODE modifier key must be used.
2. Local punch-in using the Channel Strip STAT (record punch) key.
3. Global punch-in via Global Record Punch In key, or Auto-Punch,
or GPI (refer to chapter 5.8.5).

5.6.4

Isolate
ISOLATE is the systems manual mode. Controls in ISOLATE neither responds to or creates new mix data. In other words, the control is essentially
removed from the automation system is becomes strictly a manual control.
Note:

A control in ISOLATE mode differs from a Static control in regard that

changes in an Isolated controls position are not written to Mix Passes.
Likewise, Static values are not applied to Isolated controls.

ISOLATE Rules:

Record Off:
ISOLATE: The control acts like a manual control and is unaffected by
any previously written Read and Trim Replay data.
- The audio follows the control position
Record On:
A control in ISOLATE cannot be placed into record.

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5.6.5

Control Mode Entry

Controls may be put into the various Control Modes using one of four
methods:
1. Globally using the Global Control Mode Activator keys and other
controls on the Master Automation Panel.
2. Locally using the channel strip AUTO MODE key.
3. Remotely from the CAS using Control Mode Activator keys.
4. When AutoTouch+ is turned On using the MIX ON key on the Automation Master Panel. Activating the system will engage the Control Mode
selected on the Panel Presets Options page.
Note:

5.6.5.1

Multiple Control Modes may be active on the console simultaneously.

Global Mode Entry

Global Control Mode Entry:

The primary method to enter automation Control Modes is using the Control Mode section of the Master Automation Panel. Controls that are to
enter the mode are Pre-Selected using Control Mode Pre-Selector keys.
The Pre-Selected controls are then entered into the desired mode using the
Global Mode Activator keys.

D950:

Vista:

Pre-Selectors
Global Mode Activators

Global Mode Activators:

There is an activator key for each Control Mode. Pressing one of these
keys puts the Pre-Selected controls on all channels <Option> into that
mode. The controls affected are filtered by the Pre-Selectors that are currently active. For example, when only the Fader Pre-Selector is active and
the Write Enable activator is pressed, only the faders on all channels will
change to WRITE ENABLE. Any other Control Modes that were set on
controls other than faders will retain their mode state <Option>.

Note:

When a Global Mode Activator key is lit, it indicates the Control Mode for
all channels. Mode changes made on individual channels will cause the
light to go out. Resetting all the Control modes to match on the local level
will not cause Global Mode Activators to re-light.

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Pre-Selectors:

Control Mode Pre-Selectors determine which controls are selected when a

new Control Mode is activated. Multiple Pre-Selectors may be active at
one time. Any and all combinations are allowed. Pre-Selectors will illuminate when activated.
The following describes the control classifications as defined by the Control Mode Pre-Selectors:
FDR (Fader): The fader of all channel types
MUTE (Mute): The Mute of all channel types
ENC / KNOB (Encoders): All continuous controller type encoders
(knobs or rotaries). This does not include knobs that control selectors such as pan format, or phase inversion (for example).
SW / SWIT (Switches): All switches (keys) and selectors (keys and
knobs)
HELD (Held Controls): All controls that are currently in a Held status
(this could be any combination of faders, mutes, switches, and encoders). Refer to chapter 5.7.3, Touch Hold.
LOCAL, LOCAL EDIT, LOCAL CLR: Not implemented.

Note:
Clear/All:

If no Pre-Selectors are active, then no controls will be put into the mode of
the pressed Mode Activator.

CLR / ALL: Permits the changing of all of the Pre-Selectors at once.

This key functions as follows:
- If one or more Pre-Selectors are active, then pressing CLR / ALL
clears all of the Pre-Selectors.
- If no Pre-Selectors are active, then all Pre-Selectors become active.
- Holding CLR / ALL and pressing a Control Mode activator will bypass the Pre-Selector and select all controls.

This is very handy as follows. If the user wants to set only the fader to a
Control Mode and some Pre-Selectors are active, it is not necessary to
manually disengage each of the currently lit selections. Pressing CLR / ALL
followed by FDR, will clear all active Pre-Selectors and then select fader.
This will save several key strokes and improve efficiency.
Another Shortcut:

If the user wishes to set all of the controls into a specific Control Mode the
following method may be used. Rather than pressing CLR / ALL until all the
pre-selectors are active, just hold down CLR / ALL and press the Global
Mode Activator for the desired Control Mode. All control types will be set
into that mode and the Pre-Selectors will remain in the state that they were.

Other Control Mode Entries:

Control Modes may entered as part of other automation operations. These

operations are as follows:
Turning Automation on for the First Time: Control Modes are entered
based upon the options selected on the Panel Presets Options page. See
Options below.
Setting the Mix Status to on: Control Modes are entered based upon the
options selected on the Control Mode Options page. See Options below.
Loading a Panel Preset (D950 only): Control Modes are entered based
upon the options selected on the Panel Presets Options page. See paragraph <Options> below.
Recalling a Scene: Controls that have been stored within the Scene
Buffer are set to WRITE ENABLE and come back in a Held state. The
stored values are also reset upon recall.

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Engaging READ LOCK: All controls are placed in READ mode. All
mode changes are locked out, AUDITION mode is defeated, and only
written values will be heard.
<Option>

5-52 AutoTouch+

<When Mix Status is Set to on> (also refer to chapter 5.21.2): Radio
buttons on the Control Modes Options page allow the selection of one
of the following options to take effect when Mix Status is set to on (after the first time AutoTouch has been turned on for the first time):
- <Maintain Object Modes>: When the MIX ON key on the Automation Master Panel is turned off, all controls are isolated from automation and operate as manual controls. With <Maintain Object
Modes> selected, knowledge of the Control Mode for each control
is maintained. When the system is turned back on, the Control
Mode of all controls is restored.
- <Set All to Read>: Turning the MIX ON key on, after having turned
it off, will set all controls to READ.
- <Set Pre-Selector Objects to WRITE>: Any controls that are selected in the Global Control Modes Pre-Selector will be set to
WRITE. All others will be set to READ.
- <Set Pre-Selector Objects to TRIM>: Any controls that are selected
in the Global Control Modes Pre-Selector will be set to TRIM. All
others will be set to READ.
With <Mode Enable sets non-selected to READ> checked on the Control Modes Options page, all controls not pre-selected are placed in
READ when a new Control Mode is enabled. In other words, only the
controls that have been Pre-Selected will enter the new mode and all
others change to READ.
<First Time Automation is Turned ON> (D950 only) (also refer to
chapter 5.21.6): Radio buttons on the Panel Preset Options page allow
the selection of one of the following options to take effect when AutoTouch+ is turned on for first time:
- <Load Preset A>: Control Modes are entered according to the options that determine what happens when a Panel Preset is loaded.
Maintaining current modes, setting all to READ, and loading the
Mode stated stored within Preset A are possible.
- <Use Last Setting>: The last used Control Modes are entered.
<When Loading a Preset>: Radio buttons on the Panel Preset Options
page allow the selection of one of the following options to take effect
when a Panel Preset is loaded:
<Maintain Object Modes>: Loading a Panel Preset will not change
the control modes of any of the controls in the console. Current
modes will be retained.
<Set All to Read>: Loading a Panel Preset will set all controls to
READ.
<Apply Stored Control Mode>: The Control Modes and PreSelectors stored within the recalled Preset will be applied.

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5.6.5.2

Local Mode Entry

Local Control Mode Entry:

The AUTO / AUTO MODE key on the channel strip can be used to enter the
various Control Modes on a channel-by-channel basis.
D950:

Vista:

Pressing the AUTO / AUTO MODE key will cycle through the available
Control Modes. The order and availability of Control Modes that can be
entered is determined by the options selected in the Channel Auto-Mode
Button section of the Control Modes Options page. The selection of local
controls that enter the selected Control Mode is also determined at this location.
<Option>

Date printed: 27.08.03

Options for the AUTO / AUTO MODE key are set in the Channel Auto-Mode
Button section of the Control Modes Option page (also refer to chapter
5.21.2):
<Order>: There are 4 positions that can be accessed via consecutive
presses of the AUTO / AUTO MODE key.
- The assignment for each position is made using the four pull-down
menus in the <Order> section.
- The top menu represents the first position.
- Any Control Mode can be selected at any position or none can be
selected.
- If <None> is selected, that position is not included when cycling
the AUTO / AUTO MODE key.
<Affects>: The selection of controls that enter the selected Control
Mode is determined in the <Affects> section. Radio buttons allow
the selection of 1 of the following options:
- <Pre-Selector Objects>: Local controls that correspond to the active
Control Mode Pre-Selectors on the Master Automation Panel.
- <Fader>: Fader only
- <Mute>: Mute only
- <Fader & Mute>: Fader and Mute only.
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5.6.5.3

CAS Mode Entry (D950 only)

CAS Control Mode Entry:

The Control Mode for the channel assigned to the CAS can be selected
using the controls in the AUTOMATION section of CAS.

It should be noted that the CAS automation mode will follow those made
at the channel strip or globally.
The CAS Control Mode Activators are organized in three groups of keys:
Fader
Mute
Switches and Encoders (rotaries)
Each group of activators has a key for each Control Mode:
READ: READ
ISO: ISOLATE
ABS: WRITE ENABLE (ABS is a legacy of AutoTouch 2.5)
TRIM: TRIM ENABLE
Switches and Encoders within the channel can be independently PreSelected for entry into the desired mode. For details, refer to chapters
5.19.1.2, CAS Controls, and 5.10, Switch Automation.
5.6.5.4

Vista Mode Entry

Vista Control Mode Entry:

Control Mode entries on the Vista work surface is accomplished using the
same local and global methods as used on the D950 M2 and Classic desks
and the same conditions and options apply.

Local Control Mode Entry:

Refer to chapter 5.6.5.2

Global Control Mode Entry:

5-54 AutoTouch+

Global Control Mode entry is made as described above. However it should

be noted that the Global Mode Activators are located in the Enable
Modes section of the Vista automation panel.

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5.6.6

Control Mode Indicators (D950)

Control Mode Display:

Control modes are displayed on the D950 desk on the channel strips and
the CAS in the following manner:
Fader:

Channel Strip:
READ: READ is lit next to the fader
WRITE ENABLE: WRT is lit next to the fader. The FADER STAT key
lights (flashes when in RECORD).
TRIM ENABLE: READ and WRT are lit next to the fader strip. The
FADER STAT key lights (flashes when in RECORD).
ISOLATE: ISO is lit next to the fader strip.

Displays for Fader Automation

Enable Status:
ISO = Isolate
READ = Read
WRT = Absolute Enable
WRT + READ = Trim Enable

CAS:
READ: The FADER READ Control Mode Activator is lit.
WRITE ENABLE: The FADER ABS Control Mode Activator is lit. The
FADER STAT key lights (flashes when in RECORD).
TRIM ENABLE: The FADER TRIM Control Mode Activator is lit. The
FADER STAT key lights (flashes when in RECORD).
ISOLATE: The FADER ISO Control Mode Activator is lit.

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Mute:

Channel Strip:
Control Modes for Mutes are not shown in a unique fashion on the channel
strip. It is not possible to determine the exact status by viewing the MUTE
STAT key locally. The unique status is shown on the CAS.
READ or ISOLATE: MUTE STAT key is not lit.
WRITE ENABLE: MUTE STAT key is lit (flashes when in RECORD)
TRIM ENABLE: MUTE STAT key is lit (flashes when in RECORD)

CAS:
READ: The MUTE READ Control Mode Activator is lit.
WRITE ENABLE: The MUTE ABS Control Mode Activator is lit. The
MUTE STAT key lights (flashes when in RECORD).
TRIM ENABLE: The MUTE TRIM Control Mode Activator is lit. The
MUTE STAT key lights (flashes when in RECORD).
ISOLATE: The MUTE ISO Control Mode Activator is lit.

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Encoders (Knobs):

Channel Strip:
The Control Mode of each of the four Encoders on the channel strip is
indicated by the associate AUT LED.
READ or ISOLATE: AUT LED is not lit. The S/E REC key is not lit.
WRITE ENABLE: AUT LED is lit in red (flashes red when in
RECORD). The S/E REC key lights (flashes when in RECORD).
TRIM ENABLE: AUT LED is lit in green (flashes green when in
RECORD). The S/E REC key lights (flashes when in RECORD).

Off = Read or Isolate

Constant Red = Absolute Enable
Flashing Red = Absolute Record
Constant Green = Trim Enable
Flashing Green = Trim Record

(The graphic above is that of a channel strip, but the Control Mode indications of the AUT LED are the same as on the CAS.)

CAS:
The SECT ROTARY Pre-Selector key will light for all Encoder Control
Mode indications.
READ: The Switches and Encoders READ Control Mode Activator is
lit.
WRITE ENABLE: The Switches and Encoders ABS Control Mode Activator is lit (SECT ROTARY Pre-Selector key flashes when in
RECORD).
TRIM ENABLE: The Switches and Encoders TRIM Control Mode Activator is lit (SECT ROTARY Pre-Selector key flashes when in RECORD).
ISOLATE: The Switches and Encoders ISO Control Mode Activator is
lit.

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Switches:

Channel Strip:
Control Modes for Switches are not shown in a unique fashion on the
channel strip. It is not possible to determine the exact status by viewing the
S/E STAT (S/E PB, S/E REC) key locally. There are also no Control Mode
indications for individual Switches. The unique status is shown on the
CAS. Switch Control Modes are indicated in the channel strip as follows:
READ or ISOLATE: The S/E STAT key is not lit.
WRITE or TRIM ENABLE: The S/E STAT key lights when one or more
Switch or Encoder is enabled.
WRITE or TRIM RECORD: The S/E STAT key flashes when one or
more Switch or Encoder is in RECORD.

CAS:
The SECT SWITCH Pre-Selector key will light for all Encoder Control
Mode indications.
READ: The Switches and Encoders READ Control Mode Activator is
lit.
WRITE ENABLE: The Switches and Encoders ABS Control Mode Activator is lit (SECT SWITCH Pre-Selector key flashes when in
RECORD).
TRIM ENABLE: The Switches and Encoders TRIM Control Mode Activator is lit (SECT SWITCH Pre-Selector key flashes when in RECORD).
ISOLATE: The Switches and Encoders ISO Control Mode Activator is
lit.

Channel Strip S/E STAT Key:

5-58 AutoTouch+

The S/E STAT (S/E PB, S/E REC) key gives partial Control Mode indications for both Switches and Encoders
S/E STAT key on: One or more Switch(es) or Encoder(s) is/are in either
WRITE ENABLE or TRIM ENABLE mode.
S/E STAT key flashing: One or more Switch(es) or Encoder(s) is/are in
either WRITE ENABLE or TRIM ENABLE mode.
S/E STAT key off: All Switches and Encoders are in either READ or
ISOLATE mode.

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5.6.7

Control Mode Indicators (Vista)

In automation mode, the channel strips hold additional indications for detailed display of the current status.
This chapter shows all possible indications of automation status and explains their meaning.

[A]
[B]

First, there are some record indicators integrated within the recording
keys:

[C]
[D]

[A]

Recording overview for switches. If half-lit: One or more switches are

armed (i.e. in TRIM or WRITE enable mode). If fully lit: One or more
switches are recording.
Pressing this key will either punch-in the held objects, or punch-out the
switches currently recording.

[B]

Recording overview for rotary encoders. If half-lit: One or more rotaries

are armed (i.e. in TRIM or WRITE enable mode). If fully lit: One or more
rotaries are recording
Pressing this key will either punch-in the held objects, or punch-out the
rotaries currently recording.

[C]

Current and replay value of the channel mute. If the current value is different from the one in the last mix pass, this LED indicates the value within
the last mix pass, while the main red LED within the key indicates the current value.
This LED is also used for mute indication, if "solo in place" is active.

[D]

Recording of the channel mute. If half-lit: Channel mute is armed (i.e. in

TRIM or WRITE enable mode). If fully lit: Channel mute is recording.
Pressing this key will either punch-in the current MUTE status, or punch it
out of recording.

[E]

Recording of fader. If half-lit: Fader is armed (i.e. in TRIM or WRITE

enable mode). If fully lit: Fader is recording.
Pressing this key will either punch-in the current fader status, or punch it
out of recording.

[E]

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The meaning of the different Vistonics indicators is as follows:

Displayed Value

The displayed value (e.g. 7.6 dB) is always the current value, except
when the control is in TRIM mode. Then it shows the offset from TRIM
null point.
It is underlined whenever the control is touched (hold in automation).

Rotary Value

Current and replay value of the rotary control. If the current value is different from the one within the last mix pass, a pink colored element indicates the value of the last mix pass, while the main display is indicating the
current value.

Fader Value

Current and replay value of the fader. If the current value is different from
the one in the last mix pass, a pink colored element indicates the value
within the last mix pass, while the main display is indicating the current
value.

Recording

Recording and recording mode indicator: This always refers to the associated control.
Characters without a frame indicate the status of the rotary control (I =
Isolate, R = Read, T = Trim, W = Write).
A red frame behind the W or T indicates that the rotary control is currently recording.

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Recording

Recording mode of the fader (in the Vistonics generic display area):
Characters without a frame indicate the status of the fader (I = Isolate, R =
Read, T = Trim, W = Write).
A red frame behind the W or T indicates that the fader is currently
recording.

n1 x

n1 x indicates that the channel is the owner of an n1 bus, together with

its bus number - e.g. m 1 for mono 1.

Rotary Dynamic/Static

Dynamic/static view of the rotary control:

When pressing the VIEW key in the dynamic automation panel, this display
changes to DYN, if this control contains dynamically automated elements

Fader Dynamic/Static

Dynamic/static view of the fader: When pressing the VIEW key in the dynamic automation panel, this display appears and indicates FADER
DYN, if the fader is dynamically automated.

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5.7

Touch and Hold

Touch and Hold functions are key aspects of understanding the AutoTouch+ system. Knowledge of these functions and their permutations is
essential to the operation of the system. As with Control Modes, there are
rules, conditions, and options that determine the precise function of these
features.
Faders and Encoders on the channel strip and the (D950) CAS are touchsensitive. Switches are touch-sensitive in regard that touch events are recognized by the system when a Switch is actuated.
Note:

This chapter will emphasize how touch events relate to Faders and
Encoders. Switch automation information will be included, but for complete information regarding Switch automation refer to chapter 5.10.
The activator keys for Touch and Hold functions are found in the TOUCH /
HELD section of the AutoTouch+ Panel.

D950:

5-62 AutoTouch+

Vista:

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5.7.1

Touch and Un-touch

Touch/Un-touch Events:

Touching a Fader or Encoder is registered by the system as a Touch

event. Releasing the control is registered as an Un-touch event. AutoTouch+ uses these events to trigger various operations and to toggle between states.

Switches:

Switches present a special case. This chapter discusses Touch and Untouch events as they apply to faders and encoders. Please refer to chapter
5.10 for Switch Automation details.

Note:

It is important to recognize that Touch and Un-touch events are separate

and independent events and are used by AutoTouch+ in different ways.
However, Touch and Un-touch are often linked during many operations.
Examples of possible operations that can be triggered by Touch and Untouch events:
Touch
- Enter the enabled mode for that control (i.e. Audition)
- Punch-in that control (i.e. Enable to Record)
Un-touch
- Exit the enabled mode for that control (i.e. Audition)
- Punch-out that control (i.e. Record to Enable)
Touch-sensitivity is always active on the work surface, even if TOUCH
RECORD and/or TOUCH HOLD are not active. It should also be noted that
when necessary, Touch and Un-touch events can be suppressed to facilitate
specific functionality.

Basic Touch/Un-touch Events:

Touch/Un-touch events can be registered without TOUCH RECORD or

TOUCH HOLD engaged. These events perform the following functions when
dynamic controls are in the Control Modes indicated:
READ: Touch/Un-touch will toggle the control in and out of
AUDITION. The control will change from READ to AUDITION when
touched and will snap back to recorded values (READ) when released.
WRITE ENABLE: Touch/Un-touch will toggle the control in and out of
AUDITION
TRIM ENABLE: Touch/Un-touch will toggle the control in and out of
TRIM AUDITION
ISOLATE: Touch/Un-touch events of Isolated controls are not recognized by AutoTouch+.

<Option>

With <Read Safe> checked on the Misc Options page, AUDITION

mode is defeated for controls in READ and only Read Mix values will
be heard (also refer to chapter 5.21.8).

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5.7.2

Touch Record
With TOUCH RECORD engaged, touching a Write or Trim enabled control
will change it from ENABLE to RECORD. This will effectively perform a
Punch-In for that control. Touching a control in READ will change it to
AUDITION.

D950:

Vista:

When released, a control in RECORD will change back to ENABLE, effectively Punching-Out (if TOUCH HOLD is not engaged). Subsequent
Touch/Un-touch events will to toggle that control in an out of RECORD.
Likewise a control in AUDITION will revert to READ when released.
To sum it up, if TOUCH RECORD is used alone (without TOUCH HOLD)
controls will change to either RECORD or AUDITION for the duration of
the human contact with the control.

5-64 AutoTouch+

Touch Record:

With only TOUCH RECORD engaged (without TOUCH HOLD), Touch/Untouch events perform the following functions when dynamic controls are in
the Control Modes indicated:
READ: Touch/Un-touch will toggle the control in and out of
AUDITION.
WRITE ENABLE: Touch/Un-touch will toggle the control in and out of
RECORD. The control will change from WRITE ENABLE to WRITE
RECORD when touched and will snap back to recorded values (WRITE
ENABLE) when released. The control will glide back if GLIDE is engaged.
TRIM ENABLE: Touch/Un-touch will toggle the control in and out of
RECORD. The control will change from TRIM ENABLE to TRIM
RECORD when touched and will snap back to recorded Trim values
(TRIM ENABLE) when released. The control will glide back if GLIDE
is engaged.
ISOLATE: Touch/Un-touch events of Isolated controls are not recognized by AutoTouch+.

Note:

The examples above assume that WRITE TO PUNCH OUT is active. Refer to
chapter 5.9.1.

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<Option>

5.7.3

With <Read Safe> checked on the Misc. Options page, AUDITION

mode is defeated for controls in READ, and only written values will be
heard.
The TOUCH RECORD key may be overridden by checking options on the
<Master Panel Overrides> section of the Master Panel Options page.
Faders and Encoders can have TOUCH RECORD set to <ON>, <OFF>,
or to follow the Master Panel <Follows Panel>. TOUCH RECORD for
Switches can also have <ON> and <OFF> overrides or be set to follow
the Master Panel <Follows Panel>.

Touch Hold
With TOUCH HOLD engaged, touching a control will change it to being in a
Held state.

D950:

Vista:

Held Controls:

Controls that are in Held status have specific functional qualities:

They maintain their current status when physically released (Untouched)
They may be selected as a group (Held Objects) for additional automation operations (such as a Pre-Selector set).
When TOUCH HOLD is activated the Touch event is registered by the system and the Un-touch event is suppressed. Touching a control will change
it to the next mode available. More importantly, the control will hold
that mode when it is released.
When released, a control in RECORD will not punch-out and change back
to ENABLE, it will stay in RECORD. Likewise a control in AUDITION
will not revert to READ when released.

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To sum it up, if TOUCH HOLD is used alone (without TOUCH RECORD)

controls will change to their AUDITION modes and stay there when released.

5.7.4

Touch Hold:

With only TOUCH HOLD engaged (without TOUCH RECORD), Touch events
perform the following functions when dynamic controls are in the Control
Modes indicated (remember Un-touch events are suppressed):
READ: Touch will change to and stay in AUDITION.
WRITE ENABLE: Touch will change to and stay in AUDITION.
TRIM ENABLE: Touch will change to and stay in TRIM AUDITION.
ISOLATE: Touch/Un-touch events of Isolated controls are not recognized by AutoTouch+.

<Option>

With <Read Safe> checked on the Misc Options page (see chapter
5.21.8), AUDITION mode is defeated for controls in READ, and only
written values will be heard.
The TOUCH HOLD key may be overridden by checking options on the
<Master Panel Overrides> section of the Master Panel Options page
(see chapter 5.21.5). Faders and Encoders can have TOUCH HOLD set to
<ON>, <OFF>, or to follow the Master Panel <Follows Panel>. TOUCH
HOLD for Switches can also have <ON> and <OFF> overrides or be set
to follow the Master Panel <Follows Panel>.

Touch Record + Touch Hold

TOUCH RECORD and TOUCH HOLD can be used together to create a condition where controls will change to RECORD (if enabled) or AUDITION
(if in READ) when touched and stay in that mode when released.

D950:

Vista:

With both TOUCH RECORD and TOUCH HOLD engaged, touching a control
will change it from its current state to the next mode available and then
will hold that mode (remember, when TOUCH HOLD is activated, the
Touch event is registered by the system and the Un-touch event is suppressed).
When released, a control in RECORD will not punch-out and change back
to ENABLE, it will stay in RECORD. Likewise a control in AUDITION
will not revert to READ when released.
5-66 AutoTouch+

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Touch Record + Touch Hold:

With both TOUCH RECORD and TOUCH HOLD engaged, Touch events perform the following functions when dynamic controls are in the Control
Modes indicated (remember Un-touch events are suppressed):
READ: Touch will change to and stay in AUDITION.
WRITE ENABLE: Touch will change the control from WRITE
ENABLE to WRITE RECORD and stay in WRITE RECORD when
released.
TRIM ENABLE: Touch will change the control from TRIM ENABLE
to TRIM RECORD and stay in TRIM RECORD when released.
ISOLATE: Touch/Un-touch events of Isolated controls are not recognized by AutoTouch+.

<Option>

With <Read Safe> checked on the Misc Options page (see chapter
5.21.8), AUDITION mode is defeated for controls in READ, and only
written values will be heard.
The Master Panel TOUCH RECORD and TOUCH HOLD keys may be overridden by checking options on the <Master Panel Overrides> section of
the Master Panel Options page (see chapter 5.21.5). Faders and Encoders can have TOUCH RECORD and TOUCH HOLD set to <ON>, <OFF>,
or to follow the Master Panel <Follows Panel>. TOUCH RECORD and
TOUCH HOLD for Switches can also have <ON> and <OFF> overrides
or be set to follow the Master Panel <Follows Panel>
The Un-touch function of either TOUCH RECORD or TOUCH HOLD may
be changed by using the AUTO MODE modifier key. For details, refer to
chapter 5.7.6.

5.7.5

Held Controls
A control that is touched with TOUCH HOLD engaged becomes a held
control. Held controls are also known as Held Objects. Controls that are
held not only stay in their Touched mode when released, they are identified by the system as being held.
Held Controls Buffer:

As controls are placed into a held status, they are added to a list of controls
stored in the Held Controls Buffer. The CLR HELD key in the HELD
section of the AutoTouch+ Panel will light if one or more control is held.
The Held Controls list is used as a filter for the HELD pre-selectors in the
Control Modes and Global Record sections of the Automation Master
Panel.

Clearing Held Controls:

Clear Held Controls Buffer: Pressing the CLR HELD key will take all Held
controls out of Hold. It will also clear the list of controls in the Held Controls Buffer.
Clear Held Controls Modes: Controls may be taken out of hold in the
following ways:
When TOUCH HOLD is turned OFF <Option>
Upon Punch-Out <Option>
At the end of a Mix Pass <Option>

<Option>

With <When Touch Hold Turned Off> checked in the <Clear Held
Objects> section of the Hold Options page (also refer to chapter
5.21.7), all held controls are cleared when TOUCH HOLD is turned Off.
With <Upon Punch-Out> checked in the <Clear Held Objects> section
of the Hold Options page, any Held control is cleared upon punch-out.

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With <Held Objects> checked in the <End of Pass Clears> section of

the End of Pass Options page, all held controls are cleared at the end of
each Mix Pass.
Note:

5.2.5.1

The TOUCH HOLD key on the AutoTouch+ Panel may be overridden by

checking options on the <Master Panel Overrides> section of the Master
Panel Options page (also refer to chapter 5.21.5). Faders/Encoders and
Switches can have TOUCH HOLD set to <ON> as an default option. When
using this option, care should be taken not inadvertently place controls into
Hold.

Held Plays Mix

When the HELD PLAYS MIX key is engaged, all Held controls play their
Read Mix data when not in RECORD, but the controls can be set to different physical positions.
The Read Mix data is heard, even though one or more controls are being
held in AUDITION. This allows a held control to be pre-positioned while
awaiting a punch-in. The result is true emulation of the resultant mix, while
the Mix Pass is being run.
<Option>

5-68 AutoTouch+

With <Disabled While Touched> checked in the <Held Plays Mix> section of the Hold Options page (also refer to chapter 5.21.4) and HELD
PLAYS MIX engaged, all held controls that are touched will change to
AUDITION for the duration of the touch. The AUDITION value will be
heard while the control is being touched. Upon release held controls revert to playing the Read mix. This is useful when pre-positioning the
control before the punch. This TOUCH AUDITION mode allows the
Punch-In value to be determined by touching and moving the control to
the desired position and releasing it to return to hearing the Read mix.
The control retains its AUDITION value awaiting Punch-In while the
Read mix is heard.

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5.7.6

Auto Mode Key Function

Auto Mode Key:

The channel strip AUTO / AUTO MODE key is also known as the modifier
key.
D950:

Vista:

Auto Mode Key Function:

Holding the AUTO / AUTO MODE key down temporarily reverses the state
of the Master Panel Touch Record key on a local basis. For example, if
Touch Record is activated on the AutoTouch+ Panel, holding down the
AUTO / AUTO MODE key will deactivate Touch Record on that channel as
long as the key held down. If Touch Record is not active, holding the
AUTO / AUTO MODE key will activate it for that channel.

Using the Auto Mode Key:

The AUTO / AUTO MODE key may be used as follows:

Global Touch Record Active:
- Holding the AUTO / AUTO MODE key will deactivate Touch Record
for that channel. This will allow enabled controls to be auditioned
on a local basis without being punched-in.
- Touching an enabled control will punch it in and holding it will
keep it in RECORD. Pressing and holding the AUTO / AUTO MODE
key before the control is released will deactivate Touch Record.
When it is released, the control will not punch-out and will stay in
RECORD in a Held state.
Global Touch Record Inactive:
- Holding the AUTO / AUTO MODE key will activate Touch Record for
that channel. This will allow enabled controls to be punched-in on a
local basis.
- Holding the AUTO / AUTO MODE key and releasing a control that is
in RECORD will punch that control out. In this case, the control
may be touched at any time, but the AUTO / AUTO MODE key must
be pressed at the time of release for a punch-out to occur.

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Note:

5.7.6.1

To achieve the function mentioned above when Global Touch Record is

inactive, the Modified Untouch Inverts option (radio button Touch Record) must be selected (also refer to chapter 5.21.8).

Modified Un-touch Inverts

As an option, the Touch Record or Touch Held may have their modified
Un-touch function inverted. In other words, if the AUTO / AUTO MODE key
is held down when a control is Un-touched (released) the normal Un-touch
function of Touch Record or Touch Hold will be reversed.
Either Touch Record or Touch Hold may be selected for Un-touch inversion, but not both.
<Option>

5.7.6.1.1

Either the <Touch Hold> or <Touch Record> function may be selected

for Modified Un-touch Inversion when the AUTO / AUTO MODE key is
held. This selection is made by clicking the desired radio button in the
<Modified Un-touch Inverts> section of the Misc Options page (also refer to chapter 5.21.8).

Option Modified Un-Touch Inverts <Touch Record>

Both Global Touch Record and Global Touch Hold inactive:

1a
- Holding the AUTO / AUTO MODE key when an enabled control is touched,
will punch that control in RECORD. As long as the AUTO / AUTO MODE
key is held down, a touched control will be in RECORD. Un-touching the
control will return the status from RECORD to ENABLE.
1b
If the control is touched and the AUTO / AUTO MODE key is released before
the control is physically un-touched, the control will remain in RECORD
even if the control is physically un-touched.
Even if the control remains in RECORD, the un-touch information is suppressed.
1c
- A control being in RECORD can be punched out by holding the AUTO /
AUTO MODE key, and touching and un-touching the control while the
AUTO / AUTO MODE key is being pressed. The control changes from
RECORD to ENABLE when the control is physically un-touched.
Global Touch Record active, Global Touch Hold inactive:
2a
- While pressing the AUTO / AUTO MODE key, touching of a control that is in
ENABLE mode will not punch it into RECORD.
2b
- Touching the control (causing it to change from ENABLE to RECORD)
and pressing the AUTO MODE key while still touching the control, then
releasing the control while still pressing the AUTO / AUTO MODE key will
cause the control to remain in RECORD and HELD status.
Global Touch Record inactive, Global Touch Hold active:
3a
- Keep the AUTO / AUTO MODE key pressed. Touching and untouching a
control in ENABLE mode will punch the control in and out of RECORD.
Please note that the control is in HELD status, regardless whether it is in
RECORD or not.
3b
- Keep the AUTO / AUTO MODE key pressed and touch a control that is currently in ENABLE mode. Keep the control touched and release the AUTO /
AUTO MODE key. The control will remain in RECORD.
3c
- A control being in RECORD mode can be punched out by keeping the
AUTO / AUTO MODE key pressed, then touching and untouching the con5-70 AutoTouch+

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D950/Vista7 Digital Mixing System

trol. At the moment the control is released, it punches out of RECORD but
remains in HELD status.
Both Global Touch Record and Global Touch Hold active:
4a
- While keeping the AUTO / AUTO MODE key pressed, touching a control in
ENABLE mode will not punch into RECORD. The control will remain in
HELD status.
4b
- A control being in RECORD status can be punched out by keeping the
AUTO / AUTO MODE key pressed, then touching and untouching the control. At the moment the control is released, it punches out of RECORD
while remaining in HELD status.
5.7.6.1.2

Option Modified Un-Touch Inverts <Touch Hold>

Both Global Touch Record and Touch Hold inactive:

5a
- While keeping the AUTO / AUTO MODE key pressed, touching a control in
ENABLE mode will switch it to RECORD and HELD status. When releasing the control it will remain in RECORD and TOUCHED.
Global Touch Record active, Touch Hold inactive:
6a
- While keeping the AUTO / AUTO MODE key pressed, touching a control in
ENABLE mode will switch it to HELD but not to RECORD status, if the
control is released before the AUTO / AUTO MODE key.
6b
- While keeping a control in ENABLE mode touched, press the AUTO /
AUTO MODE key. Then release the control before releasing the AUTO /
AUTO MODE key, causing the control to switch to RECORD and HELD
status.
Global Touch Record inactive, Touch Hold active:
7a
- While keeping the AUTO / AUTO MODE key pressed, touching a control in
ENABLE mode will switch it to RECORD but not to HELD mode, if the
control is released before the AUTO / AUTO MODE key.
Both Global Touch Record and Touch Hold active:
8a
- While keeping the AUTO / AUTO MODE key pressed, touching a control in
ENABLE mode will not punch the control into RECORD. When releasing
the control while the AUTO / AUTO MODE key is still pressed, the control
will not jump back to the replay value.
8b
- A control being in RECORD can be punched-out by pressing the AUTO /
AUTO MODE key, then touching the control and releasing it while the
AUTO / AUTO MODE key is still pressed. At the same time the controls
HELD status is cleared.

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Ref.

Step

1a
1
2
3
1b
1
2
3
4
1c
1
2
2a
1
2
2b
1
2
3
3a
1
2
3
3b
1
2
3
3c
1
2
3
4a
1
2
4b
1
2
3
5a
1
2
3

5-72 AutoTouch+

Global
Touch
Record
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
ON
ON
ON
ON
ON
ON
ON
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
ON
ON
ON
ON
ON
ON
ON
OFF
OFF
OFF
OFF

Global
Touch
Hold
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
OFF
OFF
OFF
OFF

AUTO MODE Key Action

SW V3.3

Press + Hold
Hold
Hold
Press + Hold
Hold
Release

Control
Action

Touch
Un-touch

Touch + Hold
Hold
Un-touch

Press + Hold
Hold

Touch
Un-touch

Press + Hold
Hold

Touch

Press + Hold
Hold

Touch + Hold
Hold
Un-touch

Press + Hold
Hold
Hold

Touch
Un-touch

Press + Hold
Hold
Release

Touch + Hold
Hold

Press + Hold
Hold
Hold

Touch
Un-touch

Press + Hold
Hold

Touch

Press + Hold
Hold
Hold

Touch
Un-touch

Press + Hold
Hold
Hold

Touch
Un-touch

Control Status
Condition/Reaction
ENABLE
ENABLE
RECORD
ENABLE
ENABLE
ENABLE
RECORD
RECORD
RECORD
RECORD
RECORD
ENABLE
ENABLE
ENABLE
ENABLE (no change)
ENABLE
RECORD
RECORD
RECORD + HELD
ENABLE + HELD
ENABLE + HELD
RECORD + HELD
ENABLE + HELD
ENABLE
ENABLE
RECORD
RECORD
RECORD
RECORD
RECORD
ENABLE + HELD
ENABLE
ENABLE
ENABLE + HELD
RECORD
RECORD
RECORD
ENABLE + HELD
ENABLE
ENABLE
RECORD + HELD
RECORD + HELD

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D950/Vista7 Digital Mixing System

Ref.

Step

6a
1
2
3
6b
1
2
3
7a
1
2
3
8a
1
2
3
8b
1
2
3

Date printed: 27.08.03

Global
Touch
Record
ON
ON
ON
ON
ON
ON
ON
ON
OFF
OFF
OFF
OFF
ON
ON
ON
ON
ON
ON
ON
ON

Global
Touch
Hold
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON

AUTO MODE Key Action

Press + Hold
Hold
Hold

Control
Action

Touch
Un-touch
Touch + Hold

SW V3.3

Press + Hold
Hold

Un-touch

Press + Hold
Hold
Hold

Touch
Un-touch

Press + Hold
Hold
Hold

Touch
Release

Press + Hold
Hold
Hold

Touch
Release

Control Status
Condition/Reaction
ENABLE
ENABLE
ENABLE
ENABLE + HELD
ENABLE
RECORD
RECORD
RECORD + HELD
ENABLE
ENABLE
RECORD
RECORD (not HELD)
ENABLE
ENABLE
ENABLE
ENABLE
RECORD
RECORD
RECORD
ENABLE (not HELD)

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5.8

Global Record
Controls can be punched in and out on a global basis. Global punch-ins
and punch-outs are accomplished in one of three ways:
1. Manually: Using the PUNCH-IN and PUNCH-OUT activator keys on the
GLOBAL RECORD section of the AutoTouch+ Panel
2. Automatically: Enabling the Write Zone and Auto Punch-In/Out in
the AutoTouch+ window of the Graphic Controller (GC). Refer to
chapter 5.8.4, Auto Punch In/Out.
3. Automatically via GPI input (refer to chapter 5.8.5).
Conditions:

Note:

5.8.1

If no controls of the type chosen of the Global Record Pre-Selector are

enabled, Global punch-in has no affect. Likewise, if no controls of the type
chosen of the Global Record Pre-Selector are in RECORD, Global punchout has no affect.
Individual controls can be punched in and out independently of the Global
Record functions. This is done locally on the channel strip or on the D950
CAS.

Pre-Selectors
Pre-Selectors:

Regardless of the punch method used, the Global Record Pre-Selectors

determine which controls are affected when a global punch-in occurs.

D950:

Vista:

Note:
5-74 AutoTouch+

Multiple Pre-Selectors may be active at a time. Any and all combinations

are allowed. Pre-Selectors will illuminate when active.
The following describes the control classifications as defined by the
Global Record Pre-Selectors:
FDR (Fader): The fader of all channel types
MUTE (Mute): The Mute of all channel types
ENC / KNOB (Encoders/Knobs): All continuous controller type encoders (knobs or rotaries). This does not include knobs that control selectors, such as pan format, or phase inversion (for example).
SW (Switches): All switches (keys) and selectors (keys and knobs)
HELD (Held Controls): All controls that are currently in a Held status. (This could be any combination of faders, mutes, switches, and
encoders). Refer to chapter 5.7.3.
If no Pre-Selectors are active, then no controls will be punched-in or out.
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Clear/All:

5.8.2

CLR / ALL: Permits the changing of all of the Pre-Selectors at once. This
key functions as follows:
- If one or more Pre-Selectors are active, then pressing CLR/ALL
clears all of the Pre-Selectors.
- If no Pre-Selectors are active, then ALL Pre-Selectors get active.
- Holding CLR / ALL and pressing PUNCH-IN or PUNCH-OUT will bypass the Pre-Selector and select all controls.

Manual Punch-In/Out
The manual PUNCH-IN and PUNCH-OUT activators are located in the Global
Record section of the Automation Master Panel. As described above, the
controls to be punched in and out are chosen using Global Record PreSelectors and then manually punched in and out of RECORD using the
PUNCH-IN and PUNCH-OUT activator keys.
Punch-in/Out Activators:

Note:

5.8.3

PUNCH IN: Pressing PUNCH IN puts the Pre-Selected controls on all

channels <Option> into RECORD (if enabled). As with Control Mode
entries, the controls affected are filtered by the Pre-Selectors that are
currently active.
PUNCH OUT: Pressing PUNCH OUT takes the Pre-Selected controls on
all channels <Option> out of RECORD (if enabled). As with Control
Mode entries, the controls affected are filtered by the Pre-Selectors
that are currently active.
Whenever any control is in RECORD the PUNCH IN and PUNCH OUT keys
are lit.

Write Zone
The Write Zone is a region between two user-specified timecode locations.
When the Write Zone is enabled, recording may take place only within that
timecode region.

Write Zone Functions:

Date printed: 27.08.03

When the Write Zone is enabled, the following conditions are in place:
Record is locked out before the Write Zone Begin Time.
Record is locked out after the Write Zone End Time.
Recording is allowed only between the Write Zone Begin and End
Time.
Any controls in RECORD will punch-out at the Write Zone End Time
if timecode is played through the End Time (with or without Auto
Punch-In engaged).
If Auto Punch-In is engaged, enabled controls will punch-in at the Write
Zone Begin Time if timecode is played through the Begin Time.
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Enabling the Write Zone:

The Write Zone is enabled by checking the Write Zone Enabled box in
the AutoTouch+ window. If this box is unchecked the Write Zone has no
affect.

Write Zone Begin Time:

The Write Zone Begin Time is the timecode location before which recording is locked out, assuming the Write Zone is enabled. Recording is
allowed only after the Write Zone Begin Time, but only up to the Write
Zone End Time.

Auto Punch-In:

If Auto Punch-In is engaged, a punch-in will occur for enabled controls

when the Write Zone Begin Time is encountered.

Write Zone End Time:

The Write Zone End Time is the timecode location after which Recording
is locked out, assuming the Write Zone is enabled. Recording is allowed
only before the Write Zone End Time, but only after the Write Zone Begin
Time.

Sync w/Loop Pts:

Checking the Sync with Loop Points function allows to set the Write
Zone In an Out points, according to the selected cue points in the AutoTouch+ window.
Any controls in RECORD will punch-out when the Write Zone End Time
is encountered. This happened whether Auto Punch-In is engaged or not.

Write Zone Begin/End Time Entry:

The Write Zone Begin and End times may be entered in the following
ways:
Highlighting all or part of the Begin or End Time entry field and typing
in the new time;
Highlighting all or part of the Begin or End Time entry field and rolling
the time up or down using click/drag methods
Highlighting all or part of the Begin or End Time entry field and using
the up or down arrow keys
Selecting a time from the Right-Click menu
Pressing + or followed by a numeric value
Using the Sync with Loop Points function.
The Write Zone must be enabled before Begin/End Time entry is permitted.

Hot Keys:

5-76 AutoTouch+

Hot Keys are provided to aid in the entry of fixed Begin and End timecode
locations. A complete description of Hot Key functions is provided in the
Appendix.

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D950/Vista7 Digital Mixing System

Entry Field Right-click Menu:

Right-clicking either Write Zone entry fields will open the Entry Field
Right-click menu.
This menu contains several items that assist the user in quickly entering
timecode values. These items are organized in five basic areas:
Significant System Times: Mix Begin, Mix End, Current Time, Clear
(00:00:00.00), and End of Day (23:59:59.2X)
Cue List Times: Allows access to the Title Cue List and provides the
means to sort and go to cues
Copy/Paste/Undo Changes: Entry field clipboard functions
Most Recent: A list of the most recently used timecode locations is
maintained by the system. Timecode locations from this list many be
selected for the entry field value. The most recent timecode (current
value) may be locked as the entry field value, to prevent it from being
changed. A timecode may be manually added to the list. The list may be
sorted and deleted.

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5.8.4

Auto Punch-In/Out
Automatic punch-in/punch-out is controlled via the AutoTouch+ screen of
the D950 GC.
Write Zone:

To set up an Auto Punch-in/Out, a Write Zone with a Begin and

End time must first be established. These will be the In and Out point for
the Auto Punch-in. The times displayed were the last In and Out times
used by the system. Direct entry of Begin and End times is possible once
the Write Zone is enabled. Refer to chapter 5.8.3 for details.

Auto Punch-in:

To activate the Auto Punch-in feature, the Write Zone must first be enabled, which is done by checking the Enable box next to the End time
field. Once the Write Zone is enabled, it is then possible to enable the
Auto Punch-in facility. This is accomplished by checking the Auto Punch
In box located below the Write Zone Enable box.

Performing the Punch:

Once Auto Punch-In is enabled and the desired controls are enabled, play
back timecode (media). During the pre-roll before the Begin Time, the affected controls will act as if in RECORD ENABLE, but will not punch-in
until the Write Zone Begin time.
At the Begin time, the system will automatically punch-in and the any
enabled controls will change to RECORD. Recording will continue until
the End time is reached, where the controls are automatically punched out.

5.8.5

Note:

It is possible to punch-out any individual control at any time within the

Write Zone using the AUTO MODE key. Global punch-outs may also take
place before the end of the Write zone. It is not possible to punch-in before
the Begin time or after the End time when the Write Zone is enabled.

Note:

Glide functions may be used with Auto Punch-In/Out. Since changes to the
Read Mix are prohibited after the Write Zone End time, the Backtime
Glide function must be used if Auto Punch-out is used.

Auto GPI In/Out

Global Punch-Ins and Punch-Outs can also be done via the GPI input. This
will basically make the Punch-In and Punch-Out key available to external
systems or external keys.
If such functionality is required, the Signaling.ini file needs to be
adapted accordingly. Please contact Studer Service & Support to do the
necessary changes in that file.

5-78 AutoTouch+

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D950/Vista7 Digital Mixing System

5.9

Data Transition Behaviors

Data Transitions:

Note:
Last Recorded Value:

In simplest terms, a Data Transition takes place whenever new data meets
old data. In more formal terms, a data transition is where Record Mix Data
transitions to Read Mix Data and vice versa. This means a transition takes
place when Read Mix Data transitions to Record data (such as at a punchin) and when the Record Data transitions to Read Mix Data (such as a
punch-out).
Data Transitions are not limited to punch-in and punch-out locations.
The Last Recorded Value is always the current value of the control at the
time it is punched out. However, it should be noted that this value might
have been set well before the actual punch-out. In this case, the location of
the Last Recorded Value is earlier than the punch-out location.
By definition, the Last Record Value is a Dynamic value. However, it
should be noted that it is a singular, non-moving value.

Understanding Behaviors:

One of the key aspects to AutoTouch+, is understanding where the Last

Recorded Value transitions to and from Read Mix data and how it makes
the transitions.
The where behavior is determined in two ways:
Write To: Where Record Data transitions to Read Mix Data
Extend Back To: Where Read Data transitions to Record Data
The Last Recorded Value may be applied up to or beyond the punch-out
point. It may also be applied back to the punch-in point or before. These
behaviors will be discussed below.
The how behavior is determined by whether the Glide function is On or
Off and the Glide Options enabled.

5.9.1

Write To:
The choice of Mix Pass Write To: function determines where the Record
Data to Read Mix Data transition takes place. In essence, the concept is as
follows:
Take the last recorded value and write it to: _____________!
The blank can be filled in with one of following Write To: locations:
Punch-out: Apply the last recorded value to the punch-out location
Next Change: Apply the Last Recorded Value to the location of the
next recorded change
Level Match: Apply the Last Recorded Value until the it matches the
Read Mix value
End: Apply the Last Recorded Value to the specified End Time.
These locations are also known as Write To: Functions.
Note:

Date printed: 27.08.03

Unlike other automation systems, the transition from Record Data to Read
Mix Data does not necessarily have to take place at the punch-out location.
In fact, selecting Write to Punch Out is the only time that both happen
simultaneously.
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Write To Keys:

The Mix Pass WRITE TO: keys determine the point at which the transition
from Record Data to Read Mix Data will take place. As noted above, there
are four different WRITE TO: functions, one of which must be selected. The
selected function key will illuminate when that function is active. Only one
function can be active at one time.

D950:

Vista:

The four WRITE TO: functions behave as follows:

PUNCH OUT: The Last Recorded Value (punch-out value) will be applied until the Punch-out point. At the punch-out point, the Record Data
will transition to the Read Mix Data. PUNCH OUT is the default WRITE
TO: function.
NEXT CHANGE: The Last Recorded Value will be applied until the next
recorded change in the Read Mix Data. At that point, the Record Data
will transition to Read Mix Data.
LEVEL MATCH: The current value of the control (by definition the Last
Recorded Value) will be written until it matches the Read Mix Data. At
this point, the Record Data will seamlessly transition to the Read Mix
Data and a punch-out will occur. If a punch-out occurs without the level
being matched, the control will not actually punch-out until the levels
match. Any moves that are made before the levels match will be recorded. Matching level may be accomplished by either moving the
control to match the Read Mix value or positioning the control where
the Read Mix values will intercept the physical position.
END: The Last Recorded Value will be applied until the user-specified
End Time. All previously recorded values between the Last Recorded
Value (typically Punch-out) and the End Time will be erased.
The End Time is defined in three different ways:
- End of Mix: The Last Recorded Value will be applied until the End
Time of the Active Mix.
- End of Time: The Last Recorded Value will be applied up to the
last possible timecode location (i.e. 23:59:59.2X). The number of
frames will be determined by the selected timecode frame rate.
- Fixed: The Last Recorded Value will be applied up to a fixed
user-selected End Time. See Setting a Fixed End Time below.

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D950/Vista7 Digital Mixing System

Post Pass Processing:

NEXT CHANGE, LEVEL MATCH, and END transitions do not have to be performed in real-time. The active Write To: function will take place even
after timecode playback has stopped at the end of Record Pass. This saves
time by eliminating the need to perform complete real-time passes when a
controls value can be written to a known location. This also means it is
possible to overwrite mix data in locations that have not been heard. Care
is suggested while using Write To: functions.

Important Note:

WRITE TO: NEXT CHANGE, LEVEL MATCH, and END are destructive functions in the regard that they will overwrite existing mix data until transitioning at their respective WRITE TO: locations. Even though previous Mix
Passes are retained, for efficient operation care should be taken when using
these functions.

Setting a Fixed End Time:

Fixed End Times are set using the Write To End Time pull-down menu in
the AutoTouch+ window of the GC. The pull-down menu will allow the
selection of an End Time definition (End of Mix, End of Time, or
Fixed).

The End of Mix time is predetermined by the End Time of the Active Mix
Pass and cannot be altered via this field. End of Time is always the last
possible timecode location (i.e. 23:59:59.2X) and cannot be altered. When
Fixed End Time is selected a T.C. Entry box appears.

The desired Fixed End Time may be entered via this box by typing in a
timecode location or using the roller method (timecode locations cannot be
pasted into this field) and clicking OK. When Fixed End Time is selected,
the entered timecode location will be shown in the display field directly
below the End Time pull-down menu. Changes or direct entries are not allowed using this field. To edit the Fixed End Time, Fixed must be selected
from the pull-down menu.

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Right-clicking in the Enter T.C. field will open the Entry Field Right-click
menu. This menu contains several items that assist the user in quickly entering timecode values.

These items are organized in five basic areas:

Significant System Times: Mix Begin, Mix End, Current Time, Clear
(00:00:00.00), and End of Day (23:59:59.2X)
Cue List Times: Allows access to the Title Cue List and provides the
means to sort and go to cues
Copy/Paste/Undo Changes: Entry field clipboard functions
Most Recent: A list of the most recently used timecode locations is
maintained by the system. Timecode locations from this list many be
selected for the entry field value. The most recent timecode (current
value) may be locked as the entry field value, to prevent it from being
changed. A timecode may be manually added to the list. The list may be
sorted and deleted.
Hot Keys:

5-82 AutoTouch+

Hot Keys are provided to aid in the entry of fixed End timecode locations.
A complete description of Hot Key functions is provided in chapter 5.23.

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D950/Vista7 Digital Mixing System

<Option>

5.9.2

<End of Pass Clears>: The End of Pass options (also refer to chapter
5.21.7) determine the behavior of specific functions when a mix pass is
terminated by stopping timecode. The behaviors that take place are determined on the End of Pass Options page. Check boxes allow the selection
of the following options:
With <Write To End> checked, the Write To: End function is disabled
after the end of every Mix Pass and Punch Out is reset as the default state.
This ensures that Write To: End is only used for one pass without being
reset as the Write To: function.

Extend Back To:

The choice of Mix Pass Extend Back To: function determines where the
Read Mix Data to Record Data transition takes place. In essence, the concept is as follows:
Take the last recorded value and extend it back to: _____________!

Note:

EXTEND BACK TO: keys:

The blank can be filled in with one of two Extend Back To: locations:
Punch-in: Extend the Last Recorded Value back to the punch-in location
Begin: Extend the Last Recorded Value back to the specified Begin
Time.
These locations are also known as EXTEND BACK TO: Functions.
Unlike other automation systems, the transition from Read Mix Data to
Record Data does not necessarily have to take place at the punch-in location.
The Mix Pass EXTEND BACK TO: keys determine the point at which the
transition from Read Mix Data to Record Data will take place. As noted
above, there are two different EXTEND BACK TO: functions. The selected
function key will illuminate when that EXTEND BACK TO: function is active. Only one function can be active at a time.

D950:

Vista:

Keys for EXTEND BACK TO: functions are located on the Mix Pass section
of the Automation Master Panel.

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The two EXTEND BACK TO: functions behave as follows:

PUNCH IN: The Last Recorded Value (typically the value at the time of
the punch-out) will be extended back to the punch-in point. At the
punch-in point, the Read Mix Data will transition to the Record Data.
BEGIN: The Last Recorded Value will be extended back to the userspecified Begin Time. All previously recorded values between the Last
Recorded Value (typically Punch-out) and the Begin Time will be
erased.
The Begin Time is defined in three different ways:
- Beginning of Mix: The Last Recorded Value will be extended back
to the Begin Time of the Active Mix.
- Beginning of Time: The Last Recorded Value will be extended
back to the first possible timecode location (i.e. 00:00:00.00).
- Fixed: The Last Recorded Value will be extended back to a
fixed user-specified Begin Time. See Setting a Fixed Begin Time
below.
Post Pass Processing:

By definition, EXTEND BACK TO: transitions are performed as a post pass

process. This also means it is possible to overwrite mix data in locations
that have not been heard. Care is suggested while using EXTEND BACK TO:
functions.

Important Note:

EXTEND BACK TO: PUNCH IN and BEGIN are destructive functions in the
regard that they will overwrite existing mix data back to their respective
EXTEND BACK TO: locations. Even though previous Mix Passes are retained, for efficient operation care should be taken when using these functions.

Setting a Fixed Begin Time:

Fixed Begin Times are set using the methods employed to setting Fixed
End Times. Refer to Setting a Fixed End Time in chapter 5.9.1 above.

Hot Keys:

Hot Keys are provided to aid in the entry of fixed Begin timecode locations. A complete description of Hot Key functions is provided in the Appendix.

<Option>

<End of Pass Clears>: The End of Pass options (refer to chapter 5.21.7)
determine the behavior of specific functions when a mix pass is terminated by stopping timecode. The behaviors that take place are determined on the End of Pass Options page. Check boxes allow the selection of the following options:
- With <Extend Back To Begin> checked, the Extend Back To: Begin function is disabled after the end of every Mix Pass. This ensures that Extend Back To: Begin is only used for one pass without being reset.
- With <Extend Back To Punch In> checked, the Extend Back To:
Punch In function is disabled after the end of every Mix Pass. This
ensures that Extend Back To: Begin is only used for one pass
without being reset.
With <Extend Back To Punch In Selects Write to Punch Out> checked
on the Master Panel Options page (refer to chapter 5.21.5), Write To:
Punch Out is automatically selected when Extend Back To: Punch In
is selected. This is convenient since these functions are often used together, especially when Auditioning a level and then using that level
between punch-in and punch-out locations.

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The Master Panel EXTEND BACK TO: PUNCH IN and BEGIN keys may be
overridden by checking options on the <Master Panel Overrides> section of the Master Panel Options page. Faders and Encoders can have
EXTEND BACK TO: PUNCH IN and/or BEGIN set to <OFF> or to follow
the Master Panel <Follows Panel>. EXTEND BACK TO: PUNCH IN and/or
BEGIN for Switches can also be set to <OFF> or be set to follow the
Master Panel <Follows Panel>.

5.9.3

Glide
AutoTouch+ provides extensive Glide functions. Glide determines how
the new data transitions to old data and vice versa. The behavior of the
Glide functions are determined by the specified Glide Time and the enabled Glide options.
Glide allows Record Data to transition to and/or from Read Mix Data over
a user-specified period of time. Controls can glide from their Record
values back to their Read Mix values at the desired Write To: location.
Unlike many other automation systems, controls can also Glide from the
Read Mix value to the Record values at the desired Extend Back To: location.

Real-time/Post Process Glides:

Glide operations may take place in real-time or as a post Record pass process. Refer to the Write To: or Extend Back To: paragraphs above.
Glide functions are engaged by pressing the GLIDE key in the Mix Pass
section of the AutoTouch+ Panel. When Glide is active the GLIDE key will
illuminate.

Note:

Date printed: 27.08.03

If no Glide Options are selected in the Glide Options page, then no glide
functions will take place within the system even if the GLIDE key is active.

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Glide Behaviors:

Glide can be set to operate before or after the Write To: transition points
<Option>. Glide will always operate after the Extend Back To: transition points when enabled.
Glide behaviors at transition points are described below:
Glide After Transition Point:
- Write To: At the Record Data to Read Mix Data transition, Glide
functions will start at the transition point and continue until the
Read Mix Data values have been restored. Glide will take place after the Punch-out, Next Change or Fixed End location (if possible).
- Extend Back To: At the Read Mix Data to Record Data transition, Glide functions will start at the transition point and continue
until the Record Data values have been reached. The Glide will take
place after the Punch In or Begin location.
Glide Before Transition Point (Back Time enabled <Option>): This
feature is only available for Write To: data transitions and at the end
of the Write Zone when AutoPunch is used.
- Write To: At the Record Data to Read Mix Data transition, Glide
functions will start before the transition point by the amount of the
Glide Time. The Glide will continue until the Read Mix Data values have been restored (at the specified transition point). The Glide
operation will be completed by the Next Change or End location.
For example, if a three second Glide is applied with back time
enabled, the control will start gliding back to its Read Mix data
three seconds before its Write To: transition point.

Setting the Glide Time:

The Glide Time period of time it takes for controls to glide from their Record values to their Read Mix values. This time can be any value between
00:00:00.00 and 23:59:59.2x and is specified via the Glide Time entry
field on the AutoTouch+ screen on the D950 GC. Glide times can be typed
in or entered using the roller method.
Right-clicking the Glide Time entry field will open the Entry Field Rightclick menu. This menu contains several items that assist the user in quickly
entering timecode values.

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These items are organized in five basic areas:

Significant System Times: Mix Begin, Mix End, Current Time, Clear
(00:00:00.00), and End of Day (23:59:59.2X)
Cue List Times: Allows access to the Title Cue List and provides the
means to sort and go to cues
Copy/Paste/Undo Changes: Entry field clipboard functions
Most Recent: A list of the most recently used timecode locations is
maintained by the system. Timecode locations from this list many be
selected for the entry field value. The most recent timecode (current
value) may be locked as the entry field value, to prevent it from being
changed. A timecode may be manually added to the list. The list may be
sorted and deleted.

Date printed: 27.08.03

Hot Keys:

Hot Keys are provided to aid in the entry of glide times. A complete
description of Hot Key functions is provided in the Appendix.

<Option>

Glide can be applied to all transition points used within the system. The affected points are selected by checking the options on the Glide Options
page (also refer to chapter 5.21.3).
<Apply Glide to the following transition points when Glide is ON:>
<Write To:> Glide will be applied to the following Write To: transition points:
- <Punch Out>
- <Next Change>
- <End>
- <Write Zone End (Auto Punch Out)>
<Extend Back To:> Glide will be applied to the following Extend
Back To: transition points:
- <Begin>
- <Punch In>
<Back Time Glide (End and Write Zone End Only)>: Glide will back
time from the transition point. The Glide will start before the transition
point by the amount of the Glide Time. The Glide will finish at the transition point. This feature does not apply to Extend Back To: transition
points.

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5.10 Switch Automation

Switch automation using AutoTouch+ is both easy to use and flexible
enough to facilitate numerous functions and modes of operation.
Real-time Switch Editing:

The location of switch state changes may be edited in real-time. Adding or

deleting switch events may also be easily accomplished.
In general, the following types of switch events may be created and edited:
Mute On/Off: Turns the channel Mute on and off
Process In/Out: Engages and disengages the configured processes
Process Control Switches: Performs switch functions within configured
processes
Refer to chapter 5.19.1.1 for details regarding channel strip switches, and
chapter 5.19.1.2 for details regarding CAS switches.

Note:

Channel Mute operates within AutoTouch+ as a switch, but since it has its
own Status key some Mute functions are performed differently as other
switches. These differences in operation will be noted where needed.
Other system controls that are seen by AutoTouch+ as switches but have
alternative means of control. These controls are discussed in detail elsewhere in this document, but warrant mention here:
Selectors: Choosing the routing of audio or audio processor functions
(Channel Input Selector or Filter Slope for example). See below.
General Patch Connections: Making or breaking General Patch Connections. Refer to chapter 5.11.1, General Patch.
Channel Patch Direct Out Tap: Changing the location from where the
channel Direct Output is derived. Refer to chapter 5.11.2, Channel
Patch.
Channel Patch Meter Tap: Changing the location from where the channel Meter feed is derived. Refer to chapter 5.11.2, Channel Patch.
Channel Patch Processor Order: Changing the location of processor
blocks within the channel. Refer to chapter 5.11.2, Channel Patch.

<Option>

5.10.1

With <Read Safe> checked on the Misc Options page (refer to chapter
5.21.8), AUDITION mode is defeated for controls in READ and only
Read Mix values will be heard.

Switch Classifications
The multiple switches on the channel strip and on the D950 CAS can be
defined as being either VMC oriented or control oriented. The classification of the switches (and other controls) is determined by whether or not
they are defined in VMC file. If they are not defined by the VMC, they are
control oriented by default.
VMC Oriented Controls: By definition, the objects (controls in this
case) that appear in the VMC are audio oriented. These objects directly
affect the audio and/or its routing.
Control Oriented Controls: By definition, these controls have an operational orientation and do not directly affect audio. These controls carryout system oriented functions.

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VMC Switches:

VMC oriented switches can be automated using AutoTouch+. These

switches are as follows:
Channel Strip:
- Mute: Channel Mute
- Encoder Parameter Switches: The switch associated with each of
the four channel strip rotary encoders.
- Rotary Selectors: This also includes rotary encoders that are used as
Selectors. (See Selectors below)
- Processor Block In/Out Switches: EQ, FILT, COMP/LIM, EXP/GATE,
INSERT, DELAY, OPT, and PAN
- Auxiliary In/Out Switches: MONO 1...4 and STEREO 1...4
- Direct Out Switch: DIR OUT
- Input Selector Switches (See Selectors below): IN 1, IN 2, GEN

Note:

Mono and stereo auxiliaries 5 and above may be engaged via the CAS or
CAU (Central Assignment Unit).
CAS:
- Mute: Channel Mute
- Output Switch: DIR OUT, MT Bus Trim/N-1
- Input Selector and Parameter Switches (See Selectors below): IN 1,
IN 2, GEN
- Processor Block In/Out and Parameter Switches: EQ, FILT,
COMP/LIM, EXP/GATE, INSERT, DELAY, OPT, and PAN
- Rotary Selectors: This also includes rotary encoders that are used as
Selectors. (See Selectors below)
- Auxiliary In/Out and Pre Switches: MONO and STEREO

Note:

A process must be included in the VMC in order for it to be automated. A

process has not been assigned to the OPT processing block position in
V3.0 or previous software.

Control Switches:

Switches that are control oriented are outside the AutoTouch+ system and
therefore cannot be automated. Switches outside of the control of AutoTouch+ are as follows:
Channel Strip:
- SEL Key: Channel Select key
- PFL/SOLO Key:
- Automation Switches: AUTO MODE, S/E PB S/E REC, MUTE STAT,
FDR STAT
- Layer Switches: L1 and L2
- Clipboard Control Switches: CLR/ALL, COPY/ALL,
SWAP/PASTE
- PAGE Switches: 1, 2, 3, 4
- TALK
- LAST/FREEZE
- User Keys: USER 1, USER 2
- ASN SEL key: Assignment Select key (ASN ENC on D950 M2)
CAS:
- Channel Selection Controls:
- PFL/SOLO key:
- Automation Switches:
- Clipboard Control Switches: CLR/ALL, COPY/ALL,
SWAP/PASTE
- Auxiliary/Master/Panner Selection Controls:

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In Process Listen Keys: INPUT LISTEN, SC/DYN LISTEN, EQ LISTEN,

INSERT LISTEN
User Keys: USER 1

Note:

While clipboard functions are not automatable, the affects of their use may
affect control values. Because of this, the results of clipboard operations
may be recorded as automation events.

Selectors:

Selectors are a special group of controls that typically use the encoder
knobs as a means of physical control, but function as switches within
AutoTouch+. This differs from switches that operate as toggles, and alternate between two states.
Selectors perform one of two functions:
Audio Routing: Input Selector, Direct Out tap location, Meter tap location, Processor Block Order, etc.
Processor Parameter Selector: Input Function, Filter Slope, etc.
Selectors may be assigned to switches, knobs, or to the Channel Patch for a
means of control. However, they may only be pre-selected using the SW
(SWIT) Pre-Selectors.

5.10.2

Note:

The Channel Input Selector is a special case in regard that it has a key for
each input on the channel strip. However, these keys function collectively
as a Selector. The input may also be selected from the Channel Patch.

Note:

Press and Hold operations may not apply to all selectors.

Switch Control Modes

Since switches and selectors are not continuous controllers like faders or
encoders, Control Modes affect switches in a unique manner.
Switch operations will perform the following functions when dynamic
switches are in the Control Modes indicated:
READ:

5-90 AutoTouch+

The Read Mix data will determine the switch state. AUDITION mode is
available.
Press and Release Actuation:
- Without Touch Hold engaged, Switch Press will toggle the switch
state and put the switch in Audition. The switch state will toggle
back at the next recorded change of state.
- With Touch Hold engaged, Switch Press will toggle the switch state
and put the switch in Audition in a Held state. The switch will hold
its alternate state and stay in Audition until Held controls are
cleared.
Press and Hold Actuation:
- Switch Press will toggle the switch state and put the switch in
Audition. The switch will exit Audition when released. If its state
does not match the Read Mix state, it will toggle to match upon release.

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WRITE:

While in RECORD previously written switch states will be overwritten.

WRITE AUDITION mode is available.
Press and Release Actuation:
- Without Touch Record or Touch Hold engaged, Switch Press will
toggle the switch state and put the switch in Audition. The switch
state will toggle back at the next recorded change of state.
- With Touch Hold engaged, Switch Press will toggle the switch state
and put the switch in Audition in a Held state. The switch will stay
in Audition until Held controls are cleared.
- With Touch Record engaged, Switch Press will toggle the switch
state and punch the switch into RECORD. The switch will hold its
alternate state and stay in RECORD until Held controls are cleared.
Press and Hold Actuation:
- Without Touch Record, Switch Press will toggle the switch state
and put the switch in Audition. The switch will exit Audition when
released. If its state does not match the Read Mix state, it will toggle to match upon release.
- With Touch Record engaged, Switch Press will toggle the switch
state and punch the switch into RECORD. The switch will punchout when released. If its state does not match the Read Mix state, it
will toggle to match upon release.

TRIM:

While in TRIM previously written switch states may be edited. TRIM

AUDITION mode is available.
Press and Release Actuation:
- Without Touch Record engaged, Switch Press will toggle the
switch state and put the switch in Audition. The switch state will
toggle back at the next recorded change of state.
- With Touch Record engaged, Switch Press will toggle the switch
state and punch the switch into RECORD. The switch will hold its
alternate state and stay in RECORD until the next recorded change
of state. The switch state will toggle to its Read Mix state and will
punch-out at the next recorded change of state.
Press and Hold Actuation:
- Using Press and Hold actuation on Trim Enabled switches yields
the same results as if the switches were Write Enabled.
The Trim of a switch cannot persist past the next recorded change of state
for that switch.

ISOLATE:
Note:

5.10.3

State changes of Isolated switches are not recognized by AutoTouch+.

All Mix Pass Write To: and Extend Back To: conditions apply as appropriate.

Switch Operation

Switches and Touch-sensitivity:

Switches are not touch-sensitive in the same regard as faders or encoders. Mere physical contact with a switch is not sufficient enough to be
registered by the system. For switches to have an effect within the system,
they must be pressed.
Unlike faders and encoders (knobs) switches are touch-sensitive only
when engaged and disengaged. Because of this, and the toggle function of
most switches (all switches except Selectors), the automation of switch

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functions differs from faders and encoders. The differences are operational
mostly in nature and will be described in this chapter.
Switch Functions:

Pressing a switch performs two basic functions:

Audio Function: The switch state is toggled to its alternate position.
Automation Functions:
- Switch Press
- Switch Release
Under normal circumstances, a Switch Press produces a Touch event.
However, unlike faders and encoders, switches do not produce a Un-touch
event when they are released. The Switch Press audio toggle (switch state
toggle) event may be suppressed by holding down the AUTO MODE modifier key when the switch is actuated.
AutoTouch+ recognizes Switch Press and Switch Release as separate and
independent events. The Touch event produced by a Switch Press serves a
separate from the Switch Press itself. This system allows the user to determine what will take place when a key is pressed and also when it is released.
This independence allows switches to take on different behaviors depending on which functions Switch Press and Switch Release are allowed to
perform. The result is the ability for switches to operate in different modes
depending on the needs of the user.

Switch Operating Modes:

Switches may operated using the following modes:

Press and Release: Momentary Press and Release; Pressing the key and
immediately releasing it.
Press and Hold: Pressing and holding the key down beyond a predetermined time threshold.
Modified Press Function: Holding the AUTO MODE key will suppress
the audio toggle function, but produces the Touch event when a key is
pressed. This mode allows the switch to be punched-in without toggling
its state.
Each of these functions are described below. The Modified Press Function
may be used with either Press and Release or Press and Hold operations.

Document Note:

5.10.3.1

The next three chapters make the assumption that the switches actuated
are in the proper enabled Control Mode as operations are carried out.

Press and Release

Press and Release is defined as using switches in a momentary manner. To
perform a Press and Release operation, press a work surface key and immediately release it. The key is not held down any longer than it takes to
toggle the switch state.
Press and Release operations perform the following functions:
Switch Press:
- Toggles the switch state
- Produces a Touch event
Switch Release:
- An Un-touch event is not produced.

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With Press and Release operations, switches toggle to their alternate state
when pressed and then hold that state until one of several conditions is
met. The behaviors that occur as the result of a Press and Release switch
operation is dependent on the switchs Control Mode and whether Touch
Record and/or Touch Record is engaged. Refer to chapter 5.10.2.
Note:

5.10.3.2

If a switch is held down too long, it will change to Press and Hold operation. The length of time a switch may be held down is determined by the
Switch Press and Hold Threshold in the D950desk.ini file in the
D950System folder.

Press and Hold

Press and Hold is defined as using switches in a temporarily sustained
manner. To perform a Press and Hold operation, press a switch and hold it
down for a period of time before releasing it. AutoTouch+ senses how
long the key is down and its mode of operation changes if it is held down
longer than a specified period of time (typically 500 ms or so). The function becomes similar to touching a fader, keeping a finger on it, and then
releasing it later.
Press and Hold operations perform the following functions:
Switch Press:
- Toggles the switch state
- Produces a Touch event
Switch Release:
- Punch-out
With Press and Hold operations, switches toggle to their alternate state
when pressed and then hold that state as long as the key is held down.
When the switch is released, it may or may not toggle depending on the
state recorded in the Read Mix Data at the time of release.
If Touch Record is engaged, the switch will punch-in as well as toggle its
alternate state when it is pressed. The switch will stay in that state and in
RECORD as long as the switch is held down. Upon release, the switch will
punch-out. It may or may not toggle states depending on the state recorded
in the Read Mix Data at the time of release. The change of state may
Written or Trimmed depending on the selected Control Mode.
The behaviors that occur as the result of a Press and Hold switch operation
is dependent on the switchs Control Mode and whether Touch Record
and/or Touch Record is engaged. Refer to chapter 5.10.2, Switch Control
Modes.

Press and Hold Threshold:

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Whenever a work surface key is pressed, AutoTouch+ monitors the duration the key is held down. If the time a key is held down is longer than the
Switch Press and Hold Threshold value, Press and Hold becomes active. If
the hold duration is less than the threshold time the Press and Release
functions are maintained.

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5.10.3.3

Modified Press Function

It is possible to suppress the toggle function when a switch is pressed, but
still allow the Touch event to be produced. This allows a punch-in or
Audition to be performed by pressing a switch without toggling its state.
This Modified Press Function is very useful when the punch-in switch
state matches the Read Mix state.
This Modified Press Function is available for both Press and Release and
Press and Hold operations.
The key press may be modified by holding down the AUTO MODE key as a
work surface key is pressed. In this regard, the AUTO MODE key functions
as a modifier key.
D950:

Example:

5-94 AutoTouch+

Vista:

With Touch Record engaged, press and hold the AUTO MODE key, then
press and hold a record-enabled key. When the key is pressed, it will
punch-in but its status will not toggle. If the AUTO MODE key is released
before the key is, toggle suppression is turned off. Now when the key is
released, it will toggle its status, and the key release will cause the control
to punch-out.

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5.11 Graphic Controller Automation

As discussed in the Switch Automation chapter, controls that are defined
in the VMC may be automated. While most of these controls are work surface oriented, some controls are found only in the Graphic Controller.
Automated Items:

5.11.1

Automatable items in the Graphic Controller are as follows:

General Patch Connections
Channel Patch:
- Input Selector
- Processor Block Order
- Dynamic Sidechain Link Setup
- Dynamic Sidechain Link Enable
- Dynamic Key Input Routing
- Direct Output Tap Location
- Meter Feed Tap Location

General Patch
Connections within the General Patch may be automated. Both Make
Connection and Break Connection operations may be stored as Static
objects or recorded as Dynamic objects. All types of General Patch connections may be recorded.

Connection Behavior:

The General Patch does not have dedicated automation controls. The current global automation modes apply to the General Patch. The SW / SWIT
Pre-Selector must be used to select global modes.
General Patch connections follow the rules of a Press and Release switch
operation. Refer to chapter 5.10.3.1.

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As with any control, changes to General Patch connections may be Auditioned.

Record a General Patch Change:

To automate a connection in the General Patch, use the following procedure:

1. Select the desired global Control Mode. Write will overwrite previous
changes, both location and connection type.
2. Select TOUCH RECORD.
3. Select the desired Write To: and Extend Back To: functions.
4. Open the General Patch if it is not already open.
5. Select the connection point to be automated (single click at the desired
location).
6. Make/break the desired connection as follows:
To make a simple mono-to-mono connection, press the MAKE
CONNECT function key above the trackball. (Double-clicking the
connection location will bring up the connection menu where a
mono-to-mono connection may be made.)
To make a complex connection (mono-to-stereo, stereo-to-stereo,
stereo-to-mono), double-clicking the connection location will bring
up the connection menu where the desired connection may be made.
To break any connection, press the BREAK CONNECT function key
above the trackball. (Double-clicking the connection location will
bring up the connection menu where a connection may be broken.)
7. Upon the selection of the desired connection type, AutoTouch+ will
punch-in. Following the rules for Press and Hold, the new connection
state will persist until the Write To: conditions are met or a Global
Punch-out occurs.
8. When timecode is stopped, a new Mix Pass will be generated.

Note:

Like any other object within AutoTouch+, all General Patch connection
points are Static objects until a change state is recorded in the system.
Therefore, General Patch connections may be updated in the same manner
as any other Static control.

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5.11.2

Channel Patch
There are several items within the Channel Patch that may be automated.
These items may be stored as Static objects or recorded as Dynamic objects.

The following Channel Patch items may be automated:

Input Selector: Changes to the selected channel input may be automated
(In1, In2, Gen)
Processor Block Order: Changes to the order of the channel processor
blocks may be automated (EQ, Dynamics, Insert, Delay, and Fader)
Dynamic Sidechain Link Setup: The addition of channels to the Dynamic Sidechain Link Setup may be automated
Dynamic Sidechain Link Enable: The Enable Sidechain Link button
may be automated (Enable/Disable)
Dynamic Key Input Routing: The selection of the Dynamic unit Key
Input may be automated (Channel/External)
Direct Output Tap Location: The location from where the channel Direct Output is fed may be automated (Post Input, Pre Fader, Post Fader)
Meter Feed Tap Location: The location from where the channel Meter
is fed may be automated (Post Input, Post Fader, Direct Out Assignment)
Note:

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Like any other object within AutoTouch+, all Channel Patch items are
Static objects until a change state is recorded in the system. Therefore,
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Channel Patch items may be updated in the same manner as any other
Static control.
Note:

The following Channel Patch items have switches on the channel strip that
duplicate the Channel Patch functions:
Input Selector
Dynamic Sidechain Link Enable
Dynamic Key Input Routing

Note:

The channel Meter location can be set globally using the controls in the
Meter/Generator item in the GC Options menu (not the AutoTouch+
Options selector).

Item Behavior:

The Channel Patch does not have dedicated automation controls. The current global automation modes apply to the Channel Patch.
The following Channel Patch items operate as Selectors:
Input Selector
Processor Block Order
Dynamic Key Input Routing
Direct Output Tap Location
Meter Feed Tap Location
The SW (SWIT) Pre-Selectors are used to select global modes.

Press and Release Selectors:

Some Channel Patch Selectors operate as Press and Release switches and
therefore follow Press and Release switch operation rules. Refer to chapter
5.10.3.1.
The following Channel Patch items operate as Press and Release Selectors:
Input Selector
Dynamic Key Input Routing
Meter Feed Tap Location

Note:

The channel Input Selector may be operated via the Channel Patch or by
using the keys on the channel strip. Since input selection is controlled with
a Selector, Press and Hold operations are not possible.

One Shot Selectors:

Other Channel Patch Selectors operate as One Shot switches. One Shot
selectors operate as true momentary switches. The user has no control over
the duration of the held down state and release is immediate. A One Shot
operation produces both a Touch and a Un-touch event. In TOUCH
RECORD, when a One Shot switch is operated, punch-in and punch-out is
almost immediate. Under normal circumstances this could produce an
audible glitch, depending on the operation being completed. However,
functions assigned to One Shot Selectors will persist in their changed state
after punch-out. All Mix Pass Write To: and Extend Back To: conditions apply, except Write To : Punch Out.
The following Channel Patch items operate as One Shot Selectors:
Processor Block Order
Direct Output Tap Location
These items follow the rules for One Shot Selectors as described above.

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Channel Patch Operations:

Channel Patch Switches:

Channel Patch items are operated as follows:

Input Selector: Place the cursor on or near the Input Selector icon. Each
trackball click will cycle the selector through the inputs. A Touch event
will be produced for each click.
Processor Block Order: Click and hold the processor block to be
moved, drag it to the new location, and release the trackball button
(click and drag). A Touch event will be produced when the trackball is
released.
Dynamic Sidechain Link Setup: Clicking Sidechain Link Setup will
open the Sidechain Link window where channels may be added to the
available Sidechain Links. A Touch event will be produced when the
ADD button is clicked.
Dynamic Sidechain Link Enable: Clicking the Check Box will toggle
the switch state. A Touch event will be produced when the box is
checked or unchecked.
Dynamic Key Input Routing: The route with the solid line is the current
state. Clicking the dashed line will select that route and a Touch event
will be produced.
Direct Output Tap Location: The route with the solid line is the current
state. Clicking the dashed line will select that route and a Touch event
will be produced.
Meter Feed Tap Location: Clicking the alternate location (shown
grayed-out) will select that location and a Touch event will be produced.
Two Channel Patch items operate as toggle Switches:
Dynamic Sidechain Link Setup
Dynamic Sidechain Link Enable
From the Channel Patch, these switches follow the rules of Press and Release switch operations. However, if these functions are accessed via the
channel strip keys, they may use either Press and Release or Press and
Hold operations. Press and Hold functions are not available via the GC.
As with any control, changes to Channel Patch items may Auditioned.

Record a Channel Patch Change:

To automate an item in the Channel Patch, use the following procedure:

1. Select the desired global Control Mode. Write will overwrite previous
changes, both location and connection type.
2. Select TOUCH RECORD.
3. Select the desired Write To: and Extend Back To: functions.
4. Open the Channel Patch if it is not already open.
5. Perform the desired operation within the Channel Patch.
6. At the time the desired operation is performed, AutoTouch+ will
punch-in. The new item state will persist until the Write To: conditions are met or a Global Punch-out occurs.
7. When timecode is stopped, a new Mix Pass will be generated.

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5.12 Other Automated Functions

There are several ancillary functions that may be automated. These functions are described below.

5.12.1

Bus Assignments
Bus Assignments may be automated. Both assignment and de-assignment operations may be stored as Static objects or recorded as Dynamic
objects.

Central Assign Unit (CAU; D950 only):

The CAU does not have dedicated automation controls. The current global
automation modes apply to the Bus Assignments. The SW Pre-Selector
must be used to select global modes.
Bus Assignments follow the rules of a Press and Release or Press and Hold
switch operation. Refer to chapter 5.10. All Mix Pass Write To: and
Extend Back To: conditions apply, except Write To : Punch Out.
As with any control, changes to Bus Assignments may Auditioned.
Record a Bus Assignment:

To automate a Bus Assignment, use the following procedure:

1. Select the desired global Control Mode. Write will overwrite previous
changes, both location and connection type.
2. Select TOUCH RECORD.
3. Select the desired Write To: function.
4. D950: Select the channel to be assigned to the desired bus by either
pressing the SEL key on the channel strip or using the Channel Selector
on the CAU.
Vista: Activate BUS ASN in the Touch Screen Area below the Vistonics section.
5. D950: On the CAU, select the bus type to be assigned.
6. Press the desired bus number to make the assignment.
7. Press and Release or Press and Hold switch rules will apply depending
on how the switch is operated.
8. When timecode is stopped, a new Mix Pass will be generated.

Note:

Like any other object within AutoTouch+, all Bus Assignments are Static
objects until a change state is recorded in the system. Therefore, Bus Assignments may be updated in the same manner as any other Static control.

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5.12.2

Snapshots/Presets
VMC Snapshots and Presets may be recalled while AutoTouch+ is in use.
The control values contained within Snapshots and Presets maybe applied
to the console while AutoTouch+ is in operation, but only for controls that
have been properly enabled. All Mix Pass Write To: and Extend Back
To: conditions apply.
Snapshot and Preset control values may be recalled and stored as Static
values by recalling the desired Snapshot/Preset without engaging Write or
Trim enable. The Static values will be updated and stored the next time a
Mix Pass is written.

Recall Behavior:

The Snapshot page does not have dedicated automation controls. The current global automation modes apply when Snapshots or Presets are recalled. Any Pre-Selector may be used to select global modes, depending on
the controls/functions the user wishes to enable.
Switches and Selectors recalled using Snapshots or Presets will follow the
rules of a Press and Release switch operation. Refer to chapter 5.10.3.1.

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Since values are being applied to VMC controls, the affects of recalling
Snapshots or Presets may Auditioned.
Record Recalled VMC Values:

To record Snapshot or Preset values to controls, use the following procedure:

1. Select the desired global Control Mode.
2. Select TOUCH RECORD.
3. Select the desired Write To: function (Trim will default to Next
Change).
4. Open the Snapshot page in the GC if it is not already open.
5. Recall the desired Snapshot or Preset.
6. Global conditions will apply to the controls that were enabled.
7. When timecode is stopped, a new Mix Pass will be generated.

Note:

Recalling the channel strip clipboard has the same affect as recalling a
Snapshot or Preset, except values are only applied on one channel at a
time. Recording recalled clipboard values may be done as described above.

5.12.3

GC Menu Items
Some operational GC menu items may be automated. During normal operation, these items are found in the GC Option menu. However, since all
VMC objects are available in the ShowVMCTree menu (In the SysAdmin
menu), these menu items may be automated as well.

Automatable Option Menu Items: The following Option menu items contain automatable controls:
Meter/Generator: Global channel Meter locations and Generator parameters may be automated. Changes made to these items will produce
Touch/Un-touch events.
N1 Assignments: N1 Assignments may automated. Changes made to
these assignments will produce Touch/Un-touch events.
Control Group Filter: Changes made within each Control Group may be
automated. Changes made within a Control Group will produce
Touch/Un-touch events.
VSP Microphones and Reverb: Changes made Reverb Bus Assignments
and Microphone Characteristics (polar pattern and placement) may be
automated. Changes made within the VSP Microphones and Reverb
menu items will produce Touch/Un-touch events.
Menu Item Behavior:

The GC menus do not have dedicated automation controls. The current

global automation modes apply to the automatable GC menu items. For an
Option menu item use either the SW (SWIT) or ENC (KNOB) PreSelectors to select global modes, depending on item to be automated. For
ShowVMCTree items, any Pre-Selector may be used, depending on the
controls/functions the user wishes to enable.
Menu item switches and selectors will follow the rules of a Press and Release switch operation, refer to chapter 5.10.3.1. All Mix Pass Write To:
and Extend Back To: conditions apply.

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As with any control, changes to menu items may be auditioned.

Record a Menu Item Change:

To automate a menu item, use the following procedure:

1. Select the desired global Control Mode. Write will overwrite previous
changes, both location and connection type. Trim will allow the locations of changes to be moved without changing connection types.
2. Select TOUCH RECORD.
3. Select the desired Write To: function.
4. Open the appropriate GC menu and select the desired item.
5. Perform desired operations to be automated.
6. At the time the desired operation is performed, AutoTouch+ will
punch-in. The new item state will persist until the Write To: conditions are met or a Global Punch-out occurs. (trimmed status will persist
until the Next Change by default.)
7. Upon punch-out a new Mix Pass will be created.

Note:

Like any other object within AutoTouch+, menu items are Static objects
until a change state is recorded in the system. Therefore, menu items may
be updated in the same manner as any other Static control.

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5.13 Mix Protection

Mix Protection allows individual controls or sets of controls to be Protected or locked out from changes. Mix Protection may also be applied to
the General Patch.
When Protected, a control is essentially in a read only mode. The Read
Mix data for the Active Pass will be heard for all Protected controls. All
the READ LOCK conditions apply to Protected controls (just not on a
global basis).
Controls and the General Patch may also be isolated from the mix using
Mix Protection techniques.
Mix Protection Enabled Button:

<Option>

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The Mix Protection Enabled button opens the Automation Protection

window. The yellow LED symbol to the left of the button illuminates when
any controls are in a Protected State. The Mix Protection Enabled button is
located in the AutoTouch+ window.

The Automation Protection window can also be opened by selecting Protection from the GC Automation menu.
With <Protect Static For Protected Controls> checked on the Misc Options page (also refer to chapter 5.21.8), the values of Static controls are
replayed, but changes to those values are not allowed.

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5.13.1

Protection Sets
Protection Sets:

5.13.1.1

Any combination of controls on any combination of channels may be organized into Protection Sets. These may be created, saved, and recalled
as needed. Any number of Protection Sets may be created and stored. Protection Sets are available to any Mix Pass within the Title.

Creating Protection Sets

To create a Protection set, execute the following procedure:
1. Click the Mix Protection Enabled button to open the Automation
Protection window. The first time it is opened no Protection Sets will
be available and the various fields will be blank.

2. Click the Edit button. The Object Picker for Select Objects to be
Removed From Automation Scope will open. Using this picker,
controls may be selected for Protection. For example, Mutes on channels 1...12 may be selected as a Protection Set. Refer to chapter
5.16.2.1 for information regarding the operation of the Object Picker.
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3. Once controls have been selected for Protection, click Apply or

OK at the bottom of the object picker (OK will close the picker, Apply will keep it open). A temporary Protection Set will be created and
made the current set. Current Protection Set **Modified** will appear in red above the current set field to indicate changes have been
made to the current set. (As in the previous example, the Mutes on
channels 1-12 would constitute the **Modified** set.)

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4. Check Protect From Automation Enable for the selected set of controls and/or the General Patch. Click the USE button to enable Protection for the selected Protection Set.

Note:

Either the Current or Both radio button in the Use section of the
Automation Protection window must be selected to enable the Edit button.

5.13.1.2 Saving Protection Sets

Any number of Protection Sets may be created and saved. A temporary
Protection Set will persist in the system unless it is overwritten, even if the
Mix Tree and Title are closed. Temporary and modified sets may be saved
at anytime.
Using the following procedure, Protection Sets may be saved:
1. Once a Protection Set has been created or modified, click the Save
As button. The Protection Set save box will open.

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2. Enter a name for the new set in the New Protection Set: field. Click
Save and the new set will be created and assigned the entered name.
The newly saved set will become the current Protection Set and will be
added to the list of available sets (which appears in the Protection Set
section of the Automation Protection window).
5.13.1.3 Loading Protection Sets
To make a Protection Set the current set, it must be Loaded unless it was
the last set used or saved.
Using the following procedure, previously created Protection Sets may be
loaded:
1. Click the Mix Protection Enabled button to open the Automation Protection window if it is not already open.
2. Click the Load button and a selection box containing the available
Protection Sets will be displayed. The current Protection Set will be
displayed at the bottom of the box in the Current Protection Set:
field. The current set will also be shown in blue in the Protection Set
list. All others will be in black.

3. Double-click the desired Protection Set or click it and Load. The

selected set will become the current set and the selection box will
close.
Note:

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Protection Sets cannot be loaded from other Titles. Protection Sets made
within a Title are only available to that Title. Protection Sets made within
a Title are available to all Mix Passes within that Title.

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5.13.2

Applying Mix Protection

One or more Protection Sets may be applied simultaneously. This affords
multiple layers of protection, which may be built up during the course of a
mix. These layers of protection may be quickly applied and removed as
needed. If a Title is being used as a production template, the saved Protection Sets may be used with any Mix Pass created using that template.
Important Note:

When Mix Protection is enabled, Protection is applied to the Active Pass.

All protected controls will be protected regardless of which Mix Pass is
made active.

Selecting Protection Sets:

How Protection Sets are selected is determined by selecting the desired

radio button in the Use section of the Automation Protection window.

These radio buttons allow the selection of Protection Sets one of three
ways:
Current: The current Protection Set will be selected.
Checked: The checked Protections Sets will be selected. A list of Protection Sets is displayed in the Protection Set section of the Automation
Protection window. Each Protection Set has a box which may be
checked to include that set in the list of checked sets. The current
Protection Set is not selected.

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Both: The current Protection Set and any checked sets will be selected.

Applying Protection Sets:

To apply one or more Protections Sets, use the following procedure:

1. Click the Mix Protection Enabled button to open the Automation Protection window if it is not already open.
2. Click Current, Checked, or Both in the Use section as appropriate.
If Checked or Both are selected, check the needed Protection
Set(s).
3. Check the Protect From Automation Enable box in the Protection
Set section to apply Protection to the selected set(s) (Mutes on channels 1-12 per the example).
4. If desired, check the Global Patch Protect From Automation Enable
box to apply Protection to the General Patch.
5. Click the Use button at the bottom of the window. The window will
close and Protection will be applied to the controls included within the
Protection Set (Mutes on channels 1-12 in the example). The Mix
Protection Enabled LED will illuminate.

Note:

If neither Protection Set or Global Patch Protect From Automation Enable box is checked, Protection will not be applied.

5.13.3

Removing Protection
Just as Protection may be applied in layers, it may be removed in layers or
entirely.
To remove one or more Protection Sets, use the following procedure:
1. Click the Mix Protection Enabled button to open the Automation Protection window if it is not already open.
2. Click Current, Checked, or Both in the Use section as appropriate.
If Checked or Both are selected, uncheck the unneeded Protection
Set(s).
3. If desired, uncheck the Global Patch Protect From Automation Enable box to remove Protection from the General Patch.
4. Click the Use button at the bottom of the window. The window will
close. Any selected Protection Sets will remain active and those deselected will be removed. Protection will be removed from the controls
included within the deselected Protection Set (Mutes on channels 1-12
in the example). The Mix Protection Enabled LED remains lit if any
controls remain Protected.
Shortcuts:

To quickly remove Protection from all controls, uncheck the Protect From
Automation Enable box in the Protection Sets section of the Automation
Protection window and click the Use button.
To quickly remove Protection from the General Patch, uncheck the Protect From Automation Enable box in the Global Patch section of the
Automation Protection window and click the Use button.

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5.13.4

Isolate via Protection

Controls and the General Patch can be forced into ISOLATE using the
Mix Protection selection methods. This is different from selecting the
ISOLATE Control Mode in that Isolation persists only as long as the Protection Isolation is applied. This provides a convenient method of temporarily Isolating controls in any Mix Pass without creating new passes.
To apply Isolation via Protection, the same methods are used as when creating and applying Protection Sets. The only difference is Isolate From
Mix is checked for either Protection Sets, Global Patch, or both before
Protection is applied.

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5.14 Miscellaneous Controls/Modes

A variety of controls and modes that are not explained elsewhere are described below.

5.14.1

Mix On
Engaging the MIX ON key activates the AutoTouch+ system. A Mix Tree
must be open before the system may be turned On. When the system is On,
the MIX ON key illuminates.

D950:

5.14.2

Vista:

View Dynamic
Pressing VIEW DYN / VIEW will cause the lights for all dynamic controls
currently on the Work surface to illuminate. Static controls will not light.
This provides a very quick and easy means of identifying which controls
have Dynamic moves recorded and which are Static controls. See Graphic
above.

5.14.3

View Alt
Not implemented for future use.

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5.14.4

AutoTouch+ Panel Presets

AutoTouch+ Panel settings may be stored and recalled as needed (D950
only). All switch states may be stored in any of four AutoTouch+ Panel
Presets. This is helpful when the same settings are used frequently. Presets may also be programmed to emulate V2.5 Automation Panel settings.

Storing AutoTouch+ Panel Preset: AutoTouch+ Panel Presets may be stored as follows:
1. Set all AutoTouch+ Panel controls to the desired state.
2. Hold the STORE key and press the desired Preset key (PRE A, PRE B,
PRE C, and PRE D).
Recalling AutoTouch+ Panel Preset: AutoTouch+ Panel Presets may be recalled as follows:
1. Press the Preset key (key (PRE A, PRE B, PRE C, and PRE D) for the
Preset to be recalled.
Long Term Storage:

5.14.5

The contents of all AutoTouch+ Panel Presets, along with the current settings, may be stored as part of a User File. Refer to chapter 5.17.

Function Keys
Function keys A1 and A2 (Vista) or F1...F3 (D950) are not implemented
(for future use).

5.14.6

Static Data (D950 only)

The STATIC key on the D950 AutoTouch+ Panel has two functions:
When lit, the STATIC key indicates that Static Data Buffer is active and
there is a difference between the current Static values and those stored
within the current Mix Pass (Active Pass).
Pressing the STATIC key clears the current Static values and those
stored within the current Mix Pass (Active Pass). This function cannot
be undone.
Notes:

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Static data may also be cleared by clicking the Clear Static button in the
AutoTouch+ window.
In the Automation Options Misc menu (also refer to chapter 5.21.8),
static objects can be protected under certain circumstances.

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5.14.7

Scene Capture/Recall

Note:

A Scene is a global snapshot of the automation status of each control

within the system. There are two buffers in which Scenes may be stored.
Scenes will be stored and can recalled during subsequent sessions.
The term snapshot is not the same as a Snapshot in the GC. Snapshot in
this regard refers to a picture of the automation status console-wide.

D950:

Vista:

Scene Capture:

Holding the STORE key and pressing the SCENE CAPTURE key (D950) or
just CAPT (Vista) will capture a Scene in the first buffer. Holding the
AUTO MODE and STORE keys and pressing the SCENE CAPTURE key
(D950) or AUTO MODE and CAPT (Vista) will capture a Scene in the
second buffer.
The SCENE RECALL / RCL key will illuminate when a Scene has been
captured in the first buffer. There is no indication of the status of the second Scene buffer.
The following controls will be stored within a Scene:
Controls in RECORD
Controls that are Held
Controls that are being touched when the Scene is captured

Note:

If no controls are in the states listed above, the existing Scene buffer will
remain intact.
A list of controls and their values will be stored when a Scene is captured.

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Scene Recall:

Pressing the SCENE RECALL / RCL key will recall the Scene stored in the
first buffer. Holding AUTO MODE modifier key and pressing the SCENE
RECALL / RCL key will recall the Scene stored in the second buffer.
When a Scene is recalled, the controls on the list come back Held and
WRITE Enabled. The values for the controls in the buffer will be reinstated as well. If Touch Record is active, the controls in the list will punchin to RECORD upon Scene Recall

Clearing a Scene Buffer:

Holding the Global Record CLR / ALL key and pressing the SCENE RECALL
key (D950) or CLR / ALL and RCL (Vista) will clear a Scene in the first
buffer. Holding Global Record CLR / ALL and AUTO MODE and pressing
SCENE RECALL / RCL will clear the second Scene buffer.

Note:

The data in the Scene Buffer is not saved as part of a Mix Pass, Mix Tree,
or Title. Therefore, it will not persist from session to session.

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5.15 Special Operating Modes

AutoTouch+ offers a series of special operating modes and features to
accommodate specific production requirements and working styles.

5.15.1

Stop Frame Automation

The Stop Frame automation feature makes it possible to write specific
control values between timecode locations. The user can stop timecode
playback at a specific location, set any number of controls to desired values, and move to the next location forward in time where values may again
be adjusted. The initially set values will be recorded between the timecode
locations.
Stop Frame automation may also be used with the internal timecode generator and LOCATE key when working with an EDL (Edit Decision List).
This allows automation data to be recorded in a pseudo offline fashion
without the work media.
Stop Frame Automation may be enabled at any point. After control values
are written at a specific location, the media can be moved forward to the
next location, and the next set of values can be written. If locations are not
known, Stop Frame may be suspended as the media is searched.
Stop Frame Controls:

There are two keys on the AutoTouch+ Panel associated with Stop Frame
automation.

D950:

Vista:

STOP FRAME keys perform the following functions:

STOP FRAME ON: When engaged, all enabled controls will switch to
their active RECORD state. The values of these controls will be recorded at the current timecode location. If timecode is advanced, these
values will be recorded to each consecutive location. At any time, the
user may stop timecode playback and make further adjustments to the
controls. The new values will be recorded at the current location and
any consecutive ones if the media is moved forward. It is important to
note that control values will not be recorded if the timecode is moved
backward.

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STOP FRAME SUSPEND / STOP FRAME TC OFF: When engaged, Stop

Frame recording is suspended. This allows timecode to be moved
backward or forward so a the next timecode location may be found. No
control values will be written while SUSPEND or TC OFF is engaged.
Using Stop Frame Automation:

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The procedures for using Stop Frame Automation are as follows:

1. Select WRITE ENABLE or TRIM ENABLE and the desired PreSelector(s).
2. Engage TOUCH RECORD so that touched, enabled controls change to
RECORD. Also engage TOUCH HOLD so controls wont snap back to
previously written values when un-touched.
3. Move the media forward and stop media at a desired timecode location.
4. Enable Stop Frame by pressing the STOP FRAME ON key, if it is not already on. The STOP FRAME ON key will illuminate and record status
will change to Ready.
5. Adjust enabled controls to the desired values while sitting at that location. Any touched control will enter RECORD and its value can be set.
The final value for each control will be recorded at that location and
every consecutive timecode location played into the system. This is
typically to the next Stop Frame location, but transitions will be applied according to the chosen Write To: function.
6. Pressing the SUSPEND or TC OFF key will release Stop Frame from
timecode. This allows the media to searched forward and backward in
order to find the next timecode location.
7. Once values have been recorded at all desired locations, turn Stop
Frame off, by disengaging the STOP FRAME ON key. A new Mix Pass
will be created and added to the Mix Tree and Mix Pass Stack.

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5.15.2

Read Lock
Read Lock forces all controls into Read and locks out all changes. While
in this mode, playing back the Read Mix data from the Active Pass is the
only operation possible. This assures the Active Pass will be played back
exactly as saved, which can be quite useful when printing a final mix or
layback.
The READ LOCK key is located at the top-left of the AutoTouch+ Panel and
will illuminate when engaged.

D950:

Vista:

Conditions:

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With READ LOCK engaged, the following conditions exist:

All controls are placed into the READ Control Mode and then locked in
READ. Only the stored values of the Active Pass will be heard.
Changes to control values are not possible. All controls are Protected.
Changes may not be made to Static controls, the Channel Patch, or the
General Patch
Control Mode changes are locked out
Controls may not be placed in a Held state (TOUCH HOLD defeated)
All Record functions are defeated (TOUCH RECORD, GLOBAL RECORD
PUNCH IN/OUT)
All Audition functions are defeated
SCENE RECALL / RCL is defeated

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5.16 Offline Mix Editing

There are two methods of offline editing of Mix Passes:
Event List Editing: The location of automation records may be moved
or slipped in time. Automation records may also be deleted. Control
values may not be edited.
OFLA Editing: Allows the value of automation records to be changed
within a timecode window. Controls can also be reset to their default
values or have their values frozen or spread across the timecode window. Controls can be made Static and Mix Passes may be merged.
Together, these methods provide powerful and easy to use means of fine
tuning Mix Pass data or working with Edit Decision Lists. Each Method of
editing is described below.

5.16.1

Event List Editing

Automation data may be edited using the Event List Editor within AutoTouch+. Being fully integrated within AutoTouch+, the Event List Editor
provides quick and easy means of moving the location of automation records (Events). Automation events can also be deleted.
The Event List Editor is new in V3.0 software.

Accessing the Event List Editor:

The Event List Editor is available by selecting Event List Editor from
the GC Automation menu.

This action will open the Event List Editor window.

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Events and Event Lists:

As a mix progresses, Events (automation records) are recorded at timecode

locations within a Mix Pass. These Events are organized by timecode and
displayed in the Event List Editor. If more than one Event is recorded at
the same timecode location, an Event List is created at that location. The
Event List will contain all Events recorded at that location.

Only the timecode location of an Event may be edited. Events may copied
to new locations or be deleted from the new Mix Pass.
Important Note:

Control values may not be changed using the Event List Editor.

Displayed Events:

Since a vast number of Events may be generated during a mix, Event Lists
become both very numerous and very large. In a large or complex project,
the number of events can grow to be overwhelming. To solve this problem,
the Events to be displayed may be selected in one of two ways:
Show Menu Selections: The Event Editor will display only the items
selected in this menu
Event List Filter: The Event Editor will display only the items selected
by the Event List Filter

Show Menu:

Selecting an item from the Show:" pull-down menu will select the Events
for that items controls to be displayed in the Event List Editor.

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The following sets of Events are available in the Show: menu:

Custom: Allows a customized set of Events to be displayed. Selecting
this item will open the Event List Filter where an exact set of Events
may be chosen for display (see below). If a set of custom set of Events
has already been selected, choosing Custom will display the Events
within that set.
Mutes: Only Mute Events will be displayed in the Event List Editor
Switches: Only Switch Events will be displayed in the Event List Editor
Mutes & Switches: Only Mute and Switch Events will be displayed in
the Event List Editor
Event List Filter:

Using the Event List Filter, Events for specific controls can be selected for
display in the Event column of the Event List Editor window.
To access the Event List Filter, click the

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The Event List Filter provides the means to select desired controls within
desired channels for display within the Event column. This set of Events is
not limited to Mutes and Switches. Any combination of channels and controls is possible. Using the Object Picker for the Event List Filter, it is possible to select an exact set of controls for which Events will be displayed.
For example, to edit Mute locations, only the Events for Mutes on selected
channels may be chosen for display. This will remove all other Events
from view and provide an efficient means of performing Mute Event edits.
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Note:

Automated Graphic Controller items are not selectable using the Object
Picker for the Event List Filter.

Note:

If objects are selected for display that do not have recorded Events, the
Event List will be empty.

Event List Display:

Selected Events may be displayed in a number of ways.

Individual Events: Individual Events will be displayed next to their
timecode location. The Event label contains the channel type, channel
number, control, and control value. Timecode locations are always
shown for each individual Events.
Consolidated Event Lists: Only timecode locations with recorded
Events are displayed. If only a single Event is recorded, it will be displayed. If multiple Events have been recorded at the same timecode location, an Event List header will be shown, but the contents will not be
displayed. The header label will indicate the number of Events in the
list and contains a + button. Clicking the + button will expand the list,
its contents will be displayed, and the + button changes to a button.
Clicking the button will close the list.
Expanded Event Lists: All Events are shown individually. If an Event is
part of an Event List, the header will be the first item for that particular
timecode location.

Using the display modes listing above, any combination of displays may be
accomplished.
Important Note:

The use of the term Mute is used literally in the Event List Editor. If the
Mute is listed as ON in the Event List, the post fader channel output will
be cut. Muting will be activated. The associated key on the work surface
will not be illuminated (channel MUTE key on Vista and channel ON key on
D950). This may be a source of confusion for D950 users because the
channel is off and the ON key is not lit when the Event List indicates the
mute is On.

Note:

The Event List Editor only shows a subset of all the events stored within a
Mix Pass. Making an edit can change what is shown and depending on the
edit performed, some events may drop off the list.

Note:

Timecode locations without recorded Events will not be displayed in the

Event List Editor.

Selecting Events to be Edited:

From the Events chosen for display, single Events, an entire Event List, or
a selected group of Events and/or Event Lists may be chosen for editing.

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Use the following procedures to select Events and/or Event Lists may be
chosen for editing:
Individual Events: Individual Events may be selected by clicking the
Event label or the associated timecode. To select individual Events
from an Event List, the list must first be expanded.
Event Lists: Individual Event Lists may be selected by clicking the
Event List header or the associated timecode.
Selected Events and/or Event Lists: A group of selected Events and/or
Event Lists may be chosen using any of the following methods:
- Click and Drag: Click and hold on an Event or Event List and drag
the cursor over the desired items. This allows adjacent items to be
selected.
- Control-clicking (holding the Ctrl key plus single-clicking): Allows
selection of individual Events and/or Event Lists anywhere within
the Event List Editor. Items may be selected regardless of location,
so non-adjacent items may be chosen.
- Shift-clicking (holding the Shift key and single-clicking): Allows
selection of a range of Events and/or Event Lists. Clicking a pair of
items while holding down the Shift key will select those items and
the ones in-between.
Event List Editor Operations:

The following operations may be performed using the Event List Editor:
Redisplay Event List Near Current Timecode: Opens the Event List
closest to the current or selected timecode location.
Copy Event(s) to New Timecode: The selected Events and/or Event
Lists are copied and pasted to a new timecode location. When selected, a timecode entry box will open.
Move Event(s) to New Timecode: The selected Events and/or Event
Lists are moved to a new timecode location. When selected a timecode entry box will open.
Move Event(s) One Frame Earlier: The selected Events and/or Event
Lists are moved one frame earlier. The selected items are nudged
backward.
Move Event(s) One Frame Later: The selected Events and/or Event
Lists are moved one frame later. The selected items are nudged
forward.
Delete Selected Events: The selected Events and/or Event Lists are
deleted from the resultant Mix Pass. Caution: No warning prompt is
given. See Note below.
Expand and Show Each Event at a Timecode: All Events Lists are
opened and each Event is displayed with its timecode location.
Consolidate Multiple Events at Each Timecode: Only Events Lists
are shown at each timecode location. Individual Events will be
shown only if they are the only Event at that timecode location.
Filter Which Events to Display: Opens the Object Picker for the
Event List Filter.

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Each time an Event List edit operation is performed, a new Mix Pass is
created.
Note:

Deleting an Event or Event List is a destructive operation. However, the

original Active Pass on which the edit is to be performed is retained and a
new Mix Pass is created without the deleted item. In this regard, deleting
an item is a non-destructive operation.

Perform an Event List Edit:

To perform an Event List edit, use the following procedure:

1. Make the Mix Pass to be edited the Active Pass if it is not already.
2. Select Event List Editor from the GC Automation menu. The Event
List Editor window will open.
3. Click the Edit List Filter button to open the Object Picker for the
Event List Filter. Using this picker will allow Events for the desired
controls on selected channels to be chosen for editing. Once selected,
click either the Apply button (if more edits will be performed) or the
OK button (if no more objects need to be selected). Events for the
controls in the picker will be selected for editing and will appear in the
Event column of the Event List Editor window.
4. Click the desired edit operation. If moving or copying Events and/or
Event Lists, enter the new timecode location and click OK. The selected edit will be performed.
5. A new Mix Pass is written that contains the edited values.

5.16.2

OFLA Editing
AutoTouch+ data may be edited using the OFLA offline mix editor. OFLA
is stand alone mix editor that may be used with or without AutoTouch+.
Being fully integrated with AutoTouch+, OFLA provides quick and easy
comprehensive Mix Pass editing when used in a session environment.
When used in an offline capacity OFLA is equally efficient.
OFLA allows the values of automation records to be edited within a timecode window. Objects can also be made Static using OFLA.
Accessing OFLA:

Date printed: 27.08.03

OFLA is available by selecting Edit Mix Pass from the GC Automation

menu. This is different from V2.5 where OFLA is accessed via the Edit
Mix button in the GC Automation window.

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This action will open the Event List Editor window:

OFLA Edit Types:

There are eight different Edit Types available. It should be noted that all
Edit Types are not available for all control types (for example, the value of
a mute or switch cannot be trimmed).

The following edit operations may be applied to selected controls using

OFLA:
Set: Sets a fixed control value within the timecode window.
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Trim: Offsets the previously written control values by a fixed amount

within the timecode window. Switches may not be Trimmed.
Freeze: The control value at the OFLA In time will be retained for the
duration of the timecode window.
Clear: Controls will be reset to their default values within the timecode
window.
Make Static: Controls will be made Static. All automation records other
than the Static value will be erased for the entire Mix Pass.
Spread: Control values at a specific point in a source mix (Active or
Mix Tree) may be applied throughout the timecode window.
Merge: Control values a timecode window within a source mix (Active
or Mix Tree) may be applied throughout the timecode window.
Update Snap: Updates the Mix Snapshot. This applies the current control values from the beginning of the Mix Pass to the first recorded record.
Each time an OFLA edit is performed, a new Mix Pass created.
Edit a Mix Pass with OFLA:

To edit a Mix Pass with OFLA, use the following procedure:

1. Make the Mix Pass to be edited the Active Pass if it is not already.
2. Select Edit Mix Pass from the GC Automation menu. The basic Edit
Mix window will open.
3. Click the Select button to open the Object Picker for Edit Object Selector. Using this picker will allow the desired controls on selected
channels to be chosen for editing. Once selected, click either the Apply button (if more edits will be performed) or the OK button (if no
more objects need to be selected). The controls in the picker will be
selected for editing and will appear in the Selected Objects section of
the Edit Mix window.
4. Select the Edit Type from the Edit Type pull-down menu.
5. Enter the new control value if necessary (depending on Edit Type).
6. Enter the Spread Source Mix or Merge Mix if Spread or Merge edit
types are used. The Mix Passes in the current Mix Tree are available.
7. Enter the timecode locations for edit In and Out points if necessary
(depending on Edit Type).
8. Click on the appropriate radio button to select the At Out Time
function. These functions mostly mirror the Write To functions
found in AutoTouch+, but have some difference. See below.
9. Click Perform Edit to perform the edit. A new Mix Pass is written
that contains the edited values.

Note:

Automated Graphic Controller items are not selectable using the Object
Picker for Edit Object Selector.

At Out Time Functions:

The select At Out Time function will determine how the edit data transitions back to Read Mix data.
At Out Time selections function as follows:
Restore Values: This is the equivalent to Write To: Punch-Out. Read
Mix control values will be restored at the OFLA Out Time. Glide functions are not available.
Write to End: This is the equivalent to Write To: End except the edit
control values will be written to the end of the Mix Pass. To use a fixed
end time select Restore Values as the At Out Time function. Write To:
End Of Time is not available.
Write to Next Change: This is the equivalent to Write To: Next
Change. Read Mix control values will be restored when the next record is encountered. Glide functions are not available.

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5.16.2.1

Object Picker

The Object Picker is used to select the elements within a mix you wish to
edit. These elements are organized into channels and objects within channels. Selection of elements can be as specific as an individual parameter
value, within a particular object, within a single channel, and as broad as
all parameters, within all objects, within all channels.
Note:

It is important to realize that the channels and objects displayed in the

picker are the same as contained within the VMC used to create the title
and mix. If a different VMC is loaded, the channels and objects will
change accordingly. In other words, the elements that appear in the Object
Picker are determined by the console configuration that was in use when
the data was created.
There are five main sections in the Object Picker:
Channel Selector panel;
Object Selector panel;
Channel/Object Tree display area;
Function controls;
Open Mix Selector Tabs.

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5.16.2.2

Channel Selector Panel

All Chans:
Input:
MT Input:
MT Monitor:
Group Out:
Master Out:
Aux Out:

This panel contains buttons that correspond with the channels that are
present within the active mix. Using these buttons, channels can be selected for editing as follows:
selects all channels for editing;
selects all Input channels for editing;
selects all Multitrack Input channels for editing;
selects all Multitrack Monitor channels for editing;
selects all Group Output channels for editing;
selects all Master Output channels for editing;
selects all Auxiliary Output channels for editing.
Activating the left-hand button at the beginning of each row will select all
channels of that type. If both mono and stereo versions of a particular
channel type are included in the VMC, just the mono or stereo channels
may be selected by clicking on the appropriate button. Channel types
and/or versions may be de-selected after a large selection (such as All
Chans) has been made.

Group:
Master:
Member:

In addition to channel selection, buttons are included that allow editing of

group assignments and Control Group Masters. Channels that contribute to
each group may be also selected for editing as a group, via these controls.
These buttons function as follows:
selects all items associated with the group (group members, Control Group
Masters, and group assignments) for inclusion in the edit;
selects Control Group Masters for inclusion in the edit;
selects group members and group assignments for inclusion in the edit.
A set of Group, Master, and Member buttons is provided for each
group. The top row of buttons act as global selectors for the group controls
below.
The assignments of channels as group members are stored as part of the
mix data and may be unique to each mix. Therefore, only groups that have
channels assigned as members will have Member buttons available with

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the group. In other words, whether or not the Member buttons appear in
the Channel Selector Panel is determined by the loaded mix/snapshot.
Notes:

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User Labels can be displayed on Group buttons by selecting User

Labels on Group Buttons from the Options menu.
The buttons on the Channel Selector Panel select channels and groups on a
global basis. If individual (or subsets of) channels/groups are to be selected
for editing, the Show Channels>> facility must be used.

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5.16.2.3

Object Selector Panel

This panel contains buttons that correspond with the elements (or objects)
that are contained within the channels.
Note:

Date printed: 27.08.03

It is important to realize that the Object Selector Panel will display all
elements that are included in the VMC. While an object might appear on
the panel, it might not be configured within the selected channel(s). Objects not included anywhere in the VMC will not appear on the Object
Selector Panel.

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All Objects:
Fader/Mute:
EQ:
Filter:
Delay:
Gain:
Dyn:
Lim/Comp:
Gate/Exp:
Pan:
Insert:
Dir Out:
Bus Assign:
Aux Mono:
Aux Stereo:
Patch:

Using these buttons, objects can be selected for editing as follows:

selects all objects for editing;
selects all fader and mute parameters for editing;
selects all EQ parameters for editing;
selects all filter parameters for editing;
selects all delay parameters for editing;
selects all input gain parameters for editing;
selects all limiter/compressor and gate/expander parameters for editing;
selects all limiter/compressor parameters for editing;
selects all gate/expander parameters for editing;
selects all pan parameters for editing;
selects all insert parameters for editing;
selects all direct output parameters for editing;
selects all bus assignments for editing;
selects all mono auxiliary parameters for editing;
selects all stereo auxiliary parameters for editing;
selects all patch assignments for editing
Selection of an object will select all objects of that type for editing. For
example, if all four EQ types have been configured in the VMC (mono,
stereo, mono with notch, and stereo with notch), all four EQ types will be
selected when the EQ object button is clicked.
Each object contains an appropriate set of parameters for that objects
functions. Several parameters may be selected by clicking a single button.
For example, if Filter/High is clicked, then HP on/off, HP slope, and HP
frequency will all be selected.
Activating the left-hand button at the beginning of each row will select all
parameters for that object. Objects and/or their parameters may be deselected after a large selection (such as All Objects) has been made.

Note:

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The buttons on the Object Selector Panel select objects and parameters on
a global basis. If individual or subsets of parameters are to be selected for
editing, the Show Objects>> facility must be used.

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5.16.2.4

Channel/Object Tree Display Area

All channels and objects may be displayed in a tree format. This provides
the means to select specific channels and/or objects on an individual, subset, or global basis. This display area is located to the right of the Object
Selector Panel and will be blank if both trees are hidden.
To view the Channel Tree, click the Show Channels>> button located
under the Channel Selector Panel. All the channels included in the VMC,
along with their User Labels, will be contained in the tree (left part of the
picture below).
To view the Object Tree, click the Show Objects>> button. All objects
included in the configuration will be included within the tree. Only one
tree can be displayed at any one time (right part of the picture below).

Once a tree has been chosen, all of the individual elements it contains may
be viewed by opening the displayed folders and folders within folders
(click the + icons to open folders and the icons to close them). Like
the channel/object selectors, only elements contained within the VMC are
displayed.
Items can be selected for editing by checking any combination of folders
and/or individual elements within the tree. Using this method, an exact set
of elements, either simple or complex, can be chosen. Because of this high
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resolution, a much more precise set of elements may be selected than what
is possible using the channel/object selector panels.
An item can be checked or unchecked by clicking on the box next to its
name. Several items may be selected by highlighting the item labels using
the familiar Shift-click and Ctrl-click methods. Once the labels have been
highlighted, Right-clicking will open a pop-up menu that allows the group
to be checked or unchecked.

Notes:

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When all items within a channel/object section have been chosen, the associated selector button(s) will illuminate with a dark blue light and the associated tree elements will be indicated with a black check. If only part of
a section is chosen, the associated selector buttons will illuminate in light
blue and the tree elements will be checked in gray.
Notice the relationship between the channel/object selector panels and the
tree displays. When an element is chosen using a selector panel, the corresponding element is checked on the tree. Likewise, if an item is checked on
the tree, the corresponding selector button is illuminated.

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5.16.2.5

Function Controls

Copy:
Paste:
Save:
Load:
Clear:
Apply:
Copy Picked on OK:
Cancel:

Note:
Open Mix Selector Tabs:

Date printed: 27.08.03

A set of function controls are provided below the Channel/Object Selector

panels. These function buttons are as follows:
copies the Selected Objects Set to the PC clipboard;
pastes the contents of the PC clipboard (copied Selected Objects Set) to
the Object Picker;
saves the Selected Objects Set as a file;
allows saved object files to be reloaded;
clears the selection of all objects;
selects the objects chosen in the Object Picker for editing;
if checked, the Selected Objects Set is copied to the clipboard when the
Apply button is clicked;
cancels changes made to the Selected Objects Set since the last set was
applied, saved, loaded, copied, or pasted.
Once an object or set of objects has been selected in the Object Picker,
they are then selected for editing by clicking the Apply button. The selected objects from the selected channels will be displayed in the Selected
Objects window. Those are the only objects that will be affected when
edits are performed.
If an object has been chosen but a channel has not, the object will not be
selected for editing when the Apply button is clicked.
A set of tabs, each of them representing a mix, are located at the bottom of
the Object Picker window (bottom left in the picture above). Every mix
that is currently open in the OFLA has its own tab. When the mix selector
menus are set to Selected Mix, these tabs are used to choose a mix by
simply clicking on the appropriate tab.

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5.16.3

Mix Controls
All edits are based upon an existing mix, known as the Active Mix. Depending on the type of edit selected, data may be needed from another mix
or snapshot. The controls for the necessary mixes appear in the combo
boxes to the right of the Object Picker or Mix Viewer window.

5.16.3.1

Active Mix
The Active Mix provides the primary data set that is used during editing.
Every edit is based upon the selected Active Mix, the channels/objects selected within the mix, the portion of the mix to be altered, and the type of
edit applied. In other words, the data (parameter values) from the selected
Active Mix objects is altered according to the chosen Edit Type and Edit
Region when the edit is performed. Previously existing and altered data are
combined and saved as a new mix.
Most Edit Types (Set, Trim, Freeze, and Clear) need data from only the
Active Mix for an edit to be performed. Spread, Merge, and Update Snap
edits all require data from other mixes. When an additional data source is
needed to perform an edit, an additional mix combo box (containing the
appropriate controls) will appear when the corresponding Edit Type is
chosen.
Each mix needed for an edit has a combo box that contains the necessary
controls for that mix and edit type.
The Active Mix combo box has a primary control set:
Timecode Entry Fields, used to select the Edit Region.

Timecode Entry Fields:

In Time:
Out Time:
Length:
Length Lock:

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For most edit types to be performed, an Edit Region must be established

within the Active Mix using timecode addresses (Update Snap does not
use an Edit Region). The Edit Region can be as short as a single frame or
as long as an entire mix.
Edit Regions are defined using Timecode Entry Fields. The Active Mix
includes three Timecode Entry Fields:
Starting point for the edit; the timecode address from which data is altered;
Ending point for the edit; the timecode address from which data is no
longer altered;
Duration of the edit; the total time of the Edit Region;
Freezes the value of the Length field.

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Timecode addresses may be entered into all three fields in the following
ways:
Capture the current timecode address using the In or Out buttons (if
provided);
Highlight all or part of the entry field and type in the address;
Highlight all or part of the entry field and click/drag (roll) the value up
or down;
Press the + or key from the computer keyboard, and an additional
Timecode Entry Field will appear. The value entered into this field will
be added (+) or subtracted () from the existing timecode value.
Right-Click any part of the entry field and a menu of timecode address
selections from which to choose will appear;
Note:

Refer to chapter 5.16.4 for additional details regarding timecode entries.

The In Time and Out Time entry fields are equipped with buttons that allow the capture of the current timecode address while the mix is stopped or
running. Clicking on these buttons will enter the current address into the
appropriate field.
Changes made to one of the entry fields may effect the address(es) of one
or both of the other fields. For example, changes made in the In Time or
Out Time fields will change the value of the Length time. Changes made in
the Length field will change the value of the Out Time.
The Length field may be frozen by checking the Lock box to its right.
When the Length field is locked, its value remains constant when changes
are made in the other fields. Changes made to the In Time will change the
Out Time and vice versa. It is important to note that the Length value may
be edited even when its locked.

Note:

Date printed: 27.08.03

Timecode Entry Fields do not appear in the Active Mix box when Update
Snap is selected as the Edit Type.

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5.16.3.2

Spread Source Mix

The Spread Source Mix allows external mix data from a single point In
Time (Data Point) to be applied to the Active Mix. The data from the selected point in an external mix (Spread Source Mix) is applied to the selected objects, on the selected channels, in the Active Mix during the Edit
Region.
The Spread Source Mix combo box has two primary control sets:
Mix Selection Menu: used to select the Spread Source Mix;
Timecode Entry Fields: used to select the Data Point from the Spread
Source Mix.
In addition, an Offset combo box is provided, so that the Active Mix and
the Spread Source Mix In Times can be easily offset from each other.

Mix Selection Menu:

Note:
Timecode Entry Field:

In Time:

This pop-up menu box provides a list of mixes available to become the
Spread Source Mix. This list contains the same mixes available to the Active Mix and functions using the same selection techniques.
The Spread Source Mix is typically different from the Active Mix. However, it can also be the same mix as the Active Mix.
For a Spread Edit to be performed, a Data Point (a single timecode address) must be selected from within the Spread Source Mix.
The Data Point is defined using a Timecode Entry Field. The Spread
Source Mix has one Timecode Entry Field:
Point from which the Spread Source Mix data originates, i.e. the timecode
address of the Data Point.
The In Time from the Spread Source Mix is selected using the same techniques used for selecting the Active Mix timecode addresses.

Notes:

The In Time selects the Data Point (a specific frame) from the Spread
Source Mix. This fixed data is applied throughout the entire Edit Region in
the Active Mix.
Refer to chapter 5.16.4 for additional details regarding timecode entries.

Offset Controls:

An Offset combo box is provided for easy control of offsets between the
Active and Spread Source Mix In Times.

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Offset Lock:

The Offset combo box for the Spread Source Mix contains the following
controls:
Moves the Active Mix In Time to the Spread Source Mix In Time;
Moves the Spread Source Mix In Time to the Active Mix In Time;
Toggles the Offset Value between positive (+) and negative
(); + is the default value;
Difference between the Active Mix and Spread Source Mix In Times
(00:00:00:00 is the default value);
Freezes the Offset value.

Note:

The relationships between the Active Mix and Spread Source Mix In
Times and the Offset Values are as follows:
If the Active Mix and Spread Source Mix In Times are identical, the
Offset Value will be 00:00:00:00.
If the Active Mix In Time is 10 seconds greater than the Spread Source
Mix In Time, the Offset Value will be +00:00:10:00.
If the Active Mix In Time is 10 seconds less than the Spread Source
Mix In Time, the Offset Value will be 00:00:10:00.
Changing either In Time will cause a corresponding change in the Offset Value unless it is locked.
Locking the Offset field will freeze its value. When locked, its value
remains constant when changes are made in the other fields. Changing
either In Time will then cause a corresponding change in the other In
Time. It is important to note that the Offset Value may be edited even
when its locked.
It is possible to lock both Length and Offset fields.

Down Arrow:
Up Arrow:
+/ Box:
Offset Value:

5.16.3.3

Merge Mix
The Merge Mix allows mix data from a region of an external mix to be
applied to the Active Mix. The data from the selected region in an external
mix (Merge Mix) is applied to the selected objects, on the selected channels, in the Active Mix during the Edit Region.
The Merge Mix combo box has two primary control sets:
Mix Selection Menu: used to select the Merge Mix;
Timecode Entry Fields: used to select the source region of the Merge
Mix.
In addition, an Offset combo box is provided so the Active Mix and Merge
Mix In Times can be easily offset from each other.

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Mix Selection Menu:

Note:
Timecode Entry Fields:

In Time:
Out Time:

This pop-up menu box provides a list of mixes available to become the
Merge Mix. This list contains the same mixes that are available to the Active Mix and functions using the same selection techniques.
The Merge Mix may be the same mix as the Active Mix.
For a Merge edit to be performed, a Data Region from within the Merge
Mix must be selected.
The Data Region is defined using Timecode Entry Fields. The Merge Mix
has the following Timecode Entry Fields:
This is the starting point of the Data Region from the Merge Mix;
This is the ending point of the Data Region from the Merge Mix.
The Merge Mix timecode entries are selected using the same techniques as
used for selecting the Active Mix timecode addresses.

Notes:

The Data Region from the Merge Mix is applied to the Edit Region of the
Active Mix. Therefore, the Data Region and Edit Regions must be the
same length. Because of this, the Length field in the Active Mix box works
in concert with the In Time or Out Time in both the Active and Merge Mix
boxes. Changing the Length field will change the values in the Active Mix
and Merge Mix boxes. Changing the Merge Mix In Time or Out Time will
change the Active Mix In Time or Out Time values, as well as the Length
value. Locking the Length field will affect the functions of the In Time or
Out Time in both the Active Mix and Merge Mix sections.
Refer to chapter 5.16.4 for additional details regarding timecode entries.

Offset Controls:

An Offset combo box is provided to facilitate easy control of offsets between the Active Mix and Merge Mix In Times.
The Merge Mix Offset controls function the same as the Spread Source
Mix Offset controls.

5.16.3.4

Update Snap Source Mix

The Update Snap Source Mix allows external mix data from a single point
In Time (Data Point) to be applied to the Active Mix. The data from the
selected point in an external mix (Spread Source Mix) is applied to the
selected objects, on the selected channels, in the entire Active Mix. It performs the same basic function as Update Mix Snapshot from the D950
System Mix Options menu.
The Update Snap Source Mix combo box has two primary control sets:
Mix Selection Menu: used to select the Update Snap Source Mix;
Timecode Entry Field: used to select the Data Point from Update Snap
Source Mix.

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Mix Selection Menu:

Note:
Timecode Entry Field:

In Time:

This pop-up menu box provides a list of mixes available to become the
Update Snap Source Mix. This list contains the same mixes that are available to the Active Mix and functions using the same selection techniques.
The Update Snap Source Mix may be the same mix as the Active Mix.
For an Update Snap edit to be performed, a Data Point (a single timecode
address) must be selected from within the Update Snap Source Mix.
The Data Point is defined using a Timecode Entry Field. Update Snap
Source Mix has one Timecode Entry Field:
This is the point from which the Update Snap Source Mix data originates;
the timecode address of the Data Point.
The In Time for the Update Snap Source Mix is selected using the same
techniques used for selecting the Active Mix Timecode addresses.

Notes:

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The In Time selects the Data Point (a specific frame) from Update Snap
Source Mix. This fixed data is applied throughout the entire length of the
Active Mix. Therefore, the Active Mix does not contain any Timecode
Entry Fields (In, Out, or Length) when Update Snap is selected as an Edit
Type.
Refer to chapter 5.16.4 for additional details regarding timecode entries.

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5.16.4

Timecode Controls

5.16.4.1

General Information
All timecode values are expressed as positive numbers and are limited by
the number of timecode addresses available. Times cannot be less than
00:00:00:00 or greater than 23:59:59:29 (in 30 non-drop). Only Offset
fields can have both positive and negative time values.
Timecode Entry Fields are interactive. Changes made to an entry field may
effect other fields values. For example, changes made to the In Time or
Out Time fields in the Active or Merge Mix boxes will change the value of
the Length time. Changes made in the Length field will change the value
of the Out Time of both the Active and Merge Mixes. Changes made to the
Offset field may effect In Times, and so on.
It is possible for the In Time and Out Time to be equal in value. When
using the click/drag method of timecode entry, it is possible scroll the Out
Time downward until it matches the In Time. In that event, the Length
time will be 00:00:00:00. Additional reduction of the Out Time value will
also reduce the In Time value. Returning the Out Time to its original value
will increase the In Time until it matches its original value.
The current system timecode is displayed in the upper right-hand corner of
the OFLA screen when the Mix Viewer is enabled.

5.16.4.2

Editing Timecode Entries

Timecode Entry Fields:

In Time:
Out Time:
Length:
Offset:

A variety of Timecode Entry Fields are provided for the definition and
control of Edit Regions, Data Regions, Data Points, and Offsets.
Timecode Entry Fields function as follows:
The starting point for an Edit Region (Active Mix), the starting point for a
Data Region (Merge Mix), or the timecode address for a Data Point
(Spread Source Mix or Update Snap Source Mix);
The ending point for an Edit Region (Active Mix) or a Data Region
(Merge Mix);
The duration of the edit; the total time of the Edit Region;
The difference between In Times of the Active Mix and Spread Source or
Merge Mixes.
The In Time and Out Time entry fields are equipped with buttons that allow the capture of the current timecode address while the mix is stopped or
running. Clicking on these buttons (In or Out) will enter the current
address into the appropriate field.

Timecode Capture:

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Timecode addresses may be entered into any field using the following
methods:
Capture the current timecode address by clicking the In or Out buttons
(if provided); at the point the In or Out button is clicked, the current
timecode address is entered into the corresponding field; Timecode addresses can be captured when the mix is running or stopped.

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Highlight and Type:

Highlight and Roll:

+/ From Existing Time:

Right-Click Menu Selection:

Mix/Timecode Items:

Date printed: 27.08.03

Highlight all or part of the entry field (hours, minutes, seconds, and
frames may be selected individually or as a group);
Type in the desired timecode value (colons are not necessary when
typing);
Press Enter.
Highlight all or part of the entry field;
Click and drag (roll) the value up or down; an upward trackball motion
will increase the timecode value, and a downward motion will decrease
the value;
Stop at the desired value and press Enter.
Press the + or key from the computer keyboard, and an additional
Timecode Entry Field will appear;
Using one of the highlight methods above, enter a timecode value;
Press Enter. The math to add (+) or subtract () the entered value
to/from the existing timecode will be applied. The result of the math
will be entered as the new timecode address.
Right-click any part of the entry field;
A menu of timecode address selections from which to choose will appear;
Use the click/drag method to select a timecode address included in the
menu.

The items contained within the Right-Click Timecode Menu are as follows:
Mix Begin: This is the first timecode address within the selected mix
(the selected mix is the open mix that has been chosen with the tabs at
the bottom of the Object Picker or Mix Viewer); clicking the In button while holding the AUTO MODE key performs the same function.

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Cue List Items:

Function Controls:

Most Recent Address Controls:

Most Recent Address List:

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Mix End: This is the last timecode address within the selected mix;
clicking the Out button while holding the Shift key performs the same
function.
Current Time: This is the current D950 timecode address.
Clear: This clears the timecode entry for the selected field and resets
the value to 00:00:00:00. The Backspace key will also clear entries,
however, it resets all timecode fields.
End of Day: This will enter the last possible timecode address available.
For 30 frame non-drop timecode, this value will be 23:59:59:29.
Go To: This is a transport control used when the Mix Viewer is enabled.
Sort Cues By Name: This sorts the Cue List items alphabetically by
name. Items are usually displayed chronologically by timecode address.
This function may be toggled On/Off, with On being indicated by a
check next to the menu item.
Cue List: This displays the contents of the Cue List (if one exists) from
the currently opened Title. Timecode addresses from the Cue List items
may be selected using the click/drag method.
Copy: This allows the timecode address from the selected field to be
copied to the PC clipboard.
Paste: This allows the timecode address from the PC clipboard to be
pasted to the selected field.
Undo Changes: This restores the previous timecode value to the selected field after a change has been made.
Clear Most Recent: This clears all items from the Most Recent timecode address list.
Add to Most Recent: This adds a timecode address to the Most Recent
List. Timecode addresses are also added to the Most Recent list whenever a value is entered into any field (unless Lock Most Recent is enabled).
Lock Most Recent: This prevents changes from being made to the Most
Recent timecode address list. This menu item may be toggled On/Off. A
locked Most Recent list is indicated by a check next to this menu item.
When the Most Recent list is locked, the Clear Most Recent menu item
is not available.
Sort Most Recent: This sorts the Most Recent list chronologically by
timecode address. Most Recent list items are usually displayed in the
order in which they were entered. Sort Most Recent will re-arrange the
list items with the lowest value first. This menu item may be toggled
On/Off. If left On (indicated by a checked menu item), new entries to
the Most Recent list will be automatically sorted as they are entered.
List Entries: This displays the contents of the Most Recent timecode
address list (if one exists). Timecode addresses from this list may be
selected using the click/drag method. The Most Recent list is available
to all Timecode Entry Fields.

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5.16.4.3

Timecode Entry Controls

Timecode Entries:

Clear:
Undo/Redo:
Save:
Recall:

Date printed: 27.08.03

Controls are provided that allow timecode fields to be set to zero, reset to
the previous values, stored, and restored on a global basis. When these
controls are used, the values for all present Timecode Entry Fields are effected. As discussed previously, the fields that are present are determined
by the Edit Type selected.
The timecode entry controls (labeled Timecode Entries) are as follows:
Resets all timecode values to 00:00:00:00; the Backspace key on the computer keyboard performs the same function;
Toggles between Undo and Redo modes of operation; Undo resets the
timecode fields to the values that were in use before changes were made;
Redo restores the most recent changes;
Copies all timecode values to the PC clipboard;
Copies the saved timecode values from the PC clipboard to the Timecode
Entry Fields.

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5.16.4.4 Locking Timecode Fields

Timecode Field Locks:

Timecode values may be locked in the Length (in the Active Mix box) and
the Offset fields (used with Spread Source Mix and Merge Mix). This allows the values in the locked field(s), which might otherwise change, to
remain constant when the values in other fields are changed. Locking the
Length or Offset field is accomplished by checking the Lock box to the
right of the field.

Locking the Length Field:

Locking the Length field is useful when the duration of an Edit Region
needs to maintain its total time, but the In or Out Times must change.
Changes made to the In Time will create corresponding changes to the Out
Time and vice versa, while the Length field remains the same. Changes
made to the Length field will change the Out Time field. It is important to
note that the Length fields value may be edited even when its locked.

Locking the Offset Field:

Locking the Offset field is useful when it is desired to maintain a constant

difference In Time (offset) between the In Time of the Active Mix and the
In Time of a Spread Source Mix or Merge Mix. This allows fields (other
than Offset), including In Time, to be changed while preserving the offset
value between the mixes.
When the Offset field is locked by itself, it is possible to change its value
by one increment only. If the entire entry field is highlighted, its value
can be changed + or by only a single frame only. If only the seconds
portion of the entry field is highlighted, the value can only be changed by
one second only, and so on.

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Locking the Length/Offset Fields:

Both the Length and Offset fields may be locked simultaneously. This
allows the Edit Region and Offset to remain constant when other fields are
altered. In this case, it is possible to change the Offset field by more than
one increment.

Notes:

To fully understand the relationships between the various entry fields and
their locking capabilities, experimentation with a variety of conditions is
strongly suggested.
Remember that Timecode Entry Fields are interactive, so changes to fields
in one box (such as Merge Mix) may affect changes in other fields (such as
Active Mix).

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5.16.5

Selected Objects Display

Selected Objects Window:

Once channels/objects have been selected and applied using the Object
Picker, a list of the chosen objects is displayed in the Selected Objects
window. It is the parameter values of these objects that will be affected
when the edit is performed.

Note:

Selected Objects (objects and parameter values) cannot be further defined

using the Selected Objects window. Channels, objects, and parameter values can only be chosen using the Object Picker.

Value Entry Field:

A Value Entry field is located in the lower right-hand corner of the

Selected Objects combo box. It is used to enter the value to be applied
when Set and Trim Edit Types are performed. This value is applied as
follows:
Parameters selected for editing will be set to the entered value for the duration of the Edit Region;
The values of the parameters selected for editing will be offset by the entered value for the duration of the Edit Region.

Set:
Trim:
Note:

The Value Entry Field is only available in Set and Trim Edit Types.
The type of value is determined by the type of parameter(s) selected for
editing. Some parameters will have specific labels for the Value Entry
Field. For example, if Fader values were selected from a group of Input
channels, the Value Entry Field will be expressed in dB. Likewise, if a
group of EQ frequency parameters were selected, freq would represent
the Value Entry Field. Other parameters without specific labels will be labeled simply as Value.

Note:

An arrow will appear at the right of the Value Entry Field when like parameters of certain types are selected for editing. Clicking on this arrow
(or anywhere in the Value Entry Field) will cause a scroll box to appear
that contains a list of the possible values for that parameter. For example,
if Input Gain #1 is selected, the scroll box will contain values ranging from
24 to +24 dB in 1 dB increments. A value can be selected from this list by
highlighting the desired item.
Parameters of the same type (such as Direct Out Level) may be chosen
from several different channel types, such as Input, Group, Auxiliary Output, and so on. Mono and Stereo channels may be included when objects/parameters are chosen.

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Parameters of similar type may be selected from similar types of objects.

For example, ON/OFF parameters may be selected from Filters, EQ, Dynamics, Delay, and other objects that contain ON/OFF switches. However,
parameters that are dissimilar may not be chosen for Set and Trim Edit
Types.

5.16.6

Note:

When incompatible parameters are selected (such as Fader level and

Mute), Set and Trim Edit Types are not functional and values cannot be
entered. This is indicated by a Grayed Out Value Entry Field.

General Information:

In order to provide power and versatility, OFLA offers seven distinct Edit
Types. Each provides an edit function designed to perform a specific task.

Edit Types

Edit Types can be chosen by clicking the arrow at the end of the display. A
list of Edit Types will be displayed. Clicking one of the Edit Types will
select it for use. Edit Types can also be selected using click-drag method in
the Edit Type window.
Set:
Trim:
Freeze:
Clear:
Spread:
Merge:
Update Snap:

At Out Time:

Restore Values:
Write To End:
Write To Next Change:

Date printed: 27.08.03

Edit Types are as follows:

Parameters selected for editing will be set to the entered value for the duration of the Edit Region;
Data for the parameters selected for editing will be offset by the entered
value for the duration of the Edit Region;
Data for the parameters selected for editing will be frozen at the In Time
for the duration of the Edit Region;
Data from the VMC Defaults will be applied to the parameters selected for
editing for the duration of the Edit Region;
Data from a single point in an external mix will be applied to the parameters selected for editing for the duration of the Edit Region;
Data from a region of an external mix will be applied to the parameters
selected for editing for the duration of the Edit Region;
Data from a single point in an external mix will be applied to the parameters selected for editing for the entire mix. This is a function corresponding
to Update Mix Snapshot in the D950 System Mix Options menu.
Controls are provided that determine what happens to the data (for the
parameters selected for editing) that exists after the Edit Region. These radio buttons are contained in the At Out Time section of the Edit Type
combo box. Only one of these options may be selected.
The functions of these controls are as follows:
The data from the Active Mix that exists after the Edit Region is retained.
The data from the last frame of the Edit Region is written to the end of the
mix.
The data from the last frame of the Edit Region is written for each selected
parameter until there is an original value change for that parameter in the
Active Mix.

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5.16.7

Offline Editing Tutorial

Select Objects:

1. Click the SELECT button on the AutoTouch+ page in the GC.

2. Using the Object Picker, click the channel buttons to choose groups of
channels for editing.
3. Using the Object Picker, click the object buttons to choose groups of
objects for editing.
4. Click Apply to select objects for editing.
OR
1. Click the Show Channels>> button.
2. Check items in the Channel Tree to choose individual or groups of
channels for editing.
3. Click the Show Objects>> button.
4. Check items in the Object Tree to choose individual or groups of objects for editing.
5. Click Apply to select objects for editing.

Set an Edit Region:

1. Click the In button in the Active Mix box or enter a timecode address
manually.
2. Click the Out button in the Active Mix box or enter a timecode address manually.
3. Further manipulate the Edit Region as necessary.

Select an Edit Type:

1. Using the Edit Type Menu, select the desired edit function.
2. Enter Set or Trim values if using those functions.
3. Enter the necessary timecode values as required by the selected Edit
Type.
4. Click on the desired At Out Time option.

5-150 AutoTouch+

Perform Edit:

1. Click Perform Edit to complete the process.

2. Repeat as needed.

After Editing:

In the mix pass tree, a new Mix Pass will be created after each Perform
Edit function.

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5.17 User Files

To help manage the multiple options available in AutoTouch+, the settings
of all Options can be saved in a User File. The current AutoTouch+ Panel
settings and presets are also saved within User Files. This allows each engineer to save his or her own preferred settings and recall them at future
sessions. This eliminates the process of manually resetting all the AutoTouch+ Options and panel settings, adding to the ease of operation.
Beyond creating custom setups for engineers, User Files can also be used
to create automation templates for specific tasks. For example, one User
File might be created for music mixing, while another is created for post.
Users:

Create a New User & User File:

AutoTouch+ supports any number of Users. For each new User a folder is
created in the Users folder in the D950System directory. The User folder
may be named as desired. Any number of User Files may be stored in a
Users folder.
Users and User Files are not specific to a particular Mix Tree, Title, or
Project. Because of this, any User File in any Users folder is available for
use with any Title or any Mix Pass.
Use the following procedure to create a new User and User File:
1. Set all Options as desired.
2. Store all AutoTouch+ Panel Presets, if any (D950 only).
3. Select Save Mix Options from the GC Automation menu.

The Save User File As window will open.

4. Click the New User button. The New User window will open.
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5. Enter a new User name in the field provided and click OK. A new
User folder will be created bearing the name entered.
6. Enter the name of the new User File in the Save User File As field and
click OK.
7. A new User File bearing the name entered will be created.
Load a User File:

Use the following procedure to store a User File:

1. Select Load Mix Options from the GC Automation menu.

The Load User File As window will open.

2. The User folder containing the active User File will be open and the
active User File will be indicated in blue letters.
3. If necessary open the appropriate User folder by clicking the + icon for
that User or double-click the name. The folder will open and display
its contents.
4. Double-click the name of the desired User File or single-click the
name to highlight it and then click the Load button.
5. The selected User File will be loaded.
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Update a User File:

Use the following procedure to update an existing User File:

1. Make changes to Options as desired.
2. Store any changes to AutoTouch+ Panel Presets (if any D950 only).
3. Select Save Mix Options from the GC Automation menu. The
Save User File As window will open.
4. Either double-click the active User File (in blue letters) or enter the
same User name in the field provided and click OK. A dialog box will
indicate a file with the same name already exists and will ask if you
wish to replace it.
5. Click YES and the chosen User File will be updated.

Delete a User or User File:

Users and User Files may be deleted by removing them from the Users
folder in the D950System directory.

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5.18 AutoTouch+ Panel

5.18.1

D950

[12]

[11]

[13]

[10]

[15]
[14]

[8]

[9]

[7]

[6]
[5]

[16]

[4]

[3]

[17]

[2]

[1]

[1]

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Global CONTROL MODES (see also chapter 5.6)

READ Sets selected objects (depending on the Pre-Selector setting) into
Read mode.
WRITE ENABLE Sets selected objects (depending on the Pre-Selector
setting) into Write Enable mode. These parameters are armed and can be
put into write (record).
TRIM ENABLE Sets selected objects (depending on the Pre-Selector setting) into Trim Enable mode. These parameters are armed and can be put
into trim (record).
ISOLATE: Isolates selected objects (depending on the Pre-Selector setting).
These objects will not be affected by the automation.
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[2]

Global Pre-Selectors for Control Modes (see also chapter 5.6.5.1)

Before globally any control mode (Read, Write Enable, Trim Enable and
Isolate) can activated, the Pre-Selectors for the desired objects must be activated. These are:
FDR (Fader) all Faders
MUTE all Mutes
ENC (Encoders) all continuous controller type encoders (knobs or rotaries)
SW (Switches) all switches
HELD (Held controls) all controls that are currently in a Held state.
This can be any combination of faders, mutes, encoders and switches. Refer to chapter 5.7.3.
CLR / ALL (Clear/All) Permits the changing of all Pre-Selectors at once.
If one ore more pre-selectors are active, pressing CLR / ALL will clear all
pre-selectors.
If none of the pre-selectors are active, pressing CLR / ALL will activate all
pre-selectors.
If CLR / ALL and a global Mode (e.g. WRITE ENABLE) is pressed, will select all controls into Write Enable (this is like Pre-Selectors are bypasses).

[3]

Automation Indication:
MIX OPEN (green) Mix is open and automation system is on.
RDY (yellow) Automation system is ready (e.g. timecode ok).
REC (red) Automation system is recording.

[4]

TOUCH / HELD (see also chapters 5.7.1 through 5.7.4)

TOUCH RECORD If activated, touching a write or trim enabled control
element (e.g. fader) will put the touched control into record.
TOUCH HOLD If activated, touching and releasing a control element (e.g.
fader) will simulate a touch and held the object even manually the control
has been released.
HELD PLAYS MIX When this key is engaged (see also chapter 5.7.5.1), all
Held controls play back their Read Mix data when not in RECORD, but
the controls can be set to different physical positions.
The Read Mix data is heard, even though one or more controls are being
held in AUDITION. This allows a held control to be pre-positioned while
awaiting a punch-in. The result is true emulation of the resultant mix,
while the Mix Pass is being run.
CLEAR HELD Pressing this key will take all Held controls out of Hold. It
will also clear the list of controls in the Held Controls Buffer.

[5]

GLOBAL RECORD (see also chapter 5.8)

PUNCH IN Write or Trim Enabled controls are put into record (depending
on the GLOBAL RECORD Pre-Selector setting).
PUNCH OUT Control elements which are in record are punched out (depending on the GLOBAL RECORD Pre-Selector setting).

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[6]

Global Pre-Selectors for GLOBAL RECORD (see also chapter 5.8.1).

Before globally any control can be punched In or punched out (Record,
Play), the Pre-Selectors for the desired objects must be activated. These
are:
FDR (Fader) all Faders
MUTE all Mutes
ENC (Encoders) all continuous controller type encoders (knobs or rotaries)
SW (Switches) all switches
HELD (Held controls) all controls that are currently in a Held state.
This can be any combination of faders, mutes, encoders and switches. Refer to chapter 5.7.3.
CLR / ALL (Clear/All) Permits the changing of all Pre-Selectors at once.
If one ore more pre-selectors are active, pressing CLR / ALL will clear all
pre-selectors.
If none of the pre-selectors are active, pressing CLR / ALL will activate all
pre-selectors.
Holding CLR / ALL and pressing a Global Record command (Punch-in or
Punch-out) will affect all controls (like Pre-Selectors are bypassed).

[7]

MIX PASS WRITE TO: (also refer to chapter 5.9.1).

WRITE TO: LEVEL MATCH, NEXT CHANGE, END will write the value at the
time of punch-out further ahead, rather than immediately stop recording.
The neutral default setting is PUNCH OUT. This will record no more after
punch-out.
WRITE TO: PUNCH OUT The automation system stays in record until
Punch-out is performed.
WRITE TO: NEXT CHANGE The last recorded data will be applied until the
next recorded change in the Read Mix data. At that point the automation
will transition from record data to read mix data.
WRITE TO: LEVEL MATCH The last recorded value will be written until it
matches the read mix data.
WRITE TO: END The Last Recorded Value will be applied until the userspecified End Time. All previously recorded values between the Last Recorded Value (typically Punch-out) and the End Time will be erased.

[8]

MIX PASS EXTEND BACK TO: (see also chapter 5.9.2).

EXTEND BACK TO: PUNCH IN Extend the Last Recorded Value back to
the punch-in location.
EXTEND BACK TO: BEGIN Extend the Last Recorded Value back to the
specified Begin Time.

[9]

Mix Pass WITH: GLIDE (see also chapter 5.9.3).

WITH: GLIDE Activates the Glide function.

[10]

5-156 AutoTouch+

STOP FRAME (see also chapter 5.15).

STOP FRAME ON Activates the stop frame automation.
STOP FRAME SUSPEND Stop Frame recording is suspended. This allows
timecode to be moved backward or forward so a timecode location may be
found. No control values will be written while Suspend is engaged.

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[11]

AutoTouch+ Panel Preset Settings (see also chapter 5.14.4).

PRE-A...D Four locations to store AutoTouch+ Panel settings.
STORE To store Panel Presets, first set all AutoTouch+ Panel controls to
the desired state. Hold the STORE key and press the desired Preset key
(PRE-A, PRE-B, PRE-C, and PRE-D).

[12]

MIX ON Turns the Automation system on (see also chapter 5.14.1).

READ LOCK Forces all controls into Read and blocks out all other controls. Nothing can affect playback of Read Mix (see also chapter 5.15.2).
VIEW DYN When held, dynamic objects are lit on the surface (see also
chapter 5.14.2).
VIEW ALT not implemented in V3.2
UNDO Sets the Read Mix to the previous pass in the Mix Pass Stack (see
also chapter 5.5.1.2).
REDO Sets the Read Mix to the next pass in the Mix Pass Stack (see also
chapter 5.5.1.2).

[13]

KILL PASS If engaged when timecode is stopped, the new mix pass will
not be written. To prevent a new Mix Pass from being written, press KILL
PASS before playback of timecode stops (see also chapter 5.5.1.3).

[14]

Function keys F1...F3: Not implemented.

[15]

STATIC DATA When lit, this key indicates that Static Data Buffer is active and there is a difference between the current Static values and those
stored within the current Mix Pass (Active Pass).
Pressing the STATIC DATA key clears the current Static values and those
stored within the current Mix Pass (Active Pass). This function cannot be
undone (see also chapter 5.14.6).

[16]

SCENE (see also chapter 5.14.7).

A Scene is a global snapshot of the automation state of each control within
the system. There are two buffers in which Scenes may be stored. Scenes
will be stored and can recalled during subsequent sessions.
SCENE CAPTURE Holding the STORE key (see item [11] in the AutoTouch+ Panel description) and pressing SCENE CAPTURE will capture a
Scene in the first buffer. Holding AUTO MODE and STORE and pressing
SCENE CAPTURE will capture a Scene in the second buffer.
SCENE RECALL Will illuminate when a Scene has been captured. Pressing SCENE RECALL will recall the Scene stored in the first buffer.
Holding AUTO MODE and pressing SCENE RECALL will recall the Scene
stored in the second buffer.

[17]

LOCAL, LOCAL EDIT, LOCAL CLEAR Not implemented in V3.2

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5.18.2

Vista

[9]

[6]

[7]

[5]

[8]

[4]

[12]

[2]
[3]
[1]

[10] [11]

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[1]

Global CONTROL MODES (see also chapter 5.6).

READ Sets selected objects (depending on the Pre-Selector setting) into
Read mode.
WRITE ENABLE Sets selected objects (depending on the Pre-Selector
setting) into Write Enable mode. These parameters are armed and can be
put into write (record).
TRIM ENABLE Sets selected objects (depending on the Pre-Selector setting) into Trim Enable mode. These parameters are armed and can be put
into trim (record).
ISOLATE: Isolates selected objects (depending on the Pre-Selector setting).
These objects will not be affected by the automation.

[2]

Global Pre-Selectors for Control Modes (see also chapter 5.6.5.1).

Before globally any control mode (Read, Write Enable, Trim Enable and
Isolate) can activated, the Pre-Selectors for the desired objects must be activated. These are:
FDR (Fader) all Faders
MUTE all Mutes
KNOB (Encoders) all continuous controller type encoders (knobs or rotaries)
SWIT (Switches) all switches
HELD (Held controls) all controls that are currently in a Held state.
This can be any combination of faders, mutes, encoders and switches. Refer to chapter 5.7.3.
CLR / ALL (Clear/All) Permits the changing of all Pre-Selectors at once.
If one ore more pre-selectors are active, pressing CLR / ALL will clear all
pre-selectors.
If none of the pre-selectors are active, pressing CLR / ALL will activate all
pre-selectors.
If CLR / ALL and a global Mode (e.g. WRITE ENABLE) is pressed, will select all controls into Write Enable (this is like Pre-Selectors are bypassed).
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[3]

TOUCH / HELD (see also chapters 5.7.1 through 5.7.4).

TOUCH RECORD If activated, touching a write or trim enabled control
element (e.g. fader) will put the touched control into record.
TOUCH HOLD If activated, touching and releasing a control element (e.g.
fader) will simulate a touch and held the object even manually the control
has been released.
HELD PLAY MIX When this key is engaged (see also chapter 5.7.5.1), all
Held controls play back their Read Mix data when not in RECORD, but
the controls can be set to different physical positions.
The Read Mix data is heard, even though one or more controls are being
held in AUDITION. This allows a held control to be pre-positioned while
awaiting a punch-in. The result is true emulation of the resultant mix,
while the Mix Pass is being run.
CLEAR HELD Pressing this key will take all Held controls out of Hold. It
will also clear the list of controls in the Held Controls Buffer.

[4]

GLOBAL RECORD (see also chapter 5.8).

PUNCH IN Write or Trim Enabled controls are put into record (depending
on the GLOBAL RECORD Pre-Selector setting).
PUNCH OUT Control elements which are in record are punched out (depending on the GLOBAL RECORD Pre-Selector setting).

[5]

Global Pre-Selectors for GLOBAL RECORD (see also chapter 5.8.1).

Before globally any control can be punched In or punched out (Record,
Play), the Pre-Selectors for the desired objects must be activated. These
are:
FDR (Fader) all Faders
MUTE all Mutes
KNOB (Encoders) all continuous controller type encoders (knobs or rotaries)
SWIT (Switches) all switches
HELD (Held controls) all controls that are currently in a Held state.
This can be any combination of faders, mutes, encoders and switches. Refer to chapter 5.7.3.
CLR / ALL (Clear/All) Permits the changing of all Pre-Selectors at once.
If one ore more pre-selectors are active, pressing CLR / ALL will clear all
pre-selectors.
If none of the pre-selectors are active, pressing CLR / ALL will activate all
pre-selectors.
Holding CLR / ALL and pressing a Global Record command (Punch-in or
Punch-out) will affect all controls (like Pre-Selectors are bypassed).

[6]

MIX PASS WRITE TO: (see also chapter 5.9.1).

WRITE TO: LEVEL MATCH, NEXT CHANGE, END will write the value at the
time of punch-out further ahead, rather than immediately stop recording.
The neutral default setting is PUNCH OUT. This will record no more after
punch-out.
WRITE TO: PUNCH OUT The automation system stays in record until
Punch-out is performed.
WRITE TO: NEXT CHANGE The last recorded data will be applied until the
next recorded change in the Read Mix data. At that point the automation
will transition from record data to read mix data.
WRITE TO: LEVEL MATCH The last recorded value will be written until it
matches the read mix data.

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WRITE TO: END The Last Recorded Value will be applied until the userspecified End Time. All previously recorded values between the Last Recorded Value (typically Punch-out) and the End Time will be erased.
WRITE TO: PUNCH IN Extend the Last Recorded Value back to the punchin location.
WRITE TO: BEGIN Extend the Last Recorded Value back to the specified
Begin Time.

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[7]

Mix Pass WITH: GLIDE (see also chapter 5.9.3).

WITH: GLIDE Activates the Glide function.

[8]

STOP FRAME (see also chapter 5.15).

STOP FRAME ON Activates the stop frame automation.
STOP FRAME TC OFF Stop Frame recording is suspended. This allows
timecode to be moved backward or forward so a timecode location may be
found. No control values will be written while TC OFF is engaged.

[9]

MIX ON Turns the Automation system on (see also chapter 5.14.1).

READ LOCK Forces all controls into Read and blocks out all other controls. Nothing can affect playback of Read Mix (see also chapter 5.15.2).
KILL PASS If engaged when timecode is stopped, the new mix pass will
not be written. To prevent a new Mix Pass from being written, press KILL
PASS before playback of timecode stops. (see also chapter 5.5.1.3).
UNDO Sets the Read Mix to the previous pass in the Mix Pass Stack (see
also chapter 5.5.1.2).
REDO Sets the Read Mix to the next pass in the Mix Pass Stack (see also
chapter 5.5.1.2).
VIEW When held, dynamic objects are lit on the surface (see also chapter
5.14.2).

[10]

SCENE (see also chapter 5.14.7).

A Scene is a global snapshot of the automation state of each control within
the system. There are two buffers in which Scenes may be stored. Scenes
will be stored and can recalled during subsequent sessions.
SCENE CAPTURE Holding the STORE key (see item [11] in the AutoTouch+ Panel description) and pressing SCENE CAPTURE will capture a
Scene in the first buffer. Holding AUTO MODE and STORE and pressing
SCENE CAPTURE will capture a Scene in the second buffer.
SCENE RECALL Will illuminate when a Scene has been captured. Pressing SCENE RECALL will recall the Scene stored in the first buffer.
Holding AUTO MODE modifier key and pressing SCENE RECALL will recall
the Scene stored in the second buffer.

[11]

LOCAL, LOCAL EDIT, LOCAL CLEAR Not implemented in V3.2

[12]

OPTION A1 / A2 Not implemented in V3.2

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5.19 Desk Automation Controls

This chapter is an overview of the channel strip and central automation
controls other than those found in the AutoTouch+ Panel. D950 Classic
and M2 work surfaces are covered, as well as Vista.

5.19.1

D950 Desk Automation Controls

The D950 Classic and M2 work surface automation controls are virtually
identical in function and location. However, there are some minor changes
in labels for a few controls. These will be noted as necessary.

5.19.1.1

D950 Channel Strip Controls

Each channel strip has a set of automation controls. These controls are
sometimes referred to as Local Controls. Used in conjunction with the
channels audio controls, automation operations may be carried out with
ease. All automation functions are accessed via channel strip keys. Descriptions of the channel strip automation controls follow.
The channel strip automation controls can be broken down into four categories:
General Controls and Indicators
Fader Controls and Indicators
Mute Controls and Indicators
Switches and Encoders Controls and Indicators

5.19.1.1.1

D950 Auto Mode Key

The primary purpose of the channel strip AUTO / MODE key is to cycle
through the available AutoTouch+ Control Modes <Option>. The modes
selected will be for a set of channel controls defined by the user. Also refer
to chapter 5.7.6.
The AUTO MODE key lights if the fader is
touched or held. Pressing the key toggles
the status of the Pre-selected channel sections in the order determined by the AUTO
MODE key option setting. When held down,
this key acts as a modifier key with the following results while held:
- If a fader or rotary is touched, the effect of
Touch Record is inverted
- If a fader or encoder is released (untouched), the effect of Touch Record is inverted (optionally, Touch Hold can be inverted).
- If a switch is pressed, the function will be
punched into Record (if enabled) and not
toggled (the key acts as a Record Punch key
for that function).
- If the S/E PB key is pressed, all objects will
go to Playback.

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Mode Selection:

Consecutive presses will select the next available Control Mode for that
channel <Option>. Which Control Modes are included and the order in
which they appear in the cycle is determined by Options selected in the
Control Modes Options page (also refer to chapter 5.21.2).

Affected Controls:

The channel controls affected by the chosen Control Mode are determined
by the settings on the Control Modes Options page. The following Channel
Auto-Mode Affects options may be selected:
<Pre-Selector Objects>: The controls selected in the global Control
Mode Pre-Selectors.
<Fader>: Fader only
<Mute>: Mute only
<Fader and Mute>: Fader and Mute only
The current Control Mode for the fader is indicated to its right.

Other Functions:

When held down, the AUTO / MODE key serves two additional purposes:
Punch-In/Out Key for selected encoders and switches: When holding
down the AUTO / MODE key and actuating an encoder or switch, individual controls within the channel strip may be punched in or out of
RECORD. This assumes the controls are properly enabled.
Modifier Key: When held down, the key:
- Prevents switches from toggling states
- Inverts the Touch and possibly the Un-touch functions <Option>
for Touch Record and Touch Hold.

<Option>

Options for the AUTO / MODE key are set in the Channel Auto-Mode Button section of the Control Modes Option page (also refer to chapter
5.21.2):
<Order>: There are four positions that can be accessed via consecutive
presses of the AUTO / MODE key.
- The assignment for each position is made using the four pull-down
menus in the <Order> section.
- The top menu represents the first position.
- Any Control Mode can be selected at any position or none can be
selected.
- If <None> is selected, that position is not included when cycling
the AUTO / MODE key.
<Affects>: The selection of controls that enter the selected Control
Mode is determined in the <Affects> section. Radio buttons allow
the selection of one of the following options:
- <Pre-Selector Objects>: Local controls that correspond to the active
Control Mode Pre-Selectors on the AutoTouch+ Panel.
- <Fader>: Fader only
- <Mute>: Mute only
- <Fader & Mute>: Fader and Mute only
Either the <Touch Hold> or <Touch Record> function may be selected
for Modified Un-touch Inversion when the AUTO / MODE key is held.
This selection is made by clicking the desired radio button in the
<Modified Un-touch Inverts> section of the Misc Options page (refer to
chapter 5.21.8).

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5.19.1.1.2

D950 Channel Strip Fader Controls

Channel Fader:

The touch-sensitive channel fader is the primary channel output level control.

Lights constantly when the fader is

enabled in either WRITE or TRIM. Flashes
when the Fader is in Record. Pressing the
key punches the fader in and out of
Record, if enabled.
Displays the fader automation enable
status.
ISO = Isolate
READ = Read
WRT = Absolute Enable
WRT + READ = Trim Enable
Always shows the difference between the
fader value and the effective read value.
An exception is to show the offset from
the trim null point when in TRIM mode
(this is always the absolute position of
the fader from 0 dB).

Control Modes:

The fader Control Mode may be selected locally by pressing the AUTO /
MODE key. Repeated presses will cycle the available control modes <Option>.

FDR STAT Key:

The FDR STAT key is the primary control for automating the channel fader.

Single Press Functions:

A single press punches the channel fader in or out of RECORD if it is

enabled.

Status Indications:

The FDR STAT key provides information on the automation status of the
channel fader:
Steady Illumination: The fader is in WRITE or TRIM enable.
Flashing: The fader is in RECORD.

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The fader Control Mode is indicated to the right of the fader:

ISO: Isolate
READ: Read
WRT: Write Enable
WRT + READ: Trim Enable
Null Indicators:

Fader Value:
5.19.1.1.3

Up and down arrow lights indicate the difference between the current fader
value and the Active Pass Read Mix data. When the values match both
lights are extinguished. An exception is to show the offset from the Trim
Null point when in TRIM (this is always the absolute position of the fader
from 0 dB). The fader null indicators are located next to the fader.
The current value of the fader is shown in the unused Layer display.

D950 Channel Strip Mute Controls

ON Key:

The channel mute key (ON key) is the primary on/off control for the channels audio output.

Lights constantly when the Mute is

enabled in either WRITE or TRIM. Flashes
when the Mute is in Record. Pressing the
key punches the Mute in and out of
Record, if enabled.

Control Modes:

The mute Control Mode may be selected locally by pressing the AUTO /
MODE key. Repeated pressed will cycle the available control modes <Option>.

MUTE STAT Key:

The MUTE STAT key is the primary control for automating the channel
mute.

Single Press Functions:

A single press punches the channel mute in or out of RECORD if it is

enabled.

Status Indication:

The MUTE STAT key provides information on the automation status of the
channel mute:
Steady Illumination: The mute is in WRITE or TRIM enable.
Flashing: The mute is in RECORD.

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5.19.1.1.4

D950 Channel Strip Switch and Encoder Controls

LACP Controls:

The four touch-sensitive rotary encoders and their associated switches

provide primary parameter control for channel audio processes. The Input
Selector, processor block in/out keys, and the first four mono and stereo
AUX in/out keys are also automatable.
The ASN SEL (ASN ENC on D950 M2), USER1, USER2, PAGE, TALK, L1,
L2, and LAST / FREEZE keys are not automatable.

D950 M2:
These keys are fully automated. When
enabled, and Touch Record is active,
pressing a key toggles the status of the
function and punches it into Record. If
Touch Record is not active, pressing this
key just toggles its status.
If the AUTO / MODE key is held, pressing
a key punches that function in (if
enabled) or out (if recording) of
Automation Record.
Press and Hold: If a switch is held, its
release will cause a punch-out, if it was in
Record prior to its release.

Keys not affected by the Automation

System.

Encoder Automation Mode LEDs:

Off = Read or Isolate
Continuous, red = Absolute Enable
Flashing, red = Absolute Record
Continuous, green = Trim Enable
Flashing, green = Trim Record
Null LEDs - for the last knob touched:
Always show the difference between the
fader value and the effective read value.
An exception is to show the offset from
the Trim Null point when in Trim mode
(this is always the absolute position of
the fader from 0 dB).
Keys not affected by the Automation
System.

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D950 Classic:
When displaying values, this shows the
value according to the mode charts; when
the control is in TRIM it shows the offset
and direction from the trim null point.
Always shows the current knob position.
Lights when any S/E is in TRIM or WRITE
ENABLE. Flashes when any S/E is in
RECORD.
Pressing punches all S/E into Playback.
Pressing with AUTO MODE held down
punches all objects into Playback.
Pressing twice puts all enabled S/Es
into RECORD or only enabled S/Es that
are touched or held (basing on GC
option).

Off = READ or ISOLATE

Cont. red = Absolute ENABLE
Flashing red = Absolute RECORD
Cont. green = TRIM ENABLE
Flashing green = TRIM RECORD
For the last knob touched... Always shows
the difference between the fader value and
the effective READ value. An exception is to
show the offset from the TRIM null point
when in TRIM mode (this is always the
absolute position of the fader from 0 dB.
When the Fader is in TRIM this shows the
offset and direction from the TRIM null
point. When a RECORD waiting event is
active (punch-out in AT), shows the
difference and direction to the match point
(the effective READ data).

Control Modes:

The switches and encoders Control Mode may be selected locally by

pressing the AUTO MODE key. Repeated pressed will cycle the available
controls modes <Option>. See paragraph Auto Mode above.

S/E PB, S/E REC Key:

The Switches/Encoders Playback (S/E PB), Switches/Encoders Record (S/E

REC) key is the primary control for automating channel switches and encoders.

Single Press Functions:

A single press will punch-out any switch and/or encoder that is in

RECORD.
A single press while holding down the AUTO MODE key will punch-out
all objects that are in RECORD.

Double-Press Functions:

Double-pressing puts any enabled switch and/or encoder that is

Touched or Held into RECORD.

Status Indication:

S/E PB, S/E REC key provides information about the automation status of
the channels switches and encoders:
Continuously on: One or more switch and/or encoder is in WRITE or
TRIM enable.
Flashing: One or more switch and/or encoder is in RECORD.
Each encoder has its own Control Mode indicator LED:
Off: READ or ISOLATE
Continuously, red: WRITE ENABLE
Flashing, red: WRITE RECORD
Continuously, green: TRIM ENABLE
Flashing, green: TRIM RECORD

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Encoder Null Indicators:

For the last encoder touched, left and right arrow lights indicate the difference between the current encoder value and the Active Pass Read Mix
data. When the values match both lights are extinguished. An exception is
to show the offset from the Trim Null point when in TRIM (this is always
the absolute position of the encoder from 0 dB). The encoder null indicators are located just below the encoders.

Encoder Value:

Each encoder has its own four-character LED display that indicates the
current value of that encoder.

5.19.1.2

D950 CAS Controls

The D950 Central Assign Section (CAS) has all the automation functions
found on the channel strip, plus some added abilities. Some of the AutoTouch+ controls (fader and mute) are exactly as they are on the channel
strip, while other sections are expanded in comparison. The result is similar operation with enhanced capability.
The majority of AutoTouch+ controls are found just above the fader in the
Automation control section of the CAS. The fader and mute controls are
located with the fader. Control Mode indicators are provided for each encoder. Null and value indicators are provided at the top of the CAS.

Organization of Controls:

AutoTouch+ controls are organized in groups, according to function, in the

Automation section of the CAS.
There are four groups of CAS automation controls:
Fader
Mute
Switches and Encoders
Function Keys
Explanations of each group follow.

Note:

Date printed: 27.08.03

The CAS automation mode will follow those made at the channel strip or
globally.

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5.19.1.2.1

CAS Fader Controls

CAS fader automation controls include the Fader Control Mode keys, the
FADER STAT key, and the touch-sensitive fader itself.
CAS Fader:

The touch-sensitive CAS fader is the primary output level control for the
channel currently assigned to the CAS.

Fader Control Modes:

A set of Control Mode activators are provided exclusively for the CAS
fader. The CAS fader Control Mode may be selected by pressing the
FADER Control Mode key for the desired mode. Modes may also be selected globally or locally (via the channel strip for assigned channel).

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CAS FADER Control Mode Activators:

READ: READ
ISO: ISOLATE
ABS: WRITE ENABLE (ABS is a legacy of AutoTouch 2.5)
TRIM: TRIM ENABLE
The Control Mode activator for the current fader mode will illuminate.
FADER STAT Key:

The FADER STAT key is the primary control for automating the CAS fader.

Single Press Functions:

A single press punches the CAS fader in or out of RECORD if it is enabled.

Status Indications:

FADER STAT key provides information about the automation status of the
CAS fader:
Continuously lit: The fader is in WRITE or TRIM enable.
Flashing: The fader is in RECORD.
The FADER Control Mode is indicated by the illuminated Control Mode
activator:
READ: READ
ISO: ISOLATE
ABS: WRITE ENABLE
TRIM: TRIM ENABLE

Fader Null Indicators:

Up and down arrow lights indicate the difference between the current fader
value and the Active Pass Read Mix data. When the values match both
lights are extinguished. An exception is to show the offset from the Trim
Null point when in TRIM (this is always the absolute position of the fader
from 0 dB). The fader null indicators are located next to the fader.

Fader Value:

The current value of the last CAS control to be used is shown in the Function Value display at the top of the CAS.

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5.19.1.2.2

CAS Mute Controls

CAS mute automation controls include the Mute Control Mode keys, the
MUTE STAT key, and the ON key.
CAS ON Key:

The CAS mute key (ON key) is the primary on/off control for the channel
currently assigned to the CAS.

Mute Control Modes:

A set of Control Mode activators are provided exclusively for the CAS
Mute. The CAS mute Control Mode may be selected by pressing the Mute
Control Mode key for the desired mode. Modes may also be selected globally or locally (via the channel strip for assigned channel).

CAS Mute Control Mode Activators:

READ: READ
ISO: ISOLATE
ABS: WRITE ENABLE
TRIM: TRIM ENABLE
The Control Mode activator for the current mute mode will illuminate.
MUTE STAT Key:

The MUTE STAT key is the primary control for automating the CAS
mute.

Single Press Functions:

A single press punches the CAS mute in or out of RECORD if it is enabled.

Status Indications:

The MUTE STAT key provides information about the automation status of
the CAS mute:
Continuously lit: The mute is in WRITE or TRIM enable.
Flashing: The mute is in RECORD.
The mute Control Mode is indicated by the illuminated Control Mode activator:
READ: READ
ISO: ISOLATE
ABS: WRITE ENABLE
TRIM: TRIM ENABLE

Mute Value:
5-170 AutoTouch+

The current value of the last CAS control to be used is shown in the Function Value display at the top of the CAS.
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5.19.1.2.3

CAS Switches and Encoders Controls

CAS switches and encoders automation controls include the Switches and
Encoders Control Mode keys, the Switch and Encoder selection controls,
and all CAS touch-sensitive encoders and audio related switches.
The CAS provides the most precise means of switch and encoder automation control and status indication. It allows the user to select the exact set
of controls to be automated.

CAS Switches and Encoders:

Note:

The touch-sensitive rotary encoders and their associated switches provide

primary parameter control for audio processes for the channel currently assigned to the CAS. Other CAS switches control the in/out function of
processing blocks.

In the graphic above only the Dynamics section of the CAS is shown.
Switches and encoders may be controlled separately in the CAS. See CAS
Controls below.

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Switch & Encoder Control Modes: A set of Control Mode activators are provided exclusively for the CAS
switches and encoders. The CAS switches and encoders Control Mode
may be selected by pressing the switches and encoders Control Mode key
for the desired mode. Modes may also be selected globally or locally (via
the channel strip for assigned channel).

CAS switches and encoders Control Mode Activators:

READ: READ
ISO: ISOLATE
ABS: WRITE ENABLE (ABS is a legacy of AutoTouch 2.5)
TRIM: TRIM ENABLE
Switch & Encoder Controls:

Note:

5-172 AutoTouch+

The CAS has five keys that support switch and encoder automation. These
keys allow a precise set of controls to be easily chosen for automation.
They also allow separate control over switches and encoders.
ONE: Allows the creation of a temporary list of controls to be automated. Holding down the ONE key and touching the desired controls
will select those controls for automation. Touching an encoder will select both the encoder and its associated switches. The list is deleted
upon the completion of the automation operation.
MANY: Allows the creation of a list of controls to be automated that
may be kept for future use. Holding down the MANY key and touching
the desired controls will select those controls for automation. Touching
the encoder will select both the encoder and associated switches. The
MANY key will illuminate indicating that a list of controls has been created. Pressing the MANY key recalls the list of controls for further automation operations.
SECT SWITCH (section switches): Allows the creation of a temporary
list of switches to be automated. Pressing the SECT SWITCH key and
touching any switch will select (or deselect) the switches for the entire
section from the selection list. The list is deleted upon the completion
of the automation operation.
SECT ROTARY (section rotaries): Same as the SECT SWITCH mode, except for encoders for an entire section.
ALL: Selects all controls, and then individual control status (in the list
or not) can be toggled on or off as needed.
When an entire section or the ALL function is used, this refers to the visible
controls on the CAS. So, for example, if the ALL key is used, only the
control from the Compressor or the Limiter will be included, as only one
of those sections can be visible on the CAS at a time. Of course the
alternate controls can be added by touching them and adding them to the
list. This affects AUX Sends and any other hidden controls as well.

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Encoder Null Indicators:

For the last encoder touched, left and right arrow lights indicate the difference between the current encoder value and the Active Pass Read Mix
data. When the values match both lights are extinguished. An exception is
to show the offset from the Trim Null point when in TRIM (this is always
the absolute position of the encoder from 0 dB). The encoder null indicators are located at the top of the CAS, just below the Function Value display.

Encoder Value:

The current value of the last CAS control used is shown in the Function
Value display at the top of the CAS.

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5.19.2

Vista Desk Automation Controls

In automation mode, the channel strips hold additional indications for detailed display of the current status.
This chapter shows all possible indications of automation status and explains their meaning.

[A]
[B]

First, there are some record indicators integrated within the recording
keys:

[C]
[D]

[A]

Recording overview for switches. If half-lit: One or more switches are

armed (i.e. in TRIM or WRITE enable mode). If fully lit: One or more
switches are recording.
Pressing this key will either punch-in the held objects, or punch-out the
switches currently recording.

[B]

Recording overview for rotary encoders. If half-lit: One or more rotaries

are armed (i.e. in TRIM or WRITE enable mode). If fully lit: One or more
rotaries are recording
Pressing this key will either punch-in the held objects, or punch-out the
rotaries currently recording.

[C]

Current and replay value of the channel mute. If the current value is different from the one in the last mix pass, this LED indicates the value within
the last mix pass, while the main red LED within the key indicates the current value.
This LED is also used for mute indication, if "solo in place" is active.

[D]

Recording of the channel mute. If half-lit: Channel mute is armed (i.e. in

TRIM or WRITE enable mode). If fully lit: Channel mute is recording.
Pressing this key will either punch-in the current MUTE status, or punch it
out of recording.

[E]

Recording of fader. If half-lit: Fader is armed (i.e. in TRIM or WRITE

enable mode). If fully lit: Fader is recording.
Pressing this key will either punch-in the current fader status, or punch it
out of recording.

[E]

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The meaning of the different Vistonics indicators is as follows:

Date printed: 27.08.03

Displayed Value

The displayed value (e.g. 7.6 dB) is always the current value, except
when the control is in TRIM mode. Then it shows the offset from TRIM
null point.
It is underlined whenever the control is touched (hold in automation).

Rotary Value

Current and replay value of the rotary control. If the current value is different from the one within the last mix pass, a pink colored element indicates the value of the last mix pass, while the main display is indicating the
current value.

Fader Value

Current and replay value of the fader. If the current value is different from
the one in the last mix pass, a pink colored element indicates the value
within the last mix pass, while the main display is indicating the current
value.

Recording

Recording and recording mode indicator: This always refers to the associated control.
Characters without a frame indicate the status of the rotary control (I =
Isolate, R = Read, T = Trim, W = Write).
A red frame behind the W or T indicates that the rotary control is currently recording.

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Recording

Recording mode of the fader (in the Vistonics generic display area):
Characters without a frame indicate the status of the fader (I = Isolate, R =
Read, T = Trim, W = Write).
A red frame behind the W or T indicates that the fader is currently
recording.

n1 x

n1 x indicates that the channel is the owner of an n1 bus, together with

its bus number - e.g. m 1 for mono 1.

Rotary Dynamic/Static

Dynamic/static view of the rotary control:

When pressing the VIEW key in the AutoTouch+ panel, this display
changes to DYN, if this control contains dynamically automated elements

Fader Dynamic/Static

Dynamic/static view of the fader: When pressing the VIEW key in the
AutoTouch+ panel, this display appears and indicates FADER DYN, if
the fader is dynamically automated.

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5.20 Auto Touch Plus Window

[9]

[10]

[8]
[11]
[12]
[13]

[7]
[6]

[15]
[5]

[17]

[14]
[16]

[4]
[18]

[3]

[2]
[1]

Date printed: 27.08.03

[1]

Mix Tree window. Can be hidden by clicking on the Hide Tree button. If
hidden, this button turns into Show Tree, the Display Mode button becomes inactive (refer to chapter 5.4.1 for details).

[2]

Several Mix Passes are shown in the Mix Tree window. With the Display
Mode button the display mode of the mix passes can be changed, and it
can be decided if only the Mix Pass number, only the Mix Pass name, or
both shall be displayed (refer to chapter 5.4.1.3 for details).

[3]

Mix Pass Stack; holds up to eight Mix Passes for immediate use (e.g. direct comparison of Mix Passes (refer to chapter 5.5.1 for details).

[4]

Glide Time; defines the length of the glide. To enter a value just click in
the box and type the desired glide time, or use the right click menu allowing e.g. to access the Cue list with timecode cue points (also refer to
chapter 5.9.3).

[5]

Mix Protection allows individual controls or a group of controls to be

protected or locked-out from changes (also refer to chapter 5.13). If Mix
Protection is on, the yellow LED symbol is on.

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[6]

Extend Back to / Write to.

In the entry box Extend Back To: a Fixed value, the Beginning of Time,
or the Beginning of the Mix can be selected. In the entry box Write To: a
Fixed value, the End of Time or the End of Mix can be defined.

If Fixed has been selected, an timecode entry box will be opened. Use
the same method to enter a timecode as explained under point [4].

Extend Back To: can be activated on the AutoTouch+ panel. Either Extend back to BEGIN or PUNCH IN can be selected.
Refer to chapter 5.9.2 for more information on Extend Back To:.
Selected Extend Back To: BEGIN (on the AutoTouch+ panel) will be
displayed in the GC Auto Touch Plus panel in red, to indicate that this
function has been activated.

This means that automated parameters will be written back to the selected
timecode value (fixed, beginning of time, or beginning of mix) in the next
mix pass.
A green indication refers to activated Extend Back To: PUNCH IN.
The entered timecode value (fixed, beginning of time or beginning of mix)
is not activated.

That means that automated parameters will be written back to PUNCH IN

time in the next mix pass.
Write to: is red and active if WRITE TO: END on the AutoTouch+ panel has
been selected (also refer to chapter 5.9.1).

Green indicates that Extend Back to: PUNCH IN will be performed and
the red Write to: shows, that Write to: END will be performed.

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[7]

Write Zone is defined by a BEGIN and an END timecode value. If activated, automation data can be written in this zone only.

If Auto Punch In is checked, Write enabled parameters will punched in

automatically at the write zone beginning and punched out at the write
zone end.
If Sync w/Loop Pts is checked, the selected locator points in the machine
control window will be used as Write zone BEGIN and END points.

Date printed: 27.08.03

[8]

Pass; shows the Begin and End time of the current mix pass.

[9]

Mix; shows the Begin and End time of the entire mix.

[10]

The timecode window displays the current timecode (hh, min, s, frames),
the frame rate, and the timecode type. Timecode type can be GEN (internal
TC Generator), 9 pin (serial TC), or LTC (external TC).
These settings are made in the Option TC Reader/Gen menu (also refer
to chapter 4.6.5).

[11]

MIX ON / OFF indication (MIX ON key on the AutoTouch+ panel).

[12]

RECORD, READY or STOPPED automation status indication.

[13]

Indication if the currently touched parameter is a dynamic (D) or static (S)

object (also refer to chapters 5.3.1.1 and 5.3.1.2).

[14]

Clear Static; when a non-dynamic parameter has been changed, this button
will lit. By clicking on the button the Static Data Buffer will be cleared,
otherwise the static information will be written in the next mix pass.

[15]

Options...; (only activated if MIX is ON) Click on the this button to access
the Mix Options (also refer to chapter 5.21).

[16]

Display Mode; mix pass display mode selection: it can be decided if only
Mix Pass number, only Mix Pass name or both shall be displayed (also refer to chapter 5.4.1.3 for details).

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[17]

Hide Tree or Show Tree; will hide or show the Mix Tree window.

[18]

Mix Pass information; to activate the PASS INFO dialog box. A name and
notes can be entered for the selected Mix Pass (also refer to chapter
5.4.1.3).
Mix: Shows the Mix Tree Name
Pass: Shows the name of the mix pass and allows to enter the PASS INFO
dialog box
Notes: Shows the notes.

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5.21 Mix Options

On one hand, AutoTouch+ is a relatively simple system to use, on the
other hand it has tremendous depth. Creating a system that has both of
these attributes is not easy. In addition, when such a large amount of functionality is available, it is difficult to define every single transition from
one mode or state to another in a precise and dictated way. There are two
reasons for this:
No two mixers will mix the same way. While one will want a feature to
work this way, another equally proficient mixer will want it to work another way.
Even the same mixer will want different functionality at different times
within the mix process or based on different types of projects.
There is no right or wrong way to implement many of the functions in
AutoTouch+. There are just different ways. So in answer to the above,
there is a large number of options that affect the specific functionality of
very specific modes. In total, the option set defines the specific ways in
which the system will work. Each individual option, however, allows the
system to have another nuance that allows the mixer to best do his or her
work, in a creative and efficient manner.
Mix Option Management:

A potential problem with having such a large number of options is the

means to manage them all. When a mixer steps up to the console they need
to be confident that the system will work in a predetermined way. In other
words, they need to have ALL of the options set to a state that they have
already pre set for their specific needs of the moment. AutoTouch+ offers
a system of Mix management where each mixer can have their own unlimited number of options sets, known as User Files.

Accessing Mix Options:

The Mix On button on the AutoTouch+ Panel must be turned on before

Mix Options may be accessed. All of the mix options reside in one convenient options dialog box which is accessed by clicking the Options
button of the AutoTouch+ window.

When you click the Options button, the tabbed Options Dialog window will open. It will be set to the page where it was last left, so the options dialog tab page is said to be sticky.

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5.21.1

Saving/Loading Mix Options

A set of Mix Options may be saved as part of a User File and recalled at
anytime. Only the sections that apply to saving and recalling User Files is
presented here. Users and User Files are discussed in detail in chapter
5.17.

Create a New User & User File:

Use the following procedure to create a new User and User File:
1. Set all Options as desired.
2. Store all AutoTouch+ Panel Presets, if any (D950 only).
3. Select Save Mix Options from the GC Automation menu.

The Save User File As window will open.

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4. Click the New User button. The Enter New User Name window will
open.

5. Enter a new User name in the field provided and click OK. A new
User folder will be created bearing the name entered.
6. Enter the name of the new User File in the Save User File As field
and click OK.
7. A new User File bearing the name entered will be created.
Load a User File:

Use the following procedure to store a User File:

1. Select Load Mix Options from the GC Automation menu.

The Load User File As window will open:

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2. The User folder containing the active User File will be open and the
active User File will be indicated in blue letters.
3. If necessary open the appropriate User folder by clicking the + icon for
that User or double-click the name. The folder will open and display
its contents.
4. Double-click the name of the desired User File or single-click the
name to highlight it and then click the Load button.
5. The selected User File will be loaded.
Update a User File:

Use the following procedure to update an existing User File:

1. Make changes to Options as desired.
2. Store any changes to AutoTouch+ Panel Presets (if any).
3. Select Save Mix Options from the GC Automation menu. The
Save User File As window will open.
4. Either double-click the active User File (in blue letters) or enter the
same User name in the field provided and click OK. A dialog box will
indicate a file with the same name already exists and will ask if you
wish to replace it.

5. Click YES and the chosen User File will be updated.

Delete a User or a User File:

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Users and User Files may be deleted by removing them from the Users
folder in the D950System directory.

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5.21.2

Control Mode Options

Channel Auto-Mode Button:

<Order>: This list selects which Control Modes will be selected by pressing the AUTO MODE key, and in what order. All four Control Modes may
be selected or not in whatever order is desired.
<Affects>: This set of radio buttons determines which controls within the
channel will be affected by the AUTO MODE key when it is used to set
Control Modes.
<Pre-selector Objects>: The state of the Control Mode Pre-Selectors
determine which controls will be affected by the AUTO MODE key when
it is used to set Control modes.
<Fader>: The AUTO MODE key only affects the fader of the channel.
<Mute>: The AUTO MODE key only affects the mute of the channel.
<Fader and Mute>: The AUTO MODE key only affects the fader and
mute of the channel.

When Mix Status is Set to On:

This set of radio button controls what happens when the Mix On mode is
selected and unselected (turned on and off)
<Maintain Object Modes>: In this case turning MIX ON, on and off,
will not change the control modes of any of the controls in the console.
<Set All to Read>: In this case turning MIX ON, on, after having turned
it off, will set all controls to READ.
<Set All to Read>: In this case turning MIX ON, on, after having turned
it off, will set all controls to READ.

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<Set Pre-Selector Objects to WRITE>: Any controls that are selected in

the Control Modes Pre-Selector will be set to WRITE. All others will
be set to READ.
<Set Pre-Selector Objects to TRIM>: Any controls that are selected in
the Control Modes Pre-Selector will be set to TRIM. All others will be
set to READ.
Mode Enable sets non-selected to READ:
Normally you can use the Pre-Selectors in combination with the Control
Mode activators to set various control types into different Control Modes.
For example, you could select FDR (only) and hit WRITE and the faders
will all go into WRITE. You could then hit CLR and ENCoders and then
hit TRIM and the knobs will be in TRIM, while the faders are in WRITE.
This is very flexible and useful, but if you want to ensure that only specific
controls are in a specific mode (like making sure that the Faders are in
WRITE and everything else is in READ), you would have to select all the
Pre-Selectors (or Hold down the CLR/ALL key) and hit READ. Then select FDR and Hit WRITE. However, when this option is set, you are always assured that when you hit an Control Mode activator, all control
NOT active on the Pre-Selectors will be set to READ when the selected
controls are set to the activator mode. For example, if only FDR selected
on the Pre-Selector and the TRIM activator is hit, it is assured that every
control other than faders will automatically be set to READ mode.

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5.21.3

Glide

Glide at Punch-Out:

When a control is punched out of Record into Playback the control will
glide from the punch-out value to the read mix value over the time period
as set by the Glide Time setting. The system attempt to recalculate the
glide vector after each frame so an attempt is made to have the actual glide
duration match the set glide time as closely as possible. However, if the
read data is approaching the gliding control quickly, the glide duration
may be shorter than the actual setting. In no cases will the time be longer.
This behavior is consistent with good mixing practice.
The punch-out glide will take place if the control is punched out
While timecode is running (glide takes place in real-time)
As a result of Timecode being stopped (glide takes place in the post
process)
And even if timecode is stopped in the middle of the glide (glide takes
place partly in real-time and partly in the post process). This is a great
feature because there are many times when a machine (TC) is stopped
by one mixer just after another mixer has punched out and a glide has
begun. In this case the glide will occur unscathed!

Glide at Next Change:

Date printed: 27.08.03

When an old Read Mix data record is encountered for this control, a glide
begins at that point and extends for the duration of the glide time (of
course this assumes that the option is set and that the Master Glide Button
is active at the time of the next change).
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Glide at End:

When the end time occurs (either in real time or as part of the post processing) a glide begins. The glide starts at the end time if set to End of Mix
or a Fixed timecode. If the glide takes place during the post process (after
the mix pass is ended) then the Master Glide Button must be active at the
time that the Mix pass is stopped. If End is set to end of time, no glide occurs. (Also see Back Time option below.)

Glide at Write Zone End:

If the Write Zone is active then a glide will occur at the Write Zone End
time either in real time or as part of the post process (subject to the state of
the option and the Master Glide Button. (Also see Back Time option below.)

Glide at Beginning:

If the Extend Back To: Begin is active, then a glide will occur at the begin
time (beginning of Mix or a user-input TC) as part of the post processing
(subject to the state of the option and the Master Glide Button)

Glide at Punch-In:

If the Extend Back To: Punch In is active, then a glide will occur at the
Punch-in time as part of the post processing (subject to the state of the option and the Master Glide Button at the time of Punch-in).

Back Time Glide

(applies to End
and Write Zone
End only):

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If this option is set, then the glide will begin such that the glide ENDS at
the End or Write Zone End time rather than beginning at that time. This
back times the glide so the data beyond the end time (or write zone end
time) is perfectly preserved and match BEFORE the transition point.

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5.21.4

Hold

Held Plays Mix:

<Disable While Touched>: When HELD PLAYS MIX on the AutoTouch+

Panel is active channels that are Held, do not play their held auditioned
values, but play the Read Mix values instead. When this option is set,
touching a control at this time disables this feature and allows a new audition (punch) value to be established by being able to listen to the Audition
audio. If this option is unchecked, the Held Plays Mix function is not overridden and the Read Mix continues to be heard.

Clear Held Objects:

<When Touch Hold Turned Off>: TOUCH HOLD (on the AutoTouch+
Panel) may be turned on and off during the course of a Mix pass. This options affects whether Held controls are cleared of their held status when
The Touch Hold mode is changed from On (active) to Off. If the option is
not selected, then changing the state of Touch Hold will have no effect on
Held controls.
<Upon Punch Out>: Touch Hold is used for a variety of purposes. Sometime a write value needs to be held (so that un-touching the control while
Touch Record is engaged does not punch it out of record), just until the
control is punched out of record. At that point the control would return to
playing back the Read Mix. With this option set, that is how the behavior
would work. However, sometimes you will want to punch-in to that same
held value later in the mix pass, even after you have punched out for this
section of the mix. By deselecting this option the behavior will allow for
this operation. The held value will remain until it is cancelled by other
means. The new Mix Pass will, of course, not be affected.

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5.21.5

Master Panel
This option page allows you to over-ride certain settings of the system that
are normally controlled by the AutoTouch+ Panel. This allows for the
AutoTouch+ Panel to control functions for certain types of controls while
allowing other types of controls to remain in specific modes or be blocked
by them.

Touch Hold:

Faders/Encoders:
<Follows Panel>: Faders and Encoders (knobs) will follow the settings of
the AutoTouch+ panel in regards to Touch Hold.
<On>: Faders and Encoders (knobs) will always be in Touch Hold mode
regardless of the settings of the AutoTouch+ Panel.
<Off>: Faders and Encoders (knobs) will never be in Touch Hold mode
regardless of the settings of the AutoTouch+ Panel.
Switches:
<Follows Panel>: Switches (keys) and Selectors (keys or knobs) will follow the settings of the AutoTouch+ panel in regards to Touch Hold.
<On>: Switches (keys) and Selectors (keys or knobs) will always be in
Touch Hold mode regardless of the settings of the AutoTouch+ Panel.
<Off>: Switches (keys) and Selectors (keys or knobs) will never be in
Touch Hold mode regardless of the settings of the AutoTouch+ Panel.

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Touch Record:

Faders/Encoders:
<Follows Panel>: Faders and Encoders (knobs) will follow the settings of
the AutoTouch+ panel in regards to Touch Record.
<On>: Faders and Encoders (knobs) will always be in Touch Hold mode
regardless of the settings of the AutoTouch+ Panel.
<Off>: Faders and Encoders (knobs) will never be in Touch Hold mode
regardless of the settings of the AutoTouch+ Panel.

Switches:

<Follows Panel>: Switches (keys) and Selectors (keys or knobs) will follow the settings of the AutoTouch+ panel in regards to Touch Record.
<On>: Switches (keys) and Selectors (keys or knobs) will always be in
Touch Hold mode regardless of the settings of the AutoTouch+ Panel.
<Off >: Switches (keys) and Selectors (keys or knobs) will never be in
Touch Hold mode regardless of the settings of the AutoTouch+ Panel.

Extend Back To Begin Time:

Faders/Encoders:
<Follows Panel>: Faders and Encoders (knobs) will follow the settings of
the AutoTouch+ panel in regards to Extend Back To Begin Time.
<Off>: Faders and Encoders (knobs) will be blocked from entering Extend
Back To Begin Time regardless of the settings of the AutoTouch+ Panel.
Switches:
<Follows Panel>: Switches (keys) and Selectors (keys or knobs) will follow the settings of the AutoTouch+ panel in regards to Extend Back To
Begin Time.
<Off>: Switches (keys) and Selectors (keys or knobs) will be blocked from
entering Extend Back To Begin Time regardless of the settings of the
AutoTouch+ Panel.

Extend Back To Punch-In:

Faders/Encoders:
<Follows Panel>: Faders and Encoders (knobs) will follow the settings of
the AutoTouch+ panel in regards to Extend Back To Punch-In.
<Off>: Faders and Encoders (knobs) will be blocked from entering Extend
Back To Punch-In regardless of the settings of the AutoTouch+ Panel.
Switches:
<Follows Panel>: Switches (keys) and Selectors (keys or knobs) will follow the settings of the AutoTouch+ panel in regards to Extend Back To
Punch-In.
<Off>: Switches (keys) and Selectors (keys or knobs) will be blocked from
entering Extend Back To Punch-In regardless of the settings of the AutoTouch+ Panel.

Extend Back To Punch-In Selects

Write to Punch-out:

In many cases it is desirable to audition a level and have that final determined level be written from the punch-in to the punch-out time. This is
sometimes referred to as writing to a region. In AutoTouch+ this is accomplished by setting both the Extend Back To: Punch-In as well as Write To:
Punch Out. Because this combination is selected so often, this options
automatically selects Write To: Punch-Out whenever Extend Back To:
Punch-In is selected. It is simply a convenience and ensure that when you
wish to write to a punch-in/out region it is set properly. If you wish to set
Extend Back to Punch-In with a different Write To selection you can simple select a different Write To selection after Extend Back to Punch-In has
been selected (or do not set this option).

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5.21.6

Panel Presets (D950 only)

This option page controls the action of the A through D AutoTouch+ Panel
Presets.

First Time Automation is

Turned On:

This determines which preset will be loaded when the MIX ON key is
activated for the first time only. Subsequent cycling of the MIX ON key has
no affect on the Panel Presets.
<Load Preset A>: When the system is first turned on, AutoTouch+ Panel
Preset A is loaded.
<Use Last Setting>: When the system is first turned on, no Preset will be
loaded. The AutoTouch+ Panel will be set in the same state as when the
system was last shut down.

When Loading a Preset:

<Maintain Control Modes>: When a Preset is loaded, do not change any of

the Control Modes of the controls in the console.
<Set All to Read>: When a Preset is loaded, set all of the controls in the
console to READ.
<Apply Stored Control Mode>: When saving a Preset, one of the Control
Mode activators is always lit and stored in the Preset. When this option is
set, upon loading the Preset, that stored activator mode will be applied to
all controls based on the settings of the Pre-Selector (which were also
stored).

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5.21.7

End Of Pass
The End of Pass options determine the behavior of specific functions when
a Mix Pass is terminated by stopping timecode. At the end of a Mix Pass
each of the options control this behavior in the following manner.

End of Pass Clears:

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<Record>: If any controls are in record when the mix pass is ended they
will be punched out of record if this option is set.
<Write To End>: Because Write To End is a very destructive feature (although very much used and useful), this option ensures that it is only used
for one pass and Write to End Reverts to Punch-In at the end of a Record
Pass. There will be no effect by a play pass (which is the case with all of
these options).
<Extend Back to Begin>: Like Write To End, this destructive function can
be set to be cleared after a Record pass has been written.
<Extend Back to Punch-In>: Same as above.
<Held Objects>: There are times when you want to hold objects (in record
or audition) and have them revert to playing the Read Mix data when the
next pass is run. And there are time when you want to audition a level and
then run the pass again to do the actual record pass. In this case, by unchecking this option the controls can be held across passes.
<Only if Touch Record Active>: When checked, End of Pass will clear
the items above only if Touch Record was active.

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5.21.8

Miscellaneous
This option page contains options not addressed elsewhere.

Protect Static:

<When Stopped>: Changes to Static objects will be ignored unless the

system is Mixing (timecode running or stop frame mode).
<For Protected Controls>: When a control is protected (out of scope)
changes to the control will not be stored as Static values. They can be
auditioned and will return to their stored value when a new Mix Pass is
started.
<For Non-Automated Controls>: Changes to Non-Automated objects (like
Pan Format) will not be stored as Static values. They can be auditioned
and will return to their stored value when a new Mix Pass is started.
<From Kill Pass>: Stored Static values are not affected by Kill Pass operations.

Modified Un-touch Inverts:

<Touch Record>: The AUTO MODE key acts as a modifier key for certain
functions. For example, if the modifier key is held when an enabled control is touched, the control will or wont go into record based on the inverse of the setting of the Touch Record function (of the AutoTouch+
Panel). Normally, when this radio button is selected, when un-touching a
control, if the modifier key is held, the Touch Record functionality is again
reversed.
<Touch Hold>: By selecting this option, when un-touching a control, the
effect of Touch Hold is reversed rather than that of Touch Record.

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Locate System on Standing Code:

<Never>: AutoTouch+ will never locate to a standing timecode location.

<Always>: AutoTouch+ will always locate to a standing timecode location.
<After>: AutoTouch+ will locate to a standing timecode location after the
time specified by the millisecond pull-down menu.

Other Miscellaneous Options:

<Read Safe>: Normally when a control is moved its changed value is able
to be auditioned, and then it snaps back to the Read Mix value (unless
Touch Hold is active). When this option is set, any controls in READ
mode will NOT be able to be auditioned, they will always follow the read
mix value regardless of the physical or virtual control position
<Disable Trim Replay>: When this option is selected, faders will NOT
play back any recorded Trim data. Note that this has no effect on the mix
values that are being played from the read mix. Only that the faders will
not track the any previous Trim values that were recorded. The Read Mix
values already contain the effects of any previously recorded TRIMs. So
this only affects how the faders respond when they are in TRIM enable
mode. Also note that TRIM replay is only available on faders.

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5.22 GC Automation Menu

The GC Automation menu contains several items used in the operation of
AutoTouch+. These menu items are referenced throughout this document
and are explained briefly below.

New Mix Tree:

Selecting New Mix Tree from the Automation menu opens the New
Mix Tree dialog window. A new Mix Tree may be created using this window.

Open Mix Tree:

Selecting Open Mix Tree from the Automation menu opens the Open
Mix Tree dialog window. An existing Mix Tree may be opened using this
window.

Load Mix:

Selecting Load Mix from the Automation menu opens the Load Mix
Into Tree dialog window. An existing Mix from any Title may be loaded
into the current Mix Tree using this window.

Make/Save Pass:

Selecting Make/Save from the Automation will generate a new Mix

Pass. This is useful when its desirable to save updated Static values without having to perform a RECORD pass.

Edit Mix Pass:

Selecting Edit Mix Pass from the Automation menu opens the OFLA
offline mix editor. The Active Mix Pass control values and locations may
be edited.

Event List Editor:

Selecting Event List Editor from the Automation menu opens the offline
Event List Editor. The locations of the Active Mix Pass control changes
may be edited.

Clear Trim Replay Data:

Selecting Clear Trim Replay Data clears the Trim Replay Data for the
Active Mix Pass.

Save Mix Options:

Selecting Save Mix Options from the Automation menu opens the Save
User File As dialog window. A new User and or User File may be created
using this window. User Files contain Mix Options and AutoTouch+ Panel
Presets.

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Load Mix Options:

Selecting Load Mix Options from the Automation menu opens the Load
Mix Options File dialog window. Any existing User File may be loaded
using this window. User Files contain Mix Options and AutoTouch+ Panel
Presets.

Protection:

Selecting Protection from the Automation menu opens the Automation Protect control window. Protection may be applied to any set of controls using this window.

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5.23 Hot Keys

V3.0 software supports a variety of Hot Keys (shortcut keys) that improve efficiency when operating the system. These Hot Keys assist in the
management of timecode entry and information.
Note:

Hot Key Functions:

This chapter assumes that the appropriate window or entry box is active.
Appropriate fields or sections of fields are highlighted, and/or the cursor is
placed appropriately.
Hot Key functions are described in the table below.
Key
Right Arrow
Left Arrow
Shift Right Arrow
Shift Left Arrow
B, b
E, e
Space, t or T
G or g
C or c
P or p
R or r
M or m
S or s
L or l
Shift Space
Home
End
Shift Home, End
Single Click
Double Click
Delete
Up Arrow
Dn Arrow
Pg Up
Pg Dn
Digit

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Function
Next Field to the Right
Next Field to the Left
Extend Selection one Field to the right
Extend Selection one Field to the left
Captures the current mix start time
Captures the current mix end time
Captures current system time
Goto.. locates the system to the time in the control
Copies the FOD to a special copy buffer
Pastes the FOD from the copy buffer
Clears the timecode to 00:00:00:00
Clears the Most Recently used Timecode List
Toggles the Sorted view of the most recently used timecodes in
the context menu
Toggles the locking state of the most recently used Timecode List
(accept or dont accept further changes taken)
Selects all fields
Selects Hours field
Selects Frames field
Extends selection appropriately
Selects Field
Selects All fields
Zeros out selection
Bumps Selected Field Up (if more than one field is selected it will
bump by the right most field and keep the selection active)
Holding Shift puts it into X10 Mode.
Bumps Selected Field Down (if more than one field is selected it
will bump by the right most field and keep the selection active).
Holding Shift puts it into X10 Mode.
Bumps Selected Field Up by 10 (if more than one field is selected
it will bump by the right most field and keep the selection active).
Bumps Selected Field Down by 10(if more than one field is selected it will bump by the right most field and keep the selection
active)
Places the selected fields into edit mode. All unselected fields will
be grayed to indicate edit mode. Once in edit mode, all digits
entered will shift previous digits to the left. Most non-digit keys
and trackball click activity will leave edit mode. When leaving edit
mode the new timecode is checked for validity.
Continued...

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Key
. (Period)

+/ (on numeric or
normal keypad) also
= is handled as + so
Shift doesnt need to
be held.

Ctrl and Left Trackball Button and

Vertical Trackball
Move

Enter
Esc or U

Function
If in edit mode and the frames field is included in the selection it
will try to justify the entered digits to the seconds field if sufficient
space is available. Then it will leave edit mode on the previous
selection and put the frames field in edit mode.
If in edit mode but the frames field was not in the selection it will
leave the digits entered as is. Exit enter mode on the previous
selected fields and enter edit mode on the frames field.
If not is edit mode it will select the frames field.
Used for Offsetting the timecode by another timecode. Brings up
a new timecode edit box under and offset from the parent box.
The Parent box goes gray. An offset can be entered into the new
edit box. All normal editing can be used in the new box (bumping,
scrolling etc) except for +,. The offset can be applied to the
original timecode by pressing Enter, + or . Pressing enter will
apply the offset, either adding or subtracting it based on the key
used to initiate the process. Pressing + will add it (irregardless of
the key used to initiate), pressing will subtract it (irregardless of
the key used to initiate). Pressing esc will cancel the action.
Clicking outside the offset entry box will also cancel the action.
The offset entry box will allow frames to be entered up to 99 if the
HH, MM and SS fields are all 0 for bumping by up to 99 frames.
Enters Scroll Mode. The Control key is the modifier to enter scroll
mode. Once in scroll mode the control key can be released.
Scrolls the Field clicked on, wrapping into higher order fields.
When the field and all higher order fields are 00s or Max Values
the scrolling is stopped (i.e. 0 wrap is prevented). Pressing and
holding the shift key while scrolling enables 10x scrolling as long
as the shift key is held.
Commits to the Edited Timecode
Cancels all changes to the timecode since the last Commit

Timecode Entry Validation:

When free form entry of timecodes is performed, after all digits are entered or the selected field is changed, the entered data is validated. If there
are invalid digits for the type of timecode, the highest order invalid field is
highlighted and the text color goes red. At this point no operations are allowed until the timecode is corrected. Since the field in error is highlighted
direct entry for correction is easy.

Commit/Cancel:

The timecode editor keeps two timecodes during editing, the committed
timecode and the working timecode. As you bump, offset, enter digits, etc.
the working timecode gets changed. Hitting Enter or leaving the edit box
(i.e. the edit box loses focus) commits the edits. If after making changes,
even in the middle of entering digits or with invalid timecode displayed in
red, you can press ESC to cancel the changes and go back to the original
timecode.

Up to 99 frame offset:

When offsetting, the add/subtract editor window will allow frames to be

entered up to 99 if the hh, mm and ss fields are all 0. For example if you
wanted to offset the timecode 1.5 seconds at 30 fps you could either press
+, 1, 1, 5, Enter for adding 1 second 15 frames, or press +, 4, 5, Enter for
adding 45 frames.

Remainder:

When converting from FODs to Timecode Strings there is the possibility

of a remainder. There are roughly 100 FODs per frame. If an FOD is converted to a string and the string converted back to an FOD, any FOD between the start of the frame and the original FOD would be lost. For example, frame 00:00:00.01 starts at FOD 103. If FOD 105 is converted to

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the string 00:00:00.01 and the string converted to an FOD the result would
be 103, loosing two FODs in the process. During various operations like
bumping or offsetting, the timecode conversion routine keeps track of the
remainder automatically. Basically, having a remainder means that the
FOD does not exactly equal the beginning of the frame represented by the
timecode string. The following table illustrates the rules regarding when
remainders are saved and when they are lost.
Action
User Enters any Timecode Digits
User Captures Current Time
Offsets
Bump/Scroll
Drag/Drop

Intellibump:

Remainder
No, FOD exactly matches string entered
Yes
Yes
Yes
Yes

When scrolling or bumping drop frame code to an invalid timecode the

control automatically adjusts to the next valid timecode. For example, if
bumping seconds up two times to achieve a 2 second offset from
00:10:59.00 to 00:11:01.00, the first bump one from will result in
00:11:00.00. This is invalid during drop frame counting so the control
automatically sets it to 00:11:01.00. The second bump would normally
bump 1 second from the previous value, which would yield 00:11:02.00.
This is not what was desired.
The control keeps track of artificial frame bumps required to keep true to
the drop frame counting sequence and automatically re-compensates when
possible. This re-compensation is attempted until the timecode is committed or some other action besides bumping or scrolling the particular field is
performed. In the above example, the second bump performed would actually yield 00:11:01.00 since the control would re-compensate for the two
frame bump required to keep the drop frame rules.

CREDITS
Written by:

Daniel Pfeifer
Associate Professor of Recording Industry
Middle Tennessee State University
This chapter was written with consultation and direction from Michael
Tapes. Additional editorial input provided by (in alphabetical order): Alex
Duggan, Jamie Dunn, Stephan Ledergerber, Peter Marone, Tibor Tamas,
and Tonstudios Z.

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CHAPTER 7
7

Session Configuration Tool (Option) ............................................................................................................................ 7-3

7.1
Installation ................................................................................................................................................................ 7-3
7.1.1
Where to Install ................................................................................................................................................ 7-4
7.1.2
How to Install ................................................................................................................................................... 7-4
7.2
Introduction .............................................................................................................................................................. 7-7
7.2.1
Features & Benefits .......................................................................................................................................... 7-7
7.2.2
The Concept of a Virtual Mixing Console (VMC)........................................................................................... 7-9
7.2.3
The Practical Side........................................................................................................................................... 7-11
7.2.3.1 Data Compatibility ..................................................................................................................................... 7-12
7.3
The Fast Lane Try it!........................................................................................................................................... 7-13
7.3.1
Do Your Own Use Existing or Start from Scratch? .................................................................................... 7-13
7.3.1.1 Use an Existing VMC................................................................................................................................. 7-13
7.3.1.2 Start from Scratch....................................................................................................................................... 7-14
7.3.2
Generate the D950/Vista Configuration Files ................................................................................................ 7-15
7.3.2.1 Does my Console Have Enough Power? .................................................................................................... 7-19
7.3.3
Generate the Core File.................................................................................................................................... 7-20
7.3.4
Transfer the Files to the Console.................................................................................................................... 7-22
7.4
Detailed Tutorial..................................................................................................................................................... 7-23
7.4.1
Set Your own Workspace............................................................................................................................... 7-23
7.4.2
Set the Sampling Frequency ........................................................................................................................... 7-24
7.4.3
The Channel/Bus Page ................................................................................................................................... 7-24
7.4.3.1 Add / Edit Channels.................................................................................................................................... 7-25
7.4.3.2 Function Library......................................................................................................................................... 7-27
7.4.3.3 Add / Edit Buses......................................................................................................................................... 7-28
7.4.3.4 Special Configuration Functions: MultiDesk and Stems............................................................................ 7-30
7.4.3.4.1 The Concept of MultiDesk Control Groups (D950 only)..................................................................... 7-30
7.4.3.4.2 The Concept of Stems .......................................................................................................................... 7-33
7.4.4
The Interface Page.......................................................................................................................................... 7-35
7.4.5
The Core Page ................................................................................................................................................ 7-39
7.4.6
The Shared Functions Page ............................................................................................................................ 7-40
7.4.7
The Session Configuration Tool Menu and Toolbar ...................................................................................... 7-40
7.4.7.1 The Toolbar ................................................................................................................................................ 7-40
7.4.7.2 The File Menu ............................................................................................................................................ 7-41
7.4.7.3 The Edit Menu............................................................................................................................................ 7-41
7.4.7.4 The View Menu.......................................................................................................................................... 7-41
7.4.7.5 The VMC Tree View.................................................................................................................................. 7-42
7.4.7.6 The Generate Menu .................................................................................................................................... 7-44
7.4.7.7 The Options Menu...................................................................................................................................... 7-46
7.4.7.8 The Window Menu..................................................................................................................................... 7-46
7.5
Maintenance ........................................................................................................................................................... 7-47
7.5.1
Managing the Files Which File is Where? .................................................................................................. 7-47
7.5.2
The D950CfgTool.ini File .............................................................................................................................. 7-47
7.5.2.1 Example of a Core Knowledge File............................................................................................................ 7-47
7.5.3
Troubleshooting.............................................................................................................................................. 7-54
7.5.3.1 Errors and Warnings During Generate Process / In Log File..................................................................... 7-54

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SESSION CONFIGURATION TOOL (OPTION)

The Studer D950 and Vista Digital Mixing Systems may be easily reconfigured using the optional Session Configuration Tool. Whereas the ability
for reconfiguration is a great feature of the Studer D950/Vista, it is important for an operator to fully understand the Session Configuration Tool and
its functions. There is no safeguard functionality to prevent someone from
configuring a console without e.g. the summing buses and in such a case,
the console may not function properly.
Functions, features, and appearance of the Session Configuration Tool may
be changed by modifying the software. For this reason the operation of the
tool and its parts as described in this manual may be slightly different from
your version.
Information contained in this chapter has been carefully checked and is
believed to be correct and complete. But as we all know, everybody makes
mistakes, and we are not immune either. If you detect a mistake, please
write or send an e-mail to the address printed on the cover. We will be
grateful for your feedback. No responsibility is taken for any inaccuracies,
errors or omissions, nor is any liability assumed for any loss or damage resulting either directly or indirectly from use of the information contained in
the manual and any accompanying documentation.

7.1 Installation
Note

A good level of understanding PC basics is assumed for this installation.

You may need to copy files between various media and create subdirectories. You will be required to edit a simple .ini file to adjust the environment
of your PC. Please have an instruction manual for the Windows version
you are using at your disposal if necessary.

Environment

The Session Configuration Tool will run under Microsoft Windows 95, 98,
2000, or NT 4.0 environments.

Minimum Requirements

The Session Configuration Tool requires the following minimum environment to run properly:
Windows 95, 98, 2000 or Windows NT 4.0
Pentium processor, min. 200 MHz recommended
32 (preferably 64) MB of RAM
Display resolution 1024x768

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7.1.1

Where to Install
The Session Configuration Tool may be installed on:
The Studer D950/Vista Control PC
Any other PC, provided that above requirements are met
We recommend installation on a PC different than the D950 or Vista control PC. The program requires a lot of processor power while it is compiling. Whilst it will run without any problem in a multitasking environment
with multiple programs running at the same time, its performance may be
considerably slowed down under such circumstances. If speed is essential,
we recommend running the Session Configuration Tool alone on a PC.
In some cases, the Studer D950/Vista Digital Mixing System may be delivered with the Session Configuration Tool already installed.

7.1.2

How to Install

Installing from a Compressed File

If you have obtained the Session Configuration Tool in compressed form,

you will start by copying the file (usually called D950Cfg.exe) into the target directory and then running the self-extracting file. This will decompress
the original files and create the necessary directories for you.
You need to extract the original files into a root directory of a drive (C, D,
E, ...) on your PC. Please make sure that the :\ADI_DSP directory has
been placed directly under the root of your selected drive as indicated
above, otherwise the Configuration Tool may not work properly.
Now please proceed with the instructions found in the paragraph Check
the installation below.

Check the Installation

Check the Results:

C:\D950cfg

Please use the Windows Explorer to check the results of your work now.
The following (or similar) file structure should now be found on your target PC (assuming C was selected as the target drive):
\tmpFiles\(subdirectory)
\aryymmdd.ach
\CoreFuncyymmdd.lib
\CoreFunc96kyymmdd.lib
\D950CfgTool.exe
\mnyymmdd.exe
\rtyymmdd.a

contains temporary files

DSP Proc. Element architecture file
48k DSP source code library
96k DSP source code library
the Session Configuration program
executable used for the core files
DSP RTOS (operating system library)

yymmdd

refers to year month day and indicates the version of the file. This
version number varies from release to release. Please refer to the release
documentation of your specific release in order to check that the files are
correct.

C:\ADI_DSP\21K\Bin

\asm21k.exe
\go32.exe
\ld21k.exe
\lib21k.exe

Sharc
Sharc
Sharc
Sharc

C:\ADI_DSP\21K\Etc

\a21000.exe
\cpp.exe

Sharc assembler file

Sharc assembler file

C:\ADI_DSP\21K\Include

\def21060.h

Sharc assembler file

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assembler
assembler
assembler
assembler

file
file
file
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Please make sure that the :\ADI_DSP directory has been placed directly
under the root of your selected drive as indicated above, otherwise the
Configuration Tool may not work properly.
C:\D950SYSTEMDB

\YourCfg\(subdirectory) any previously existing Configurations

...

The next step will be to create a Shortcut and then to set several options
within the Configuration Tool.
Create a Shortcut:

Usually the fastest way to use a program is to create a so-called Shortcut on

the Windows Desktop. To create a Shortcut for the Session Configuration
Tool, please click on the file d950CfgTool.exe in the Windows Explorer, then use the right trackball button and drag the file to the desktop.
Now you are ready to run the Configuration Tool for the first time.

Start the Program:

Double-click on the shortcut. There will probably be an error message UnThis is because the .ini file options have
not yet been set. Quit the message and the Session Configuration Tool
screen will appear.
able to open file: xxxx.

Set the Options:

Click on the menu item Options and then on Directories/Files. The

following setup screen will appear:

Here the names of directories and appropriate files that you have just copied have to be entered. The above graphic shows the files used for software
version 3.1.02. Since those may vary for every installation and software
version, you will now need to update these entries by using appropriate file
names and paths, as installed on your system. The Browse button can be
used to select the appropriate file, except for the following two entries:

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Temp Files Path, and

Config Path,
for which the appropriate paths must be entered manually; they must be followed by a backslash (\) sign.
After making the appropriate entries please click OK to finish the preparations and to store the edited D950CfgTool.ini file automatically. To
learn more about the use of the .ini file, please refer to chapter 7.5, Maintenance.
Test the Installation:

Now that you have installed all files and set the basic options, you can
proceed to test the whole installation, by generating an empty configuration. This empty configuration is loaded per default after starting the application.
Select the menu item Generate and then All. This will start the process
of generating the DSP and control software that is needed to run a new
Session Configuration on your console. Various messages will be displayed, and after a while, a message similar to the following one should
appear:

After the message Build All finished successfully !! appears, click on

OK to finish the successful installation and test procedure.

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7.2 Introduction
7.2.1

Features & Benefits

The D950/Vista DSP Concept

The concept of the Studer D950/Vista allows to use multiple DSP processors in a fully scaleable and configurable way. It is possible to specify the
power of the DSP core in fine steps in order to fulfil the exact need of an
application. It can be said that the Studer D950/Vista has a scaleable DSP
resource pool of computing power, which can be used in many different
combinations.

Session Configuration

So the concept of the Session Configuration was born which allows to

create many completely different mixers that can run on the same existing
hardware. The operator is now able to choose the ideal mixer for the task
he or she wants to work on.
For this, the Session Configurations can be loaded and the Studer
D950/Vista console is restarted in a matter of seconds. Each Session Configuration can contain a different console configuration based on the available DSP power. In the ever-changing studio environment, it is now possible to have a new mixer every day:

Day 1
Live Broadcast Configuration

Day 2
Multitrack Recording Configuration

48 Mono Input Channels with

EQ
Delay

48 Inline Channels with

EQ in monitor path
Comp/Lim/Exp/Gate in input path
Delay

24 Stereo Input Channels with

EQ

4 Stereo Input Channels with

EQ

0 Routing buses
8 Groups with
EQ
2 Master Outputs with
Output Limiter
EQ
8 Mono Auxiliaries
2 Stereo Auxiliaries
12 Cleanfeed buses

Day 3
Mixdown Configuration
96 Mono Input Channels with
EQ
Delay
Comp/Lim/Exp/Gate
IPL
Surround PAN

48 Routing buses

4 Stereo Input Channels with

EQ
8 Routing buses

0 Groups

16 Groups

4 Master Outputs

8 Master Outputs

4 Mono Auxiliaries
4 Stereo Auxiliaries
0 Cleanfeed buses

12 Mono Auxiliaries
4 Stereo Auxiliaries
0 Cleanfeed buses

Channel Types

All channels within the DSP core can be configured as Mono or Stereo
channels. The number of channels for any channel type is defined through
the Session Configuration. Moreover, any channel type can be fitted with
the available function blocks from the processing library. So EQ, Delay, or
Dynamics can be fitted to Input Channels, but also to Group Channels,
Master Channels or Auxiliaries in any number and combination. Any combination of Auxiliary, Cleanfeed, Multitrack Routing, Audio Subgroup and
Master Buses can be configured in the system.

DSP Boards

The Studer D950/Vista system can contain 5 board types.

PE DSP board with 6 DSP processors
PEAES DSP board with 6 DSP processors, 8 AES/EBU inputs (2 of
which with SFC) and 8 AES/EBU outputs
MADI I/O board with 2 MADI inputs and 2 MADI outputs
PE D21m board with one D21m input and one D21m output
MEMNET board for communication and control

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The system must contain one communication and control board called the
MEMNET board.
The total number of boards in any combination can be 21 at the maximum.
System Size & Numbers

The size and power of the system is defined by the number of DSP processors and I/O boards installed. The total DSP power can be compared to a
large bucket full of water (Installed DSP Capacity). The contents of the
large bucket can be distributed to four small buckets (channels with fader +
EQ) or to only two medium-sized buckets (channels with fader + EQ +
Dyn + Delay + 3D-PAN...).

DSP

Installed DSP capacity

FADER,
EQ

FADER,
DYN

FADER,
INS

FADER,
EQ

Channels

Channels

Channels

Channels

FADER, EQ,
DYN, DELAY,
3D-PAN,
48-TRACK,...

FADER, EQ,
DYN, DELAY,
3D-PAN,
48-TRACK,...

Channels

Channels

So, the number of available channels depends on two things:

Total installed capacity (1...20 DSP boards)
Load required by each of the channel types and their quantity.
To complicate matters slightly, the total number of channels also depends
on the number of summing buses and the number of physical I/O interfaces. To illustrate this, we can look at 3 different ways to use the same installed DSP power.

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Input & output

interfaces

All 3 configurations use the same DSP capacity

max.
800

96 mono input channels, 16 output channels, 900 I/Os

400

128 mono input channels, 24 output channels, 48 Tracks, 350 I/Os

200

256 mono input channels, 24 output channels, 150 I/Os

100

Console DSP channels

(inputs, groups, AUXes,
masters ...)
0

100

200

max.

The Session Configuration Tool will tell you exactly how many DSP and
I/O boards you will need in order to run a certain configuration defined by
the number and type of channels, the number of summing buses, and the
number of physical I/O interfaces. As a consequence, there is no finite
maximum number of channels on the Studer D950/Vista the maximum
can be anywhere between 100 and 300 channels.

7.2.2

The Concept of a Virtual Mixing Console (VMC)

The Studer D950/Vista Digital Mixing System bases its operation on the
concept of a Virtual Mixing Console (VMC). The VMC is a software
structure that runs on the Studer D950/Vista control PC and consists of two
parts:
Console configuration (structure)
Current audio settings of the console (data)
Structure

The VMC describes all the parameters of a certain console configuration,

such as the number of input channels, the number of multitrack buses,
whether there is EQ on each channel, etc.

Data

Moreover, the VMC is a real-time data container that keeps the current
settings of a console, such as input channel 13 EQ gain = +12 dB, master 4 fader = 10 dB, etc. The VMC will only keep data for the channels
and console parts that are defined in the structure part of the VMC. Active
controls on the console, such as the faders, rotary encoders, pushbuttons
and the GC keyboard/trackball control, but also the Snapshot system and
the AutoTouch+ Automation system can write data to the VMC. Other
console parts, such as lamps, displays, and the GC screen can read data
from the VMC and display them. It can generally be said that almost all
settings and conditions of the Studer D950 and Vista console are a part of
the VMC.

Make and Edit a Configuration

The Session Configuration Tool can be used to make a new configuration,

or to edit an existing one. This is the first part of the process of preparing a
VMC for the Studer D950/Vista console. That part is done off-line, even if

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the Configuration Tool is running on the Studer D950/Vista Control PC.

The results of this part are:
A meta VMC file (*.vmc) the definition of the console structure
A DSP core file (*.cor) software that tells the DSP core what to do
Configuration knowledge file (*.ckf) defines the distribution of the
processes among the boards of the core, and stores other configuration
relevant information.
Use a Configuration

When we operate the Studer D950/Vista console, we speak of loading a

configuration. This means loading the meta VMC file to the memory of
the Studer D950/Vista Control PC. This process will remove the current
file from the Studer D950/Vista memory and load a different one. The
Studer D950/Vista Control software will then, based on information contained in the new files, run a VMC that corresponds to the information
from the meta VMC file. It will also remove the current DSP core file,
replacing it with a new one, thus activating a new VMC. Now the Studer
D950/Vista is ready to work with the new Session Configuration.
There can only be one VMC that is active on the Studer D950/Vista console at any one time, but there can be multiple VMCs configured and
stored for later use. For more information on loading a configuration and
using the Studer D950/Vista, please consult the Studer D950/Vista Operating Instructions.

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7.2.3

The Practical Side

The purpose of the Session Configuration Tool is to allow creating and
modifying meta VMC files and generating the DSP files from the information contained in the meta VMC file. We call this process making a
Session Configuration. There are always two files that are the result of
making a Session Configuration:
the meta VMC file called
MyConfig.vmc
MyConfig.cor
the DSP core file called
the configuration knowledge file called MyConfig.ckf
The name MyConfig stands for any name selected by the user. The endings .vmc, .cor and .ckf are mandatory. They are automatically
created by the Tool and do not have to be typed.
It is good practice to keep all Session Configurations in the same Windows
folder, because both the Session Configuration Tool and the Studer
D950/Vista System software can be set to search in this folder automatically. The Configuration Tool will automatically create a subdirectory
(folder) with the same name as the Session Configuration, so the folder
structure may look similar to this:

Each of the subdirectory folders will contain the following files and folders
when the generation process is finished.

When editing a configuration, the old folder is generated automatically,

in order to store the last configuration.

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Both the Session Configuration Tool and the Studer D950/Vista System
software should be set to search in the folder C:\D950SYSTEMDB.
On the Studer D950/Vista System

If you are running the Configuration Tool on the Studer D950/Vista System, and the search paths are set as above, there is nothing more you need
to do in order to load a configuration. Simply switch to the Studer
D950/Vista operating system (the GC) and load a new configuration from
the GC File menu.

On a Separate PC

If you are running the Session Configuration Tool on a separate PC, you
will need to transfer the configuration files to the Studer D950/Vista control PC. Since all files are Windows files, it is a simple matter of using a
transfer medium (floppy, ZIP or even a LAN network) to transport the
files. Care has to be taken to store the files under the appropriate directory
on the Studer D950/Vista control PC as described above. The only files
that must be transferred for each configuration are:
MyConfig.vmc
MyConfig.cor

Both files must be in the same subdirectory, otherwise the Studer

D950/Vista will not be able to load this configuration. The best practice is
to always copy the whole folder <MyConfig> with both files inside and
paste it to the C:\D950SYSTEMDB directory.
It is not necessary to copy the *.ckf file. It is not used by the Studer
D950/Vista. It is generated for maintenance reasons only.
7.2.3.1

Data Compatibility
Studer D950/Vista features such as Snapshot, AutoTouch Automation, etc.
use Windows compatible files to store data. Since the contents of such files
are dependent on the current configuration, each file is internally stamped
with the Session Configuration ID. The configurations may be quite different the resulting snapshot or automation files will be different, too.
A Snapshot file made under Session Configuration A can not, therefore, be
directly recalled under a different configuration B. A function called Import must first be performed using the appropriate controls within the GC.
For more information on the Import function, please consult the
D950/Vista Operating Instructions.
Import Rules

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A simple set of rules will apply for the import:

Unnecessary data are truncated
Only items of identical type can be imported, e.g. data for mono input
channels can only come from mono input channels
If the source configuration A has 48 mono input channels and the current configuration B has only 32, just the channels 1 through 32 are imported and the rest of the source channels are ignored. When the item is
saved it will have 32 channels in it.
If the source configuration A has 32 mono input channels and the current configuration B has 48, just the channels 1 through 32 are imported
and the rest of the current channels are ignored. User can edit and save
channels 33-48 manually. When the item is saved it will have 48 channels in it.
The same rules apply to the existence of processing blocks (EQ, Dynamics, etc.).

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7.3 The Fast Lane Try it!

7.3.1
7.3.1.1

Do Your Own Use Existing or Start from Scratch?

Use an Existing VMC
Usually the changes that need to be made to a configuration are small.
Adding two more AUXes or replacing the mono input channels by stereo
input channels may be two examples of such small changes. In such cases,
an existing *.vmc file can be loaded and modified. For the first try you can
use the *.vmc file that was delivered with your console as a starting point.
The *.vmc files can be treated in a similar way as word processing documents. They can be opened, saved, saved under a different name, moved
and deleted.
Tip

Please be careful to first save the file under a different name in order to
keep the Studer D950/Vista basic configuration intact! Use the Save As
item in the File menu.
Modifying the *.vmc file that had been delivered with your console is the
simplest way to create a configuration that will run properly on your existing Studer D950/Vista console. On your console, there are several things
that can not simply be changed by editing the configuration:
All external I/O wiring
Monitoring wiring and monitoring configuration
Number of mic preamplifiers and their wiring
Signaling (fader start, ...) wiring and configuration
It is not very likely that you will be changing any of the above all the time
that is why you will want to use the existing configuration as a starting
point for your work, without having to think of configuring the right I/O
every time.

Tip

It could be that you want to change the sampling frequency of an existing

configuration. Just hit the according button on the toolbar, and you are
done.
The Configuration Tool will prompt you about functions which are not
supported under the selected sample frequency. It says, that they are not
supported and therefore will be removed automatically.
Functions not supported under 96 kHz:
All AES interface functions
All external I/O wiring
All MADI interface functions
240 ms delay

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7.3.1.2

Start from Scratch

It is sometimes handy to find out how many DSP boards would be needed
for a certain configuration. You can always configure the mixing console
of any description by starting with an empty (New) *.vmc file. For this,
you will use the File/New menu. The approach of starting from scratch will
be useful if you do not have to modify an existing console, but are really
starting a new project.
The first thing you need to do is selecting the sample frequency. The default value is 48 kHz. The buttons on the toolbar show the selected value.
Tip

7-14 ConfigTool

If you want the new configuration to really run on your existing console,
you need to be careful to think of all the elements of a configuration
channel numbers and types, summing buses, I/O configuration, shared
functions, etc. Otherwise your new configuration may not be able to be
loaded properly on an existing console.

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7.3.2

Generate the D950/Vista Configuration Files

In this chapter, a simplified but complete configuration exercise is described. The example *.vmc file will be used as the starting point and
modified. A DSP core file will be generated. You will need to start the Session Configuration Tool first.
Open the File

Use the File/Open menu or the open folder icon in the toolbar to open
a *.vmc file.

Save VMC as...

To keep the original file intact, use the Save VMC as... command from
the File menu. Note that you do not have to type the extension .vmc. A
new folder and a new *.vmc file will be automatically created.

View the Configuration

Use the View/Channel Bus command from the menu bar to display the
configuration contents. You may want to maximise the window in order to
see all the components.
This is a display of all the configured channel types and numbers and all
the configured summing buses as well as their interconnections:

Channel types
& Numbers

Add new
Channels

Summing Bus
types & Numbers

Add new
Summing Buses

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Which Channels go
to which Buses?

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As you can see, this configuration is for a console that has:

4 mono input channels
2 stereo input channels
2 mono groups + 2 group buses
2 mono masters + 2 master buses
4 mono Auxes + 4 mono AUX buses
2 stereo Auxes + 2 stereo AUX buses
2 SOLO buses
1 stereo PFL bus
Add More Channels

Double-click on the channel area labeled Input mono. This will open an
editing dialog box which will allow you, among other things, to change the
number of mono channels:

Go to the Number of channels area and change the number from 4 to 8.

Click on OK. Now you have increased the number of mono input channels
to eight.
Edit the Stereo Input Channel

Now we will change the stereo input channel configuration and name.
Double-click on the channel area labeled input stereo. On the left-hand
side, in the area called X Bar Section, double-click on Dynamics and
on Delay 100 ms. This will remove those two functions from the stereo
input channel. Now move to the area called Library / Available Functions and double-click on Delay 240 ms. Then go to the User Label
field and type in my stereo. Click on OK.

Add More AUXes

Now we will add two more mono AUX masters. Double-click on the channel area labeled AUX mono and change the number of channels to 6.
Click on OK.

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Now you will have to adapt the number of AUX mono buses to reflect the
above change. Double-click on the area labeled Aux m Bus.
This will open a dialog that will allow you to set the number of buses to 6,
matching the new number of AUX mono channels.

Enter 6 instead of 4 and click on OK. This will add two more AUX
mono buses to the system.
Add New Group Channels

Now double-click on the channel area labeled new. This will allow you
to select a channel type and set its contents and number. Click on Channel
Attributes / Type and select Group mono.

This will select the channel type to mono group. Set the Number of channels to 2. Add 4-Band EQ from the library by double-clicking on this
item. Type in my GRP in the user label area and click on OK. This will
add two more audio groups including EQ to the configuration. Note that
you now have two sets of mono group channels with completely different
audio processing sections called my GRP and Example. Note also that
the bus connections have been extended with the small on/off boxes indicating that the two new groups will have access to Master, Solo, PFL and
AUX buses. By clicking on the on/off box corresponding to the Master
Bus, you can disable access from the new groups to the masters so they
can only be used for direct outputs.
Finished? Not quite. We still have to increase the number of Group Buses
to a total of four. Oops - the number is four already! The original configuration had two groups, but it had four group buses.
Tip

Date printed: 20.06.2007

It is legal to have more buses than corresponding channel types, as in the

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soles) are valid audio signals and can be used as such in the Studer
D950/Vista patch. They are simply summation buses which will output the
sum of all assigned inputs.
The newly edited configuration now looks as follows:
8 mono input channels
2 stereo input channels with changed processing
2 + 2 mono groups, different processing + 4 group buses
2 mono masters + 2 master buses
6 mono Auxes + 6 mono AUX buses
2 stereo Auxes + 2 stereo AUX buses
2 solo buses
1 stereo PFL bus
Check the Interfaces

We will assume that for this example, the interfacing does not need to be
changed. We will only have a look at what interfacing is available in the
configuration we just changed. For this purpose, select Interface from the
View menu.

Show & Edit

AES/EBU input
interfaces

Show & Edit

MADI input
interfaces

Show & Edit

D21m input
interfaces

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Show & Edit

AES/EBU output interfaces

Show & Edit

MADI output
interfaces

Show & Edit

D21m output
interfaces

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There are eight AES/EBU input interfaces, eight AES/EBU output interfaces, one MADI input with 48 configured channels, one MADI output
with 48 configured channels, one D21m input with 96 channels, and one
D21m output with 96 channels. This accounts for a total of 160 monoequivalent inputs and 160 mono-equivalent outputs.
Tip

7.3.2.1

Although we have been through many actions and have edited the original
configuration quite a bit, we did not yet touch on all possibilities of the
Configuration Tool. Please read on and acquaint yourself with all the details before you attempt to make a configuration and load it on your console.

Does my Console Have Enough Power?

In order to see the console statistics, now select Core in the View
menu. This will display the statistics of the channels, buses and I/Os, as
well as the occupancy of the DSP core.
Shows the mixing
console statistics

Shows the required

number and type of
DSP boards

Shows a possible
core layout overview

Shows the load on

the DSP system bus

When generating a new or editing an existing configuration, the core view

displays a rough estimation of the required DSP power, instead of the actual requirements for a previously generated configuration.

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When you edit a configuration and see that it requires more boards than
your existing core has, there are three possibilities to continue.
Generate Core and Check Again

Tip

7.3.3

To get to the real number of boards, the full Generate Core process has to
be done first, as will be explained in the next chapter. Once this is finished,
it may happen that the requirements are less then estimated, and that your
newly edited configuration could fit on the existing core.
It is always recommended to run the Generate process before deciding
whether a desired configuration will fit on a given DSP core.

Reduce the Requirements

If you do not have enough installed DSP power, you can either reduce your
configuration slightly, by reducing the number of channels or by removing
some Dynamics or EQs you do not really need, or by reducing the number
of I/Os, until the configuration matches your actual board number.

Add More Power

The other way is, of course, to plug in the additional required number of
PE or PEAES cards into the DSP rack and load your new configuration.
You can even do this with power on. You may need to add some I/O wiring on the back of the DSP rack if you are expanding the number of physical I/Os.

Generate the Core File

To generate the core file for your new configuration, simply click on the
Generate / All menu item. This starts an automatic process which will
end up with a core file being saved in the same folder as the *.vmc file.
A fairly complicated procedure called Load Balancing will try to compress
all the required components of the new configuration into as few DSP
boards as possible, and, at the same time, try to distribute the workload
evenly across all necessary DSP boards.
You can follow what is happening on the screen. Most of the information
shown on screen will also be stored into a LOG file for later viewing.
Build VMC and Processes

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The Load Balancer first generates the VMC structure and then checks the
channels, shared processes, buses, and builds a DSP library.

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Compile Processes

A DSP compiler/assembler generates all the individual DSP files needed to

perform EQ, Dynamics, Summing, etc.

First all channels and then all the summing buses are allocated to the required DSP board processors. Then the final core file is assembled from
individual components:

Finished ...

Date printed: 20.06.2007

And finally, the finished core and core knowledge files are automatically
stored. You only have to click OK to finish the whole process after the
message Build All finished successfully!.

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Tip

7.3.4

Please note that if you now display the core View, the lettering (rough
estimation) will be missing, indicating that the numbers displayed are now
the real, load-balanced ones.
The displayed warning does not mean that the configuration will not work.
The meaning of the warning will be explained in chapter 7.5.3.1.

Transfer the Files to the Console

The Core file and the meta VMC files are now ready to be used on a
D950 or Vista console.

On the Studer D950/Vista System

If you are running the Session Configuration Tool on the D950/Vista PC

and the search paths are set as described before, there is nothing more you
need to do in order to load a configuration. Simply switch to the
D950/Vista operating system (i.e., the GC) and load a new configuration
from the GC File menu.

On a Separate PC

If you are running the Session Configuration Tool on a separate PC, you
will need to transfer the configuration files to the Studer D950/Vista control PC. Since all files are Windows files, it is a simple matter of using a
transfer medium (floppy, ZIP or even a LAN network) to transport the
files. Care has to be taken to store the files under the appropriate directory
on the Studer D950/Vista control PC as described above. The only files
that must be transferred for each configuration in the above example are:
MyConfig.vmc
MyConfig.cor
Both files must be in the same subdirectory, otherwise the Studer
D950/Vista will not be able to load this configuration. The best practice is
to always copy the whole folder <MyConfig> containing both files and
paste it to the C:\D950SYSTEMDB directory.

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7.4 Detailed Tutorial

The previous chapter gives a brief run through all the basics needed to
configure a Studer D950/Vista console. We recommend reading it before
you proceed with the detailed tutorial, found in this chapter.

7.4.1

Set Your own Workspace

The Session Configuration Tool supports multiple windows. Up to now, a
single view Window was used to operate the Configuration Tool functions.
For a better overview of the configuration process, we recommend using
two windows at the same time the Channel/Bus page alternatively with
the Interface page, and the Core page in addition. This allows following the
rough estimation of the core requirements on-line, as you edit channels,
buses and interfaces.

Channel/Bus View
to work on

Core View
to check the statistics
Minimized Interface View

The last used Workspace setup will be stored when you close the Session
Configuration Tool, and will be recalled the next time you start the program.

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7.4.2

Set the Sampling Frequency

The sampling frequency can be set with the two according buttons on the
toolbar (48/96). It may be set anytime during configuration; however, it is
wise to do it first thing when editing or generating a new configuration.

7.4.3

The Channel/Bus Page

The Channel/Bus page is the main working area of the Session Configuration Tool. It allows adding new or editing existing channels, buses and
their interconnections, displaying the configured console in a matrix arrangement. It displays all the configured channel types and their functions
in a condensed way.

Channel types
& Numbers

Add new
Channels

Summing Bus
types & Numbers

Double-click
to edit

Add new
Summing Buses

How to:

Add new channels

Add new buses
Edit channels
Edit buses
Assign/Deassign buses

7-24 ConfigTool

Which Channels go
to which Buses?

Double-click on new in the channel area

Double-click on new bus in the bus area
Double-click on an existing channel type in the channel area
Double-click on an existing bus type in the bus area
Double-click on the On/Off button where the channel and bus cross. All
channels of the selected type will have access to all buses of the selected
type if the button is set.
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7.4.3.1

Add / Edit Channels

Add New Channels
Edit Channels

Double-click on new in the channel area of the Channel/Bus page.

Double-click on an existing channel type in the channel area of the Channel/Bus page.
Both actions will open the Add Channel dialog box that allows editing
all the entries for new or existing channels.

Current Channel

Select type / number

Available Channel functions

Double-click to
add functions
Select:
Channel type
Enter a label
Enter the number

Double-click to
remove functions
Add / remove
functions

Select Channel Type

Date printed: 20.06.2007

Click on the box to display the available channel types. Currently, the following channel types are available:
Mono Input
Mono Multitrack Input
Mono Multitrack Monitor Input
Mono Group
Mono Master
Mono AUX Master
Mono Reverb
Mono Control Master
Stereo Input
Stereo Group
Stereo Master
Stereo AUX Master.

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All channel types correspond to similar channels of an analog console.

Each channel will be assigned to a channel strip on the Studer D950/Vista
Desk upon loading of the configuration. AUX mono and stereo masters are
treated as normal channels in this respect. On selection, a set of factory default functions will be loaded to the Channel Structure area, depending on
channel type.
Mtrk Input / Monitor (D950 only)

These channel types largely correspond to what is known as in-line

channel. They have a very similar structure as input channels, and the only
major difference is in the way they are both assigned to the D950 desk. The
Mtrk Monitor channel is always automatically assigned to the upper layer
of a bank, and the Mtrk Input channel to the lower layer. This simulates an
in-line desk layout. Please refer to the corresponding chapter in the Studer
D950 Operating Instructions for more information on the Desk layer/bank
concept.
The Vista knows no such rule.

Control Master

The Mono Control Master is a special channel type having any audio functions it is the Control Group Master used for the VCA style control
groups. Up to 16 such Control Masters may be configured.

User Label

User label is an optional text label that can be entered to additionally differentiate the channel types. Usually, labels are used to differentiate channels of the same type but with different functions, e.g. Input Mono with
EQ, Input Mono without Dynamics, etc.

Number of Channels

Any number can be entered here to define the quantity for this particular
channel type. The maximum numbers are in function of the overall installed DSP capacity (check the Core page to see how requirements
change) and, for some channel types, the maximum number is limited by
the capacity of the Studer D950 or Vista Desks to operate them. Desk limitations are as follows:
8, can be extended to 16 if no Aux Stereo extension
32
4, can be extended to 8 if no Aux Mono extension
16
8
8
48, Stereo counts as 2 (e.g. 32 Mono + 8 Stereo Groups)
16

Aux Mono D950

Aux Mono Vista
Aux Stereo D950
Aux Stereo Vista
Master Mono
Master Stereo
Group Mono + Stereo
Control Master
MultiDesk Groups
Current Channel Structure

7-26 ConfigTool

See chapter 7.4.3.4.

This area displays the functions that have been selected for the current
channel type. There are five sections of each channel, corresponding to the
audio signal flow:
Input Section
X-bar Section (order of functions can be set in the D950/Vista GC using
drag-and-drop)
Output Section
Pan Section
Meter Section
The functions have icons in different colours corresponding to each of the
five sections above. Functions can be removed from the current channel by
double-clicking on the function, or by using the >>>> button. Each of the
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functions requires DSP power, therefore it is prudent to keep only the functions that are really needed. The minimum functions of a channel are:
Input Selector
Fader
Direct Out.
Library / Available Functions

In this area, the functions available from the system library are listed. The
list changes slightly depending on the channel type (e.g. master channels
do not have a Pan function available), but most functions are the same for
all channel types. This means that master channels may be configured with
an EQ, or an Aux master can have a limiter if needed. Functions can be
added to the current channel by double-clicking on the function in the library, or by using the <<<< button.
Please note that several restrictions to the X-bar section apply:
The X-bar section can contain a maximum of 6 functions.
Delay 100 ms and Delay 240 ms must not be used at the same time.
4-Band EQ and 4-Band EQ Notch must not be used at the same
time.
VSP Surround PAN requires a lot of DSP power and cannot be used
in a full channel, otherwise an error will be displayed during the Generate process. It is usually sufficient to remove Dynamics or EQ + Delay
functions to allow fitting of the VSP PAN.

7.4.3.2

Remove Channels

Simply click on the channel type to be removed and hit the Del (delete)
key.

Tip

Note how the requirements shown in the Core Statistics area in the Core
page change as you add or remove channels, change their number, or
add/remove functions.

Function Library

Mono and Stereo Channel Functions:

Input Selector 3-way input selector
Input Selector PreAmp Ctrl 3-way input selector, with a control interface to pre-amplifiers
Input HPF/LPF & Gain variable high-pass and low-pass filters, channel gain 24 dB
Insert Insert function with dry/wet mix feature
Delay 100 ms VariabIe audio delay 0...100 ms
Delay 240 ms VariabIe audio delay 0...240 ms
4-Band EQ Fully parametric 4-Band EQ with Bell/Shelving switch in the LO and HI
bands, Constant Q/Constant Range switch in the HI-MID and LO-MID
bands
4-Band EQ Notch Fully parametric 4-Band EQ with Bell/Shelving switch in the LO and HI
bands, Constant Q/Constant Range switch in the HI-MID and LO-MID
bands, with additional Notch filter
Dynamics Full dynamics section with Compressor, Limiter, Expander, Gate, Lookforward circuit and Auto Make-up gain, Sidechain with HP/LP Filter
IPL In-Process-Listen functions, allows listening into various points along the
signal path
Meter Precision metering function, switchable to channel input or after fader.

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Functions for Mono channels only:

Input Mode Phase Phase reversal switch
LR Pan Standard Left/Right panner
Multiformat Pan Multiformat Surround Pan (MPAN): Format selection: 2CH, LCR, LCRS,
5.1, EX, 7.1, Amplitude Panning, adjustable Divergence, Panaround feature
Multiformat Pan w/LFE Format selection: 2CH, LCR, LCRS, 5.1, EX, 7.1, Amplitude Panning,
adjustable Divergence and centre usage, Panaround feature, and LFE feed.
VSP VSP (Virtual Surround Panning): Format selection: 2CH, LCR, LCRS, 5.1,
EX, 7.1, Amplitude Panning, adjustable Divergence, Panaround feature,
Intensity, Frequency-depending and echo Pan modes, Simulation algorithms for several surround microphone types (HRTF, ORTF, AB, Sphere),
Simulation of Virtual Rooms with Room Size Control, Ambiance & Absorption Controls, Variable Source Distance
Reverb Special channel type for generation of late reverb (tail): Diffuse reverb on
up to four buses (bus 1, 2, 4, and 5). Separate adjustment of high and low
frequencies as well as reverb time. Balance control of late reverb between
front and rear buses. As a standard, this type of channel gets fed by a reverb bus, but can also be patched to any AUX bus.
Functions for Stereo channels only:
Input MS Mode Phase MS/XY decoding matrix, stereo mode (Normal, LL, LR, reverse, Mono)
and Phase switch L, R, LR
Input MS Mode Phase Width MS/XY decoding matrix, stereo mode (Normal, LL, LR, reverse, Mono)
and Phase switch L, R, LR, stereo Width control 0...200%
Pan Bal Stereo panorama
Pan Bal Width Stereo panorama, stereo Width control 0...200%
7.4.3.3

Add / Edit Buses

Add New Buses
Edit Buses
Assign/Deassign Buses

Double-click on new bus in the bus area

Double-click on an existing bus type in the bus area
Double-click on the On/Off button, where the corresponding channel and
the bus are crossing. All channels of the selected type will have access to
all buses of the selected type if the button is set.
Both the Add and the Edit actions will open the Edit Bus dialog box that
allows editing all the entries for new or existing buses.

Select
Bus type
Enter the number

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Select Bus Type

Click on the box to display the available bus types. Currently, the following bus types are available:
Mono Master bus
Mono Group bus
Mono Reverb bus
Mono Multitrack bus
Mono AUX bus
Stereo AUX bus
Mono SOLO bus
Stereo PFL bus
Mono N1 bus
Stereo N1 bus

Number of Buses

Any number can be entered here to define the quantity for this particular
bus type. The maximum numbers are in function of the overall installed
DSP capacity (check the Core page to see how requirements change) and,
for some bus types, the maximum number is limited by the capacity of the
D950 Desk to operate them. This does not apply for Vista.
Here the D950 Desk limitations:
max. 48
max. 48
max. 48
max. 48
max. 8
max. 8
max. 48, stereo counts as 2 (e.g. 32 mono + 8 stereo groups)

Aux Mono
Aux Stereo
N1 Mono
N1 Stereo
Master Mono
Master Stereo
Group Mono + Stereo
Bus Conventions

There are three types of stereo buses

Aux Stereo bus
PFL Stereo bus
N1 Stereo bus
These bus types have to be entered bearing in mind that their number is
counted as stereo. All other bus types are mono, regardless how they are
used. For example, having eight mono master channels and eight stereo
master channels will need a total of 24 mono master buses.
The required numbers are automatically entered into the Edit Bus dialog
based on the number of corresponding channels. In the example above, the
Edit Bus box will suggest 24 buses automatically.
For buses which do not correspond to channels (Multitrack, SOLO, PFL
and N1 buses), the suggested number will be initially zero and must be set
by hand.

Tips

Date printed: 20.06.2007

When having mono and stereo channels of the same type (applies for master and group channels only), you have to make a gang of buses for each
type. The first gang will be connected to the stereo channels and the second
gang to the mono channels.
When adding a new mono or stereo channel format (applies for master and
group channels only) to an existing configuration, first delete the corresponding buses (group or master) before adding the new buses, in order to
guarantee the correct bus sequence.
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Typically, there will only be one stereo PFL bus. The number of Solo
buses has to comply with the surround format i.e., for the 5.1 format you
will need six Solo buses.
It is legal to have more buses than corresponding channel types. The reason
for this is that the buses (unlike in analog consoles) are valid audio signals
and can be used as such in the Studer D950/Vista patch. They are simply
summing buses which will output the sum of all assigned inputs, which
means that the buses can also be used as components of multiformat stems.
Remove Buses
MultiDesk Groups
7.4.3.4

Simply click on the bus type to be removed and hit the Del (delete) key.
See chapter 7.4.3.4.

Special Configuration Functions: MultiDesk and Stems

Here a brief explanation of two concepts which are unique to the Studer
D950/Vista.

7.4.3.4.1

The Concept of MultiDesk Control Groups (D950 only)

Up to four individual operating desks can access the same DSP Core on the
D950 (not possible on the Vista consoles). Each of these desks can have a
separate Monitor section, PFL buses, Solo buses, and a set of Outputs. The
four desks can work on individual tasks in different studios, but they share
the available DSP power of the core and the AutoTouch automation. It is
also possible that any or all four desks access the same audio channels. Using the built-in digital router, audio resources such as input converters can
also be shared among the studios. This allows to have up to four operators
(in four different locations or in the same room) working on the same task,
or to have four independent mixing consoles working on four separate
tasks.
The Session Configuration defines and configures the way how several
Desks in a MultiDesk setup are working and sharing DSP power.
Tip

Please note that there are two limitations to this concept:

Regardless of the number of desks in a MultiDesk system, they must all
work with the same Timecode, since there is only one TC input to the
system
Since there is only one control system, and only one Session Configuration, it is impossible to reconfigure individual desks and to load a configuration independently from other desks. This means that all (up to 4)
desks are always loaded at the same time.
Please also note that having made a MultiDesk configuration is only a part
of the work. The Studer D950 desk also must have been manufactured and
equipped in an appropriate way, as well as all peripheral devices configured to serve the MultiDesk purpose. The next section describes the principle of making two strongly different MultiDesk configurations. In both
cases we will make a two-desk configuration for reasons of simplicity.

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How to Make a Split Desk?

Use the MultiDesk Groups checkboxes in the Edit Bus and Add Channel
dialogs in order to assign channels and buses to the two desks (operators).
The following example shows a two-operator split desk, whereby the desks
are independent of each other:

8 input channels and

2 masters selected to
Desk 1

12 input channels and

4 masters selected to
Desk 2

Exclusive
bus access

The DSP capacity is sufficient for a total of 20 input channels and six master channels. Operator 1 sees eight input channels and two master channels,
whereas Operator 2 sees twelve input channels and four master channels.

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How to Make a Parallel Desk?

Use the MultiDesk Groups checkboxes in the Edit Bus and Add Channel
dialogs in order to assign channels and buses to the two desks (operators).
The following example shows a two-operator parallel desk configuration,
whereby the inputs of the desks are independent of each other, but the masters are common and both operators have access to the same master buses.

8 input channels
selected to Desk 1

8 input channels
selected to Desk 1

Common bus
and master
access

The DSP capacity again is sufficient for a total of 20 input channels and six
master channels. Operator 1 sees eight input channels and all six master
channels, and Operator 2 sees twelve input channels and all six master
channels.

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Vista 5 Digital Mixing System

7.4.3.4.2

The Concept of Stems

For Film style mixing, bits and pieces of film sound are put together from a
variety of surround formats, ranging from mono to eight channels. Very often, there may be hundreds of audio sources that need to be mixed together
and put into the right spatial image. In order to bring some order to such a
vast number of sources and formats, a concept of Stems is often used.
A Stem is a group of sounds (i.e., audio summing buses) that belong together. Stems can be 1-channel to 8-channel wide. For example, a console
may be configured to have:
2 Stereo stems for music
3 LCR stems for simple effects
1 5.1 stem for effects
1 Stereo stem for dialog, etc.
1 8-CH stem for effects
2 Dolby Surround (4-CH) stems for predubs
The basic Stem setup is defined in the Session Configuration the number,
type and assignment of Stem buses is fixed. In the Studer D950/Vista GC,
there are controls for dynamic Stem setup and for assignments of the related recorder tracks. In this way, the Stem setup may be changed dynamically as the need arises.
The restriction to the total number of Stems is the number of buses for a
certain Session Configuration. Studer D950/Vista Master, Mono Group
and/or Track buses are used to build a system of Stems (each stem consists
of a number of buses) up to a maximum of 104 Stem buses at any time.

Stereo stem for music

Stereo stem for music
LCR stem for simple effects
LCR stem for simple effects
LCR stem for simple effects
5.1 stem for effects
Stereo stem for dialog, etc.
8-CH stem for effects
Dolby Surround (4-CH) stems for predubs
Dolby Surround (4-CH) stems for predubs

Date printed: 25.06.2007

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Vista 5 Digital Mixing System

In this example, the bus structure has been set to allow for the above stem
configuration using multitrack buses as Stem buses. A total of 37 multitrack buses has been configured by adding new buses for a stem of 2, a
stem of 2, a stem of 3, etc. All 136 input and group channels have access to
all ten stems.

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Vista 5 Digital Mixing System

7.4.4

The Interface Page

The interface page allows viewing and editing of the audio interfacing to
the DSP core. It is important to assign enough audio input and output interfaces so that the configured system can work satisfactorily. There are eight
types of interfaces that can be edited here:
AES/EBU Stereo inputs
AES/EBU 2 Mono inputs
AES/EBU Stereo outputs
AES/EBU 2 Mono inputs
MADI inputs
MADI outputs
D21m inputs
D21m outputs
All those require a little DSP power and, obviously, the right DSP board
type and quantity. Only the direct-to-core interfaces are relevant for the
core load. Any mic preamps, A/D or D/A converters or other digital format
converters must be connected to the above four direct-to-core interface
types.

Show & Edit

AES/EBU input
interfaces

Show & Edit

MADI input
interfaces

Show & Edit

D21m input
interfaces

Date printed: 20.06.2007

SW V3.6

Show & Edit

AES/EBU output interfaces

Show & Edit

MADI output
interfaces

Show & Edit

D21m output
interfaces

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Vista 5 Digital Mixing System

Edit AES/EBU Interfaces

The Studer D950/Vista system can contain three I/O board types that are
relevant for the interfacing:
PEAES DSP board with 6 DSP processors, 8 AES/EBU inputs (2 of
which with SFC) and 8 AES/EBU outputs
MADI I/O board with 2 MADI optical input connectors and 2 MADI
optical output connectors per board
PED21m I/O board with one LVDS interface to be used in conjunction
with the D21m.
The Session Configuration Tool will check all the relevant requirements as
you enter the numbers and will calculate the necessary DSP power, the
board types and their number, and will display that information on the Core
page.
To add AES/EBU input interfaces to the system configuration, simply click
on the Add button in the AES/EBU Inputs area. A dialog box will appear:

Select interface type

Enter the number of
AES input interfaces

Most of the time it is sufficient only to enter the total number of interfaces,
bearing in mind that the number of AES/EBU interfaces will mean twice
the number of available mono-equivalent audio inputs if you enter 24,
this will mean 48 mono signals that can enter the DSP system.
The Configuration Tool will calculate the total number of PEAES boards
needed (3 in the example above). Normally, the other entries in the box
will never have to be used.
For Specialists Only!

The start board entry allows to set the board where the first interface will
be placed by the system (this normally starts with board 00). The AES
Port entry allows to set the first of the 8 AES ports on the selected board.
The Interface Function entry only allows Digital Input to be set currently no function.
To add AES/EBU output interfaces to the system configuration, simply
click on the Add button in the AES/EBU Outputs area and a similar dialog box will appear, allowing to set the number of AES/EBU outputs.
The total number of AES/EBU inputs does not have to be the same as the
number of outputs. Since all AES/EBU inputs and outputs require a little
DSP power, it is prudent to keep the numbers as low as necessary.

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Vista 5 Digital Mixing System

After adding the required interfacing, the display will show the total number of interfaces and their distribution on the PEAES board, starting with
board number 00.
To remove AES/EBU input interfaces from the system configuration, simply select the interface to be removed (or to remove all, select the uppermost line) and click on the Remove button, or use the Del (delete) key.
Edit MADI Interfaces

To add MADI input interfaces to the system configuration, simply click on

the Add button in the MADI Inputs area and a dialog box will appear:

Enter the number of

MADI input interfaces

The number of channels per each MADI interface has to be entered, and
the process repeated for every MADI interface.
The Configuration Tool will calculate the total number of MADI I/O
boards needed. Normally, the other entries in the box will never have to be
used.
For Specialists Only!

The start board entry allows to set the board where the first interface will
be placed by the system (normally starts with board 00). The MADI Port
entry allows to set the first or second of the two MADI ports on the selected board. The Interface Function entry only has a function for outputs in order to select between MADI Out and reduced MADI out. Reduced MADI out obviously has reduced functionality and is only used in
Router applications; it is, therefore, only accessible to expert users.
To add MADI output interfaces to the system configuration, simply click
on the Add button in the MADI Outputs area and a similar dialog box
will appear, allowing to set the number of MADI outputs.
The total number of MADI inputs does not have to be the same as the
number of outputs. Since a new MADI board is added per each two new
MADI interfaces, it is prudent to keep the numbers as low as necessary.
Since all individual channels within a single MADI interface require a little
DSP power, it is also prudent to enter only the required number. If you
need to interface a 24-track digital recorder via MADI, then only enter 24
in the # of MADI channels box instead of 56, which would be the maximum that a standard MADI interface will support.
After adding the required interfacing, the display will show the total number of interfaces and their distribution on the MADI board, starting with
board number 00.

Date printed: 20.06.2007

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Vista 5 Digital Mixing System

To remove MADI input interfaces from the system configuration, simply

select the interface to be removed (or to remove all, select the uppermost
line) and click on the Remove button, or use the Del (delete) key.
Edit D21m Interfaces

To add D21m input interfaces to the system configuration, simply click on

the Add button in the D21m Inputs area and a dialog box will appear:

Enter the number of

D21m input interfaces

The number of channels per each D21m interface has to be entered, and the
process must be repeated for every D21m interface. The number of channels must be a multiple of eight which is the smallest function unit.
For Specialists Only!

The start board entry allows to set the board where the first interface will
be placed by the system (normally starts with board 00).
To add D21m output interfaces to the system configuration, simply click
on the Add button in the D21m Outputs area and a similar dialog box
will appear, allowing to set the number of D21m outputs.
The total number of D21m inputs does not have to be the same as the number of outputs, since a new D21m board is added per each new interface. It
is prudent to keep the numbers as low as necessary in order to save DSP
power.
When operating with 96 kHz sampling frequency, the board cannot handle
96 inputs and 96 outputs. Please refer to the following table for possible
combinations of inputs and outputs.
Inputs
0
24
48
72
96

Outputs
80
72
64
56
48

After adding the required interfacing, the display will show the total number of interfaces and their distribution on the D21m board(s), starting with
board number 00.
To remove D21m input interfaces from the system configuration, simply
select the interface to be removed (or to remove all, select the uppermost
line) and click on the Remove button, or use the Del (delete) key.

7-38 ConfigTool

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Vista 5 Digital Mixing System

7.4.5

The Core Page

The Core page displays the statistics of the channels, buses, and I/Os, as
well as the occupancy of the DSP core. The page has four parts:
Shows the mixing
console statistics

Shows the required

number and type of
DSP boards

Shows a possible
core layout overview

Shows the load on

the DSP system bus

Mixing Console Statistics

Hardware Requirements

Global Buses

Date printed: 20.06.2007

This area indicates the configured number of channels, buses, shared processes (test tone generator, side-chain links), and input and output interfaces. These numbers reflect all the entries that have been made during the
configuration process.
For already generated configurations it shows the exact hardware Requirements. When generating a new or editing an existing configuration, the
display switches to rough estimation. It shows the expected requirements
by applying a simple algorithm that is not as accurate as the one used for
generating a configuration. Therefore the number of boards may change
when generating the configuration. The total number of boards must not
exceed 21.
Shows the current communication load on the DSP system communication
bus (not to be mistaken for audio buses in the mixing console). The number
of buses must not exceed 1204.

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7.4.6

The Shared Functions Page

The Shared Functions page allows adding and editing the so-called shared
functions. Currently the following shared functions are available:
Generator (D950/Vista)
Dynamics sidechain link (D950/Vista)
Fader (Router)
Extended Fader (Router)
Tieline (Router)
Mixer (Router)
Stereo to Mono (Router)
Delay 240 ms (Router)
4-Band EQ (Router)
Dynamics (Router)
Dynamics Stereo (Router)
The router functions are only accessible for expert users.
Generator
Dynamics Sidechain Link

Tieline
Other Functions

To Edit

7.4.7

The Generator is used to test the console with sine-wave, white noise, and
pink noise signals. The number is automatically set to 1.
The dynamics sidechain link allows to link the controls (sidechains) of the
dynamics sections of up to eight different channels. It is similar to the stereo link function found on many standalone compressor/limiters, but the
number of linkable channels has been set to eight rather than only two, so
that all current surround formats can be supported. The dynamics sidechain
link requires DSP power, so the number is best set to the required minimum. The default number is zero, and the number can be set freely.
Virtual Patch point.
Audio functions have the same functionality as their corresponding channel
functions.
To edit the numbers of shared functions go to the VMC Tree View.

The Session Configuration Tool Menu and Toolbar

Most of the functions of the Session Configuration Tool are controlled
directly from the four View pages as described in the previous chapters.
There are, nevertheless, some functions that are accessible only via the
menus. The following descriptions briefly explain all the menu items, and
only go into details for functions not explained in the previous chapters.

7.4.7.1

The Toolbar

48
96

7-40 ConfigTool

Set sampling frequency to 48 kHz.

Set sampling frequency to 96 kHz.

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Vista 5 Digital Mixing System

7.4.7.2

The File Menu

New
Open
Close
Save VMC
Save VMC as...

Save VMC Overview

Print VMC Overview

Print Preview
Print Setup
Exit
7.4.7.3

The Edit Menu

Remove Last Process

7.4.7.4

Opens a new, empty configuration file called Untitled.

Opens an existing *.vmc configuration file. First looks into the folder as
stated in the Options/Directories/Files menu, usually C:\D950SYSTEMDB.
Closes the current *.vmc configuration file.
Saves the current *.vmc configuration file under the same name, thus
overwriting it.
Saves the current *.vmc configuration file under a different name. The
extension *.vmc does not have to be typed out. Generates a new folder
with the same name as the *.vmc configuration file and saves the *.vmc
configuration file there.
Saves the Overview of the current *.vmc configuration file as a *.txt file.
The overview contains condensed information on the current configuration.
Example in chapter 7.4.7.5.
Prints the Overview of the current *.vmc configuration file. The overview
contains condensed information on the current configuration.
Shows the Overview of the current *.vmc configuration file on screen.
Standard Windows printer setup.
Quits the Session Configuration Tool.

An Undo function to remove the last added process (channel, bus, shared
function or interface).

The View Menu

Vmc
FuncLib
Log File
Tool Bar, Status Bar
Channel Bus
Interface
Shared and External
Core
Tree

Date printed: 20.06.2007

For Specialists Only!

For Specialists Only!
Shows the Log File that contains information on the last several Generate
runs. The oldest information is shown at the top of the file.
Switches the Tool Bar and The Status Bar on and off.
Brings up the Channel Bus page. For a description, please see previous
chapters.
Brings up the Interface page. For a description, please see previous chapters.
Brings up the VMC Tree View (see chapter 7.4.7.5).
Brings up the Core page. For a description, please see previous chapters.
Brings up the VMC Tree View (see chapter 7.4.7.5).

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7.4.7.5

The VMC Tree View

The VMC Tree View can be used to view and even edit the configuration.

Edit an Item
Delete an Item
Delete all Buses
Delete all Channels
Delete all Interfaces
Delete All Shared Functions
Add New Items
Add Shared Functions

7-42 ConfigTool

Select any function and choose Edit from the menu, accessed by hitting
the right trackball button.
Select any function and choose Delete from the menu, accessed by hitting the right trackball button.
Select the item Bus and choose Delete from the menu, accessed by hitting the right trackball button.
Select the item Channel and choose Delete from the menu, accessed by
hitting the right trackball button.
Select the item Interface and choose Delete from the menu, accessed by
hitting the right trackball button.
Select the item Shared and choose Delete from the menu, accessed by
hitting the right trackball button.
To add a function select the Root item, right-click, and choose Add.
To add a shared function select the Root item, right-click, and choose
Add, then Shared. The following dialog will appear.

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Vista 5 Digital Mixing System

Important Tip

The number of functions is set to 0 per default. It is important to enter the

number of functions here, otherwise nothing will happen.

Add External Functions

If you want to add an external function select the Root item, right-click,
and choose Add from the menu. When choosing Ext Device the following dialog will appear.

Important Tip

The number of devices is set to 0 per default. It is important to enter the

number of devices here, otherwise there will be no remote control possibility.

Date printed: 20.06.2007

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Vista 5 Digital Mixing System

7.4.7.6

The Generate Menu

Detailed

For Specialists Only!

This menu opens up an interactive dialog box that allows to start step-bystep manual Load Balancing and generation of the DSP core file. It allows
the expert user to see more details of the current configuration as if Generate/All would be used.
It is not necessary to go to this menu item to do the whole generate process.
The main reason for looking at this page is to see the load distribution to
various DSP boards and individual PE processors. There is a lot of other
information here that does not mean much to the ordinary humans (uhm,
sorry, ordinary humans).
This menu becomes available when you are in the expert mode. The expert
mode is activated by double-clicking the right trackball button with the
trackball pointer on the About dialog while holding the Ctrl/Shift keys.

Shows results of
Load Balancing
Click here for details
Step-by-Step
Core file Generator

If a Generate process has already been done, the CORE area will show
the results of load balancing and distribution of the load to DSP boards.
Click on one of the buttons to see the load distribution on one DSP board
in detail. If the Generate process has not yet been done, the CORE area is
empty.
To do the Generate process from here, all seven boxes in the VMC area
have to be clicked in turn, always waiting for the result of the previous action to appear before the next box is clicked. The order of the individual
processes is as follows:

7-44 ConfigTool

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Vista 5 Digital Mixing System

Generate (VMC)
Gen Proc Lib
Batch
Load Balance Procs (now the CORE area will be filled in)
Gen Task Files
Batch
Generate Core File
If all steps are completed, the new core file is generated.
Tip

If you only wish to see the results of load balancing, but not to generate a
core file, use only the following three boxes:
Generate (VMC)
Gen Proc Lib
Load Balance Procs
which will display the CORE area. Click on one of the buttons in this
area to see the load distribution on one DSP board in detail. Here the display for the PEAES Board 00 is shown as an example:

Some of these details can also be found in the core knowledge file. An
example of this file is given in chapter 7.5.2.1. The page and the file contain condensed information on the load distribution on DSP PE and PEAES
boards and individual PE processors. This information may be helpful during troubleshooting of the system, because all the individual channels,
buses, and functions can be precisely located to a particular board.
All

Date printed: 20.06.2007

Starts the Load Balancing and automatic generation of the DSP core file.
For a description, please see previous chapters.

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Vista 5 Digital Mixing System

7.4.7.7

7.4.7.8

The Options Menu

Core Constants

For Specialists Only!

You are not allowed to change anything here, even if you are an expert
user.

Directories / Files...

Allows to edit the D950CfgTool.Ini file, as described in the previous

chapters.

The Window Menu

New Channel Bus

New Interface
New Core
New Tree
Cascade
Tile
1, 2, 3, ...

7-46 ConfigTool

This menu contains standard functions for windows management. Multiple

windows and copies of existing windows are allowed.
Opens a new Channel Bus page, or, if there are already Channel Bus pages,
creates a new copy of the page.
Opens a new Interface page, or, if there are already Interface pages, creates
a new copy of the page.
Opens a new Core page, or, if there are already Core pages, creates a new
copy of the page.
Opens a new VMC Tree dialog.
Arranges the Workspace as cascaded windows.
Arranges the Workspace as tiled windows.
Brings the selected page to the top of the workspace

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Vista 5 Digital Mixing System

7.5 Maintenance
7.5.1

Managing the Files Which File is Where?

Any Session Configuration starts with only two files:
myConfig.vmc
myConfig.cor
They are stored in a subfolder (with the name of the configuration) of the
Session Configuration folders on the Studer D950/Vista PC.

7.5.2

The D950CfgTool.ini File

The :\Windows_Root directory contains the D950CfgTool.ini file. This
file tells the Configuration Tool where to look for various components and
what the basic settings are. This root directory may be called similarly to
Windows, Win95, or WINNT40 and is usually found on the C: drive of
every PC.
The contents of this file are set by the Session Configuration Tool software. The user should not find it necessary to edit the file using a text editor.
This file is automatically generated if there is none available upon starting
the Configuration Tool for the first time.

7.5.2.1

Example of a Core Knowledge File

The Core Knowledge file offers the following information on a Configuration.
VMC ID
Sampling Frequency
Tasks
D950CfgTool.ini
Resources

Identification of the VMC used to ensure that the *.vmc and *.cor files
match.
48 kHz or 96 kHz
Shows the task (channels, buses.) of the configuration.
A copy of the *.ini file used to generate the configuration.
List which task is being executed on which board and processor.
(Please turn page)

Date printed: 20.06.2007

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Vista 5 Digital Mixing System

C:\D950SYSTEMDB\MyConfig\MyConfig.ckf
------------------------------------------------------------------------------VMC id : 0x3df46da8 creation time : Mon Dec 09 11:17:12 2002
The configuration runs at 48k.
------------------------------------------------------------------------------The configuration executes the following tasks
------------------------------------------------------------------------------Channels:
4 Inp Mono 'example' Channels
Input Selector PreAmp Ctrl Mono
Input HPF/LPF & 3 Gains
Input Mode Phase
4 Band EQ
Insert
Dynamics
Delay 100ms
Fader
Direct Out
LR Pan
Meter
2 Grp Mono 'example' Channels
Input Selector
Input HPF/LPF & 3 Gains
Input Mode Phase
Insert
Fader
Direct Out
LR Pan
Meter
2 Mst Mono 'example' Channels
Input Selector
Insert
Fader
Direct Out Simple
Meter
2 Aux Mono 'example' Channels
Input Selector
Insert
Fader
Direct Out Simple
Meter
2 Aux Stereo 'example' Channels
Input Selector
Insert
Fader
Direct Out Simple
Meter

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Vista 5 Digital Mixing System

Buses:
2
2
2
1
4
2

Master Buses
Group Buses
Solo Buses
Pfl s Bus
Aux m Buses
Aux s Buses

Shared Process
1 Generator
Interfaces:
8
8
1
1
1
1

Digital
Digital
Digital
Digital
Digital
Digital

Input AES Interfaces

Output AES Interfaces
Input MADI Interface
Output MADI Interface
Input D21m Interface
Output D21m Interface

The configuration was generated, using the following ini file

------------------------------------------------------------------------------[globals]
DpramAMessageChOffset=0
DpramAAudioChOffset=666
DpramABoardChStartOffset=700
DpramALength=992
DpramBMessageChOffset=64
DpramBParamChOffset=128
DpramBAudioChOffset=666
DpramBBoardChStartOffset=700
DpramBLength=992
DpramReadWaitStates=0
DpramWriteWaitStates=0
DpramABeginWrite=c00000
DpramABeginRead=400400
DpramBBeginWrite=c01000
DpramBBeginRead=401400
AddToIoBus=100
AddToSharedBus=64
MaxNumOfTcbInitCycles=280
DeskType=D950
[dir and file settings]
CoreFuncLibFile=C:\D950cfg\CoreFunc021119.lib
CoreFuncLibFile96k=C:\D950cfg\CoreFunc96k021120.lib
LogFile=C:\D950Cfg\LogFile.txt
CoreMemNet1File=C:\D950cfg\mn020809.exe
CoreMemNet2File=C:\D950cfg\mn020809.exe
PearchFile=C:\D950cfg\Ar010515.ach
RtosFile=C:\D950cfg\rt020919.a
CoreTempFilesPath=C:\D950Cfg\tmpFiles\
CfgPath=C:\D950SYSTEMDB\

Date printed: 20.06.2007

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Vista 5 Digital Mixing System

[GUI settings]
ShowWindow=3
View=ChanBusView,1,176,176,980,756,0,0,InterfaceView,1,110,110,914,690,0,0,CoreView,1,572,0,
890,591,0,0,TreeView,3,154,154,842,734,0,0
[GUI settings-Summary]
Bars=4
ScreenCX=1024
ScreenCY=768
[Recent File List]
File1=D:\D950SystemDB\MyConfig\MyConfig.VMC
File2=D:\D950SystemDB\Untitled\Untitled.VMC
[GUI settings-Bar0]
BarID=59392
XPos=86
YPos=-2
Docking=1
MRUDockID=0
MRUDockLeftPos=86
MRUDockTopPos=-2
MRUDockRightPos=202
MRUDockBottomPos=30
MRUFloatStyle=8256
MRUFloatXPos=-2147483648
MRUFloatYPos=0
[GUI settings-Bar1]
BarID=59392
XPos=-2
YPos=-2
Docking=1
MRUDockID=0
MRUDockLeftPos=-2
MRUDockTopPos=-2
MRUDockRightPos=88
MRUDockBottomPos=30
MRUFloatStyle=8256
MRUFloatXPos=-2147483648
MRUFloatYPos=0
[GUI settings-Bar2]
BarID=59393
[GUI settings-Bar3]
BarID=59419
Bars=4
Bar#0=0
Bar#1=59392
Bar#2=59392
Bar#3=0

7-50 ConfigTool

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Vista 5 Digital Mixing System

In addition to the MemNet baord, the configuration uses the following resources
------------------------------------------------------------------------------PE/AES Boards : 1
PE Boards : 0
MADI Boards : 1
D21m Boards : 1
Backplane Timeslots : 241
Distribution Information
-----------------------BOARD :Type : PE/AES Addr : 0 Task No : 0
Summing Buses:
Bus
Bus
Bus
Bus
Bus
Bus
Bus
Bus
Bus
Bus
Bus
Bus
Bus
Bus
Bus
Bus

Pfl s #1__0 CtrlGrp1 left

Pfl s #1__0 CtrlGrp1 right
Master #1__0 CtrlGrp1
Master #2__1 CtrlGrp1
Group #1__0 CtrlGrp1
Group #2__1 CtrlGrp1
Solo #1__0 CtrlGrp1
Solo #2__1 CtrlGrp1
Aux m #1__0 CtrlGrp1
Aux m #2__1 CtrlGrp1
Aux m #3__2 CtrlGrp1
Aux m #4__3 CtrlGrp1
Aux s #1__0 CtrlGrp1 left
Aux s #1__0 CtrlGrp1 right
Aux s #2__1 CtrlGrp1 left
Aux s #2__1 CtrlGrp1 right

PE 1:
Channel Inp Mono #1
Channel Inp Mono #2
No Summing

'example' CtrlGrp1
'example' CtrlGrp1

PE 2:
Channel Inp Mono #3
Channel Inp Mono #4
No Summing

'example' CtrlGrp1
'example' CtrlGrp1

PE 3:
AES/EBU AES/EBU 2Mono In B#0 P#0
AES/EBU AES/EBU 2Mono In B#0 P#1
AES/EBU AES/EBU 2Mono Out B#0 P#0
AES/EBU AES/EBU 2Mono Out B#0 P#1
Channel Grp Mono #1 'example' CtrlGrp1
Channel Grp Mono #2 'example' CtrlGrp1
Channel Aux Stereo #1 'example' CtrlGrp1
Channel Aux Stereo #2 'example' CtrlGrp1
Channel Mst Mono #1 'example' CtrlGrp1
MADI Madi Out B#0 P#0 5 ext.ch
No Summing

Date printed: 20.06.2007

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PE 4:
AES/EBU AES/EBU 2Mono In B#0 P#2
AES/EBU AES/EBU 2Mono In B#0 P#3
AES/EBU AES/EBU 2Mono Out B#0 P#2
AES/EBU AES/EBU 2Mono Out B#0 P#3
Channel Mst Mono #2 'example' CtrlGrp1
Channel Aux Mono #1 'example' CtrlGrp1
Channel Aux Mono #2 'example' CtrlGrp1
Channel Aux Mono #3 'example' CtrlGrp1
Channel Aux Mono #4 'example' CtrlGrp1
SharedProc Generator 1
No Summing
PE 5:
AES/EBU AES/EBU 2Mono In B#0 P#4
AES/EBU AES/EBU 2Mono In B#0 P#5
AES/EBU AES/EBU 2Mono Out B#0 P#4
AES/EBU AES/EBU 2Mono Out B#0 P#5
Summing: 16 B (0 to 22)
PE 6:
AES/EBU AES/EBU
AES/EBU AES/EBU
AES/EBU AES/EBU
AES/EBU AES/EBU
No Summing

2Mono
2Mono
2Mono
2Mono

In B#0 P#6
In B#0 P#7
Out B#0 P#6
Out B#0 P#7

BOARD :Type : MADI Addr : 0 Task No : 1

No Summation
PE 1:
MADI Madi In B#0 P#0 48 ch
MADI Madi Out B#0 P#0 43 ch
PE 2:
BOARD :Type : PE D21m

Task No : 2

No Summation
PE 1:
IO21 IO21
IO21 IO21
IO21 IO21
IO21 IO21

In B#0 P#1
In B#0 P#1
Out B#0 P#1
Out B#0 P#1

PE 2:
IO21 IO21
IO21 IO21
IO21 IO21
IO21 IO21

In B#0 P#1
In B#0 P#1
Out B#0 P#1
Out B#0 P#1

PE 3:
IO21 IO21
IO21 IO21
IO21 IO21
IO21 IO21

In B#0 P#1
In B#0 P#1
Out B#0 P#1
Out B#0 P#1

7-52 ConfigTool

SW V3.6

Date printed: 20.06.2007

Vista 5 Digital Mixing System

PE 4:
IO21 IO21
IO21 IO21
IO21 IO21
IO21 IO21

In B#0 P#1
In B#0 P#1
Out B#0 P#1
Out B#0 P#1

PE 5:
IO21 IO21
IO21 IO21
IO21 IO21
IO21 IO21

In B#0 P#1
In B#0 P#1
Out B#0 P#1
Out B#0 P#1

PE 6:
IO21 IO21
IO21 IO21
IO21 IO21
IO21 IO21

In B#0 P#1
In B#0 P#1
Out B#0 P#1
Out B#0 P#1

Date printed: 20.06.2007

SW V3.6

ConfigTool 7-53

Vista 5 Digital Mixing System

7.5.3

Troubleshooting
The Session Configuration Tool was checked at the factory during more
than a year for malfunctions and erroneous operations. Hundreds of different configurations were tried, and all sorts of tests have been made. Nevertheless, since there exists an almost infinite number of channel, bus, and
I/O configuration combinations, not all of them could be tested. So it may
happen that on a very rare occasion an error message will be issued during
editing or during the Generate process. A description of some of the typical
error messages is listed below.

7.5.3.1

Errors and Warnings During Generate Process / In Log File

When Inserting a New Function

When inserting a new function that exceeds the capacity of the core, the
following dialog will appear:

This message is very likely to appear when the console is operating with
96 kHz, or when switching from 48 to 96 kHz.
If you decide to proceed in generating the configuration regardless of the
warning, the following message will be displayed in the Generate All dialog, and the configuration process will be stopped.
Could not find pe for 'Channel Inp Stereo #1 CtrlGrp1'!
Please reduce the requirements of that function

D21m

If the configured number of D21m interface channels exceeds the capacity

of the D21m board the following message will be displayed. This can only
happen with 96 kHz configurations.

Unable to Distribute the D21m interfaces of PE D21m Board # 0.

Please reduce the number of channels.

Shared Bus

The load balancing of the on-board communication is not always as accurate as it should be. This may happen because assumptions are made during
load balancing which do not always apply. The following warning will be
displayed in such a case:

Warning: Shared Bus Cycles overflow on board 1, in timeSlot 0.

This does not mean that the configuration does not work. If you want to
make sure that it does work, please send it to the factory for further investigation.

7-54 ConfigTool

SW V3.6

Date printed: 20.06.2007

Vista 5 Digital Mixing System

I/O Bus

The I/O bus is a SHARC internal bus used to communicate between the
DMA controller and the internal memory.
Also there assumptions are made which do not always apply. This leads to
the following warning.

Warning: 611 I/O buses of 600 on PE 2 of board 1

Again, this does not mean that the configuration does not work. For further
investigation please send it to the factory.

Date printed: 20.06.2007

SW V3.6

ConfigTool 7-55

Vista 5 Digital Mixing System

7-56 ConfigTool

SW V3.6

Date printed: 20.06.2007

SCore Live

CONTENTS
1 General................................................................................................................................................................................. 3
1.1

Utilization for the Purpose Intended............................................................................................................................... 3

1.2 First Steps........................................................................................................................................................................ 3

1.2.1
Unpacking and Inspection...................................................................................................................................... 3
1.2.2 Installation.............................................................................................................................................................. 3
1.2.3
Adjustments, Repair, Cleaning.............................................................................................................................. 5
2 Introduction......................................................................................................................................................................... 6
2.1

Block Diagram................................................................................................................................................................ 7

2.2 The Frame and its Cards................................................................................................................................................. 7

2.2.1
Bridge Card Redundancy....................................................................................................................................... 8
2.3

Control Signal Flow...................................................................................................................................................... 10

3 Modules.............................................................................................................................................................................. 11
3.1

SCore Live Host Card......................................................................................................................................12

3.2

SCore Live/Pro DSP Card................................................................................................................................15

3.3 Bridge Card....................................................................................................................................................17

3.3.1 Bridge Card IP Address Setting............................................................................................................................... 19
3.3.2 Bridge Card IP Address Recovery........................................................................................................................... 19
3.3.3 Reset the Web IF Password...................................................................................................................................... 20
3.4

Ext. Sync Card................................................................................................................................................21

3.5

Primary Power Supply.....................................................................................................................................23

3.6

Air Deflector/Filter Unit..................................................................................................................................23

3.7

Fan Unit.........................................................................................................................................................23

3.8

D21m I/O Subsystem.................................................................................................................................................... 24

Disclaimer

Date printed: 28.02.11

The information in this document has been carefully checked and is believed
to be accurate at the time of publication. However, no responsibility is taken
by us for inaccuracies, errors, or omissions, nor is any liability assumed for
any loss or damage resulting either directly or indirectly from use of the
information contained within it.
SCore Live 1

SCore Live

2 SCore Live

Date printed: 28.02.11

SCore Live

GENERAL

1.1

Utilization for the Purpose Intended

1.2

The SCore Live system is intended for professional use.

It is presumed that the unit is operated only by trained personnel. Servicing
is reserved to skilled technicians.
The electrical connections may be connected only to the voltages and signals
designated in this manual.

First Steps

1.2.1

Unpacking and Inspection

Your new system is shipped in a special packing which protects the units
against mechanical shock during transit. Care should be exercised when
unpacking so that the surfaces do not get marred.
Check the condition of the equipment for signs of shipping damage. If there
should be any complaints you should immediately notify the forwarding agent
and your nearest Studer distributor.
Please retain the original packing material because it offers the best protection
in case your equipment ever needs to be transported.

1.2.2

Installation

Primary Voltage

The power supply units are auto-ranging; they can be used for mains voltages
in a range of 100 to 240VAC, 50 to 60 Hz.

Power Connection

The attached female IEC 320/C13 mains cable sockets have to be connected
to appropriate mains cables by a trained technician, respecting your local
regulations. Refer to the Installation, Operation, and Waste Disposal chapter
at the beginning of this document.

Earthing

This equipment must be earthed, due to the mains input filter network being
connected to the mains earth.
Some consideration must be given to the earthing arrangement of the system,
at the center of which is the frame. The frame is earthed to the mains earth via
the power supply. Ground loops may occur where signal processing equip
ment, patched to the frame, has its signal earth commoned to the equipment
chassis.

Thermal Considerations

Date printed: 28.02.11

Principal Rule

The unit must not be used in conditions of excessive heat or cold, near any
source of moisture, in excessively humid environments, or in positions where
it is likely to be subjected to vibration or dust. The ambient temperature range
for normal operation of the unit is +5...+40C.
Under standard circumstances (open 19 frame) and an ambient temperature
between +5 and +40 C, the power dissipations listed below must not be
exceeded. Please note that these figures may change for special environments,
such as air-conditioned machine rooms, etc.
The cooler the better a temperature increase of only 10C reduces component lifetime by 50%!
SCore Live 3

SCore Live
Ventilation Implementation

A power dissipation estimation, considering the number of cards and their

configuration within the frame, is strongly recommended. The following
tables give some guidelines.
Card No.

Dissipation
(approx.)
10W

Card Name/Description

Backplane with power supply

DSP cards:
A943.0326 Host card
10 W
A943.0331 Ext. Sync card
0.2 W
A943.0360 DSP Pro card
11 W
A943.0370 Bridge card (Redundant versions: A943.0370.35 and up)
11 W
D21m I/O cards*:
A949.0427 Mic/Line in card
11W
A949.0428 Analog insert card
2W
A949.0421 Line In card
7W
A949.0420 Line out card
7W
A949.0422 AES/EBU card
3.5W
A949.0423 AES/EBU card with input SFC
4.5W
A949.0424 AES/EBU card with input/output SFC
5.5W
A949.0430 MADI card
4.5W
A949.0425 ADAT card
1.7W
A949.0429 ADAT card, long-distance option
1.7W
A949.0426 TDIF card
1W
A949.0412 HD card
5W
A949.0411 MADI HD card
5.5W
A949.0437 Serial card
0.2W
A949.0438 Serial Merger card
0.6W
A949.0435 GPIO card
3W
* For more information on the D21m I/O cards, please refer to the separate
D21m Product Information brochure.
Setup A: Closed
Air

Setup B: Passive,
2 Air Deflector Units

Core ive

Air

Setup C: Active, 1 Fan

Unit, 1 Air Deflector Unit

Core ive

Core ive

Core ive

Air

Rear

Front

Rear

Front

4 SCore Live

Air

Air

Rear

Thermal Total
Max.
Setup Height Dissipation
6U
50W
A
B
8U
100W

Air

Setup D: Active, 1 Fan

Unit, 2 Air Deflector Units

8U

150W

9U

400 W

Front

Rear

Front

Restrictions

Bottom Cooling

Top Cooling

Config. N1...N4
(see below)

Deflector Unit

Deflector Unit

Fan Unit

Deflector Unit

Deflector Unit
+ Fan Unit

Deflector Unit

If required, the air flow direction may be changed by reversing the deflector
and fan units. However, air intake at the front and air outlet at the rear is the
recommended scheme.
Date printed: 28.02.11

SCore Live

DSP/Bridge Card Configurations

Nine normal N and eight redundant R (dual bridge card) configurations
are possible. It is recommended to use the slot order given in the tables below
for optimum thermal results. (For slot numbering refer to chapter 2.2).
N Setups (1 Bridge Card)

Config
N1
N2
N3
N4
N5
N6
N7
N8
N9

R Setups (2 Bridge Cards)

Config
R1
R2
R3
R4
R5
R6
R7
R8

1
DSP
DSP
DSP
DSP
DSP
DSP
DSP
DSP
DSP
1
DSP
DSP
DSP
DSP
DSP
DSP
DSP
DSP

DSP
DSP
DSP
DSP
DSP
2

DSP
DSP
DSP
DSP

3
DSP
DSP
DSP

DSP
DSP
DSP

DSP
DSP
DSP
DSP
DSP

DSP
DSP
DSP
DSP
DSP

DSP
DSP
DSP
DSP

5
DSP
DSP
DSP
DSP
DSP
5
DSP
DSP
DSP
DSP
DSP

Slot

DSP
DSP
DSP
Slot

DSP
DSP

DSP
DSP
DSP
DSP

DSP
DSP
DSP
DSP
DSP

DSP
DSP

10
Bridge
Bridge
Bridge
Bridge
Bridge
Bridge
Bridge
Bridge
Bridge

9
Bridge
Bridge
Bridge
Bridge
Bridge
Bridge
Bridge
Bridge

10
Bridge
Bridge
Bridge
Bridge
Bridge
Bridge
Bridge
Bridge

DSP

DSP
DSP
DSP
DSP

DSP
DSP
DSP
DSP

DSP/Bridge Card Configurations

The DSP configuration vary with the number of I/O channels. The basic
configuration with two DSP cards offers the functionality of C10802. Configurations up to C10804 may be operated without a fan unit as long as no
redundant bridge card (*) is used. For OnAir 3000 installations, the slot order
given below must be followed. (For slot numbering refer to chapter 2.2).
Config
C10802
C10803
C10804
C10805
C10806
C10807
C10808
C10809

1.2.3

1
DSP
DSP
DSP
DSP
DSP
DSP
DSP
DSP

DSP
DSP
DSP
DSP
DSP

Slot
3
4
5
6
7
DSP
DSP
DSP
DSP
DSP
DSP
DSP DSP DSP
DSP DSP DSP DSP
DSP DSP DSP DSP DSP
DSP DSP DSP DSP DSP
DSP DSP DSP DSP DSP
*Bridge = redundant Bridge card

DSP
DSP

9
*Bridge
*Bridge
*Bridge
*Bridge
*Bridge
*Bridge
*Bridge
DSP

10
Bridge
Bridge
Bridge
Bridge
Bridge
Bridge
Bridge
Bridge

Adjustments, Repair, Cleaning

Danger!

All internal adjustments as well as repair work on this product must be performed by expert technicians!

Replacing the Supply Unit

The primary fuse is located within the power supply module and cannot be
changed. In case of failure, the complete power supply unit must be replaced.
Please ask your nearest Studer representative.

Cleaning

Do not use any liquids to clean the exterior of the unit. A soft, dry cloth or
brush will usually do.

Date printed: 28.02.11

SCore Live 5

SCore Live

INTRODUCTION

The SCore Live system occupies just 6U rack space and provides space for
up to nine DSP cards. It also holds up to twelve D21m I/O cards of various
formats in addition to one (
) or two (
) D21m generalpurpose input/output (GPIO) card(s).
Unlike other DSP platforms, however, the SCore Live (like its Performa
Core forerunner) is user-configurable to maximise the use of the DSP in
different applications. The advantage of this is that the user can specify and
purchase the optimum amount of DSP for current needs and yet not compromise future production requirements, as opposed to fixed-configuration DSP
platforms that can add extensive cost onto a console system.

The System Configuration Editor software, available as an option, allows

clients to take the factory-defined settings, and make their own adjustments on
a job-by-job basis, including changing the number of input channels, buses,
and outputs.
The SCore Live maintains full redundancy, with redundant power supplies,
and even DSP card redundancy. In case of a hardware failure, any unused DSP
card will take over the processing almost immediately. Further, a redundant
link between desk and core is available, as is a redundant communication
card.

A new feature in the DSP allows delays of up to 10seconds to be added to a

signal in order to compensate for video delays through satellite links, etc.

For Vista 5, even the signal flow capabilities within the console may be changed on an application basis.

Starting with SW V3.0 and up, delays of up to 5seconds are supported for
channels and master buses.

6 SCore Live

Date printed: 28.02.11

SCore Live

2.1

Block Diagram

The upper part of the frame houses the DSP section. Its backplane contains
four buses, as shown below:

TDM Bus Time Division Multiplex bus for audio and control data transfer between DSP
and bridge cards

Sync Bus Transport of sync signals between Ext. Sync card and Bridge cards

System Clock Bus Internal synchronization bus
I2C Bus System monitoring (card detection, monitoring of local voltages and temperatures).

P O CAR

PO
CAR
Vi ta

or

OS
CAR
OA3

SP Slot
SP CAR

...

SP CAR

R E
CAR
a ti e

SP CAR or
R E CAR
re n ant

SP CAR

SCore i e
AC P A
E

E .
S C
CAR

PR AR PSU

PWR

Syn
Sy te Clo
2
C

2C

2 AC P A

AU O O
CAR

AU O O
CAR

O Slot

24 V

SEC.
PSU

PWR

AU O O
CAR

CAR
RS422

AU O O
CAR

...

AU O O
CAR

O Slot

...

24 V

PR AR PSU

ER ER
CAR

A CO RO
V3.0 an p

* for OnAir 3000 operation only

The Frame and its Cards

DSP Slot: 1

GPIO
GPIO

(Vista)

Signal Processing (DSP)

or

HOST

Sync

2.2

(OA3k)

PSU

Audio In/Out

I/O Slot: 1

Date printed: 28.02.11

10 11 12

As illustrated above, an SCore Live frame houses up to nine DSP cards in the
center of the upper frame section. It also holds up to two (
) or one
(
) additional D21m GPIO card(s) at the left of the DSP cards.
The lower section is reserved for D21m audio I/O and GPIO cards (described
in a separate D21m Product Information brochure).
SCore Live 7

SCore Live
2.2.1

Bridge Card Redundancy

Since Vista SW V4.1, a redundant Bridge card can be used in the SCoreLive.
This provides not only cable redundancy but also true bridge card redundancy.
The order no. of the bridge card with this functionality is A943.0370.35 or
later; earlier bridge cards cannot be upgraded to this level.

Note When using a redundant bridge card, the SCoreLives maximum capacity for
DSP cards is reduced from 9 to 8 cards.

Single Bridge Card

VISTA 9
PC 1

PC 2

LAN 1
IP: 192.168.1.128
IP: 192.168.3.128
SUBN: 255.255.255.0

LAN 1
IP: 192.168.1.129
IP: 192.168.4.129
SUBN: 255.255.255.0

LAN 2
IP: 192.168.2.128
IP: 192.168.4.128
SUBN: 255.255.255.0

LAN 2
IP: 192.168.2.129
IP: 192.168.3.129
SUBN: 255.255.255.0

Switch 1

Switch 2

SCore Live

BRIDGE 1
IP Port 1
IP Port 2
SUBN:

192.168.1.60
192.168.2.60
255.255.255.0

In the example above, the single bridge card must be installed in slot 10 of
the SCoreLive frame; the maximum number of DSP cards is 9.

8 SCore Live

Date printed: 28.02.11

SCore Live
Two (Redundant) Bridge Cards ( Vista SW V4.1 or later only)
VISTA 9
PC 1

PC 2

LAN 1
IP: 192.168.1.128
IP: 192.168.3.128
SUBN: 255.255.255.0

LAN 1
IP: 192.168.1.129
IP: 192.168.4.129
SUBN: 255.255.255.0

LAN 2
IP: 192.168.2.128
IP: 192.168.4.128
SUBN: 255.255.255.0

LAN 2
IP: 192.168.2.129
IP: 192.168.3.129
SUBN: 255.255.255.0

Switch 1

Switch 2

SCore Live

BRIDGE 1
IP Port 1
IP Port 2
SUBN:

192.168.1.60
192.168.2.60
255.255.255.0

BRIDGE 2
IP Port 1
IP Port 2
SUBN:

192.168.1.60
192.168.2.60
255.255.255.0

In the example above, two bridge cards are installed in slots 9 and 10, resulting in a maximum number of eight DSP cards.

Date printed: 28.02.11

SCore Live 9

SCore Live

2.3

Control Signal Flow

Desk

HD Link

GPIO CARD

GPIO CARD

DSP CARD

DSP CARD

DSP CARD

DSP CARD

BRIDGE
CARD

EXT.
SYNC
CARD

PWR 24

SCoreLive
BACKPLANE

TDM Bus
Sync Bus
System Clock Bus
I2C Bus

I 2C
SECONDARY
PSU

D21m BACKPLANE

AUDIO I/O
CARD

PRIMARY PSU

AUDIO I/O
CARD

AUDIO I/O
CARD

PWR

HD CARD
RS422

AUDIO I/O
CARD

HD Link

AUDIO I/O
CARD

MERGER
CARD

24

PRIMARY PSU

RS422 Patch Cable

Note An RS422 patch cable is required in order to connect the control signals
embedded in the HD link data stream, via the HD/RS422 card and the serial
Merger card to the D21m backplane. Order no. C089.201171 (9-pin D-type,
28cm).

Desk
TCP/IP

PI C D

TC D

DPC D

DPC D

ID
C D

T
C
C D

PI

DI I/
C D

Note

C
P

CP

DI I/
C D

10 SCore Live

DPC D

IC

DPC D

C e e
CP

TD s
s
se C k s
IC s

DI I/
C D

TCP/IP

e e

DC D

DI I/
C D

DI I/
C D

C D

PI

Desk, Host card and Bridge card are connected to a standard Ethernet switch.

Date printed: 28.02.11

SCore Live

MODULES
SCore Live Modules
Host Card
DSP Pro Card
Bridge Card
Ext. Sync Card
Primary Power Supply DB15
PSII PCB
SCore Backplane
SCore Backplane for Merger
Air Deflection/Filter Unit
Fan Unit 1 U
19 Frame

Date printed: 28.02.11

A943.0326
A943.0360
A943.0370
(Redundant: A943.0370.35 and up)
A943.0331
A943.0304
A943.0301
A943.0312
A949.0406
A949.0599
A949.0597
A943.0295

SCore Live 11

SCore Live

3.1

SCore Live Host Card (

A943.0326

The Host card is the logical link between the Bridge card and the OnAir 3000
desk. It hosts the DNet mix engine control software. The backplane connector
provides 5V power to the card. The card can be hot-swapped, but requires a
power off/on cycle in order to correctly initialize the DSP cards.

Current consumption (5V)

Operating temperature

approx. 2A
0...40C

Backplane

CF Card

VGA

USB

IRQ

RS232/
RS422

ETH

VGA

Magnetics

VIA ETX Embedded Controller

Advantech SOM4472
800 MHz / 128 MB SDRAM
LPT

COM2

RS232/
RS422

ATAPI

UART 0

COM2

UART 1

USB

PCI Interface

REV [0:3]

ISA Interface
GPO
8 bit / 8.33 MHz

12 SCore Live

Date printed: 28.02.11

SCore Live

S1
8
7
6
5
4
3
2
1

OFF

STATUS LEDs

During power-up of the core, the Host card STATUS LEDs are controlled by
the embedded controller. After the operating system has successfully started
and initialized, the application (e.g. OnAir 3000) is taking over the control
over the LED bar.
Power-Up The STATUS LED bar behavior depends on the setting of two DIP Switches
on the Host card (switch 2: POST, switch 4: DISPLAY) . If both switches
are OFF (default) the LED bar displays 3 different states: Self-test, OS copy,
OS initializing / application starting. The Host card self-test is indicated by
a flashing bottom LED and takes approximately 10 seconds. As soon as the
OS starts loading it displays the progress by sequentially lighting the LED bar
from bottom to top (less than 5 seconds). When the complete OS is transferred
into the memory the top LED starts flashing, indicating that the application
is loaded and initialized.
Solder/Crimp View
(or Socket View)

OS copy finished,
application starting

OS copy
progress

performing self-test

self-test successfully

completed
The OS copy progress bar can be disabled by setting switch 4 (DISPLAY)
to ON. Then the bottom LED will not stop flashing until the application is
loading and initializing.
If the self-test should not complete successfully and the OS cannot be copied,
a more detailed information can be displayed on the STATUS LEDs. Switch
2 (POST) activates this mode by sending Power On Self-Test messages to the
LED bar. This mode overrides the functionality of switch 4 if both are set to
ON. If a POST message does not change after 20 seconds it can be used to
identify an internal problem.
Date printed: 28.02.11

SCore Live 13

SCore Live

Application Status

Regardless of the settings of the DIP switches on the Host card the application is taking over the LED bar after successful initialization of the OS and
indicates the following:
Reserved for future use; always off
Reserved for future use; always off
Reserved for future use; always off
Reserved for future use; always off
Reserved for future use; always off
All specified SW modules (extensions) successfully passed to RUN phase
All specified SW modules (extensions) successfully started
Error Log extension successfully started
Alternates whenever an "alive" broadcast message is received from the network
Alternates whenever an "alive" broadcast message is sent to the network

Other LEDs



DIP Switch

LK Indicates a network link.

ACT Indicates network activity.
INIT / FAIL Is on (INIT) either during initialization of hardware and operating system
(INIT), or during operation in case of a system failure (FAIL); for details refer
to the system error log file.
MAINTENANCE Not used.
S1

No.
1*/**
2*/**
3
4
5
6
7
8

ON
OFF
External COM1 port is RS232*
External COM1 port is RS422**
External COM2 port is RS232*
External COM2 port is RS422**
LED bar shows POST messages
LED bar shows CE boot progress
reserved
reserved
Disable CE load progress meter
Enable CE load progress meter
reserved
reserved
reserved
reserved
reserved
reserved
* = connect COM1 to P12, COM 2 to P4
** = connect COM1 to P11, COM 2 to P5

Connector Pin Assignment

COM1 / COM2 (9-pin D-type, female, UNC 4-40 thread)
Pin
1
2
3
4
5

14 SCore Live

RS232
n.c.
RxD
TxD
n.c.
GND

RS422
Chassis
Rx
Tx +
GND
n.c.

Pin
6
7
8
9

RS232
n.c.
n.c.
n.c.
n.c.

RS422
GND
Rx +
Tx
Chassis

Date printed: 28.02.11

SCore Live

3.2

SCore Live/Pro DSP Card

A943.0360

The
SCore
Live/Pro
DSP
card
is
used
in
the
SCore
Live
for
digital

audio
processing. The VDCA TDM bus interface allows the card to interchange audio
data, serial data, and program code with the bridge card and other DSP cards.
On the front panel, the card has two HD link ports consisting of 96 channels
of input and output each, resulting in 192 inputs and 192 outputs at sampling
frequencies of 48kHz (for
systems: 48 or 96kHz). The capabilities
of the two DSP clusters are depending on the configuration which is either
fixed or created with the configuration editor software and downloaded to
the card during runtime. A watchdog mechanism monitors the operation and
disconnects the card from the TDM bus in case of a failure. Furthermore, the
local voltages and temperatures are monitored and may be accessed by the
host application. The card can be hot-swapped.

Max. cable length for HD links

Current consumption (5V)

Operating temperature

10m
approx. 2A
0...40C

SCORE LIVE/PRO DSP CARD A943.0360

JTAG Port
HD Link
RX Port 1

UART
HD In

HD Link
MUX/
DEMUX

SSI

HD Link
TX Port 1

HD Link
RX Port 2

HD Out

HD In

SSI

HD Out

100 MHz
SHARC
DSP

100 MHz
SHARC
DSP

512MByte
EEPROM
(DSP BIOS)

100 MHz
SHARC
DSP

Watchdog
A in

UART

SDRAM Bus
Cluster A

SSI

100 MHz
SHARC
DSP

HD Link
MUX/
DEMUX

HD Link
TX Port 2

100 MHz
SHARC
DSP

100 MHz
SHARC
DSP

100 MHz
SHARC
DSP

100 MHz
SHARC
DSP

100 MHz
SHARC
DSP

100 MHz
SHARC
DSP

100 MHz
SHARC
DSP

64MByte
SDRAM
(Audio Delay.
etc.)

Backplane

Watchdog
out

VDCA TDM
Bus
Interface

SCORE LIVE
TDM Bus

Watchdog SDRAM Bus

B in
Cluster B

SCORE LIVE
System Clock Bus

512MByte
EEPROM
(DSP BIOS)

SSI

100 MHz
SHARC
DSP

UART
reserved

64MByte
SDRAM
(Audio Delay.
etc.)

Local Power
Supply and
Temperature
Monitoring

I2C

SCORE LIVE
I2C Bus

JTAG Port

Date printed: 28.02.11

SCore Live 15

SCore Live
1 2 3 4

S2 Default
Setting:

LEDs

IDLE / FAIL

OFF

IDLE
ON
OFF

FAIL
OFF
OFF

OFF

ON

ON

ON

Card is ready and waiting for code

Card is processing
Card has detected an error and is disconnected from the
TDM Bus
Card is booting code

(HD) LOCK

Indicates a valid HD link signal at the corresponding input.

DIP Switch

Used for factory testing only. During normal operation, all segments must be
set to OFF.

16 SCore Live

S2

Date printed: 28.02.11

SCore Live

3.3

Bridge Card

A943.0370 (Redundant Version: A943.037035 and up)

The SCore Bridge card is used in the SCore Live to manage the whole core
system. Two Gigabit Ethernet connectors provide a redundant connection
to the desk or host application. The card downloads code to the DSP cards
and passes serial data, parameters, and meter data between the desk or host
application and the DSP cards. Furthermore, a sub-circuit is acting as a master
clock generator for the system. It can accept video, WCLK and AES inputs
from the External Sync card, and generates a local clock from these. The
implementation has been made in such a way that a change from internal to
external sync or vice versa causes no audible artifacts, and the DSP cards will
continue processing. In a
system, the SCore Live runs with the last
setting within less than 10 seconds after powering up thanks to a non-volatile
memory (gold cap backup, capacity sufficient for approx. one week).

Two bridge cards may be plugged into the frame for redundant operation
(A943.037035 and up). The inactive bridge card will not be connected to the
system buses and remains in idle mode. The card is hot-pluggable.

Max. cable length for Ethernet links

Current consumption (5V)

Operating temperature

75m
approx. 2A
0...40C

SCORE LIVE BRIDGE CARD A943.0370

BRIDGE_ACTIVE

Gigabit
Ethernet
Port 1

Gigabit
Ethernet
Port 2

Gigabit
GMII
PHY

ETH1

LOCAL

833MHz
CPU
Gigabit
GMII
PHY

Local SRAM/SDRAM BUS

FLASH
MEMORY
64MByte
(QNX Image)

ETH2

SRAM
2MByte
(Core
Parameters)

VDCA TDM
Bus
Interface

DDR RAM BUS

JTAG
Port

RAM

JTAG

D21m (OnAir 3000)

Audio
Sync
Subcircuit

UART 2

SCORE LIVE
System Clock Bus
SCORE LIVE
Sync Bus
SCORE LIVE
I2C Bus

I2C

EEPROM
256 Bytes
(MAC Addresses,
Production Test
Info)

Date printed: 28.02.11

SCORE LIVE
TDM Bus

Battery /
Gold Cap

UART 1

128MByte
DDR
RAM

Backplane

Local Power
Supply and
Temperature
Monitoring

SCore Live 17

SCore Live
1 2 3 4

S2 Default
Setting:

LEDs

IDLE / FAIL

OFF

IDLE
ON
OFF

FAIL
OFF
OFF

OFF

ON

ON

ON

Redundant card in idle mode

Card is processing
Card has detected an error and is disconnected from the
TDM Bus
Card is booting code

10 / 100 / 1000 Ethernet speed indication:

10 on: 10MBit/s
100 on: 100MBit/s
Both LEDs on: 1GBit/s

Integrated LEDs

The LEDs within the Ethernet connectors have the following meaning:
Orange: Half-duplex operation
Green: Traffic/activity

DIP Switch

Used for factory testing only. During normal operation, all segments must be
set to OFF.

S2

IP Address (

)
When replacing a Bridge card in an SCore Live of an OnAir 3000 system,
copy the IP address of the old card (can be found in the DSP.ini file) to the
new card using Internet Explorer. Otherwise the system will not be operative.

The required procedure is described in chapter 3.3.1.

18 SCore Live

Date printed: 28.02.11

SCore Live
3.3.1

Bridge Card IP Address Setting

Each Bridge card within the network must have its own, unique IP address.
Connect your computer to the OnAir 3000 network and login to the Bridge
cards web interface using a web browser (http://192.160.1.60/).
The default IP address of the primary port is 192.168.1.60, of the secondary
port 192.168.2.60.
Select core management, password: studer.
Select View/Change IP addresses configuration.
For OnAir3000 consoles, the IP address of Ethernet port 1 is usually set
according to the following rules:
IP address = 192.168.SID.15
Subnet mask = 255.255.0.0
where SID is the system ID derived from the cores serial number. The Bridge
card in a core with the serial no. 2077 shall then have the static IP address
192.168.77.15.
Note

3.3.2

The IP address of the first network adapter must not be within the same subnet
as the IP address of the second port.
Click on Apply settings at next startup.

Bridge Card IP Address Recovery

2




3

The following steps allow to find out the Bridge cards IP address:
The Bridge card must be started in in Safe Boot Mode. Therefore, switch 1
must be ON and the card must be restarted. It will then start with IP address
192.168.1.38. In order to avoid an IP conflict in the network, the Bridge card
may be disconnected from the network.
Connect to port 1 of the Bridge card using FTP.
IP address = 192.168.1.38
User name = root
Password = Obelix
The shell script file folder setup_network.sh in the fs0p0/bin/ contains the IP
addresses of Ethernet port 1 (en0) and port 2 (en1) as used in normal mode:

#!/bin/sh
#######################################################
## Primary interface
#######################################################
#----- Fixed IP ----
ifconfig en0 192.168.1.60 alias
#######################################################
## Secondary interface
#######################################################
#----- Fixed IP ----
ifconfig en1 192.168.2.60 alias

The settings may be changed here.

Date printed: 28.02.11

Download the modified file and restart the Bridge card in normal mode (i.e.
switch 1 = OFF).
SCore Live 19

SCore Live
3.3.3

Reset the Web IF Password to Default

The following steps allow resetting the web login password to default
(studer).

1



2

3

Connect to port 1 of the Bridge card using FTP

User name = root
Password = Obelix
Open the folder /Studer/www/CGI-DATE/
Delete the existing password file: manager_passwd

Now you can login on the Bridge cards web interface using the default password (studer).

20 SCore Live

Date printed: 28.02.11

SCore Live

3.4

Ext. Sync Card

A943.0331

The SCore Ext. Sync card acts as a connector panel for audio clock synchronization inputs and outputs. Three inputs (VIDEO IN, WCLK IN, and AES
SYNC IN) can be used; their signals are sent to the SCore Live sync bus on the
backplane. While the video sync is separated on the card, the other signals
are just driven onto the bus. A green LED indicates that the applied external
sync is used by the system. The system clocks can be used from the WCLK
OUT and AES 3x OUT outputs.
Important If the system is using MADI links, the deviation of the external sync signal
from the nominal clock frequency must not exceed 100ppm. If no MADI
links are used, a deviation of 2500ppm is tolerated.

Sync Priority

The sync source is automatically selected according to the following table:

Clock Source
Video
AES/EBU
Wordclock
Internal

Priority
1
2
3
4

Current consumption (5V)

Operating temperature

approx. 100mA
0...40C

SCORE LIVE/PRO EXT SYNC CARD A943.0331

Backplane

EXT LOCK
LED
Video Ref.
Input

Video
Sync
Separator

WCLK In

15
AES/EBU In

WCLK Out

Solder/Crimp View
(or Socket View)

SCORE LIVE
Sync Bus

AES/EBU
Out1
AES/EBU
Out2
AES/EBU
Out3

Date printed: 28.02.11

SCore Live 21

SCore Live

S1
1.1
1.2
1.3
1.4

OFF

LED
DIP Switch

EXT LOCK

Indicates that the applied external sync is used by the system.

S2
1.1
1.2
1.3
1.4

Setting
VIDEO IN termination (default setting OFF: High-Z / ON: 75 )
reserved (default setting OFF)
reserved (default setting OFF)
WCLK IN termination (default setting OFF: High-Z / ON: 75 )

Connector Pin Assignment

AES SYNC IN + 3x OUT (15-pin D-type, female, UNC 4-40 thread)
Pin
1
2
3
4
5
6
7
8

Signal
AES IN +
Screen
AES OUT 3
n.c.
AES OUT 2 +
Screen
AES OUT 1
n.c.

Pin
9
10
11
12
13
14
15

Signal
AES IN
Screen
AES OUT 3 +
n.c.
AES OUT 2
Screen
AES OUT 1 +

22 SCore Live

Date printed: 28.02.11

SCore Live

3.5

Primary Power Supply

A943.0304

The 200W primary power supply unit is auto-ranging (100...240VAC,

50...60Hz) with integrated power factor correction. A status output signal is
available on the 15-pin D-type front panel socket. The fan units supply can
be taken from this socket as well.
FAN/STATUS Connector (15-pin D-type, female, UNC 4-40 thread)

15

Solder/Crimp
View (or
Socket View)

3.6

Air Deflector/Filter Unit

Pin
1
2
3
4
5
6
7
8

Signal
Pin Signal
+24 VDC (fan supply, 650 mA max.) 9 GND
reserved - do not connect!
10 n.c.
GND
11 n.c.
* Relay NO (normally open)
12 reserved - do not connect!
** Fan supply OK (active low)
13 ** Fan in (active low)
* Relay COMMON
14 reserved - do not connect!
GND
15 n.c.
Relay NC (normally closed)
* Contacts closed if everything is ok
** Status signals, foreseen for fan supervision

A949.0599

If the power dissipation of an SCore Live frame is between 50 and 100W,

air deflector/filter units must be used on top of and below the frame. For a
frame dissipating more power, a fan unit (see below) must be used at the
bottom of the frame, combined with an air deflector/filter unit on its top. If
space is available, a second air deflector/filter unit may be used below the fan
unit, increasing the air intake cross-section and thus improving the cooling
efficiency.
For more information on cooling and guidelines for power dissipation estimation refer to chapter 1.2.2, paragraph thermal considerations.

3.7

Fan Unit

Date printed: 28.02.11

A949.0597

In cases where the power dissipation of an SCore Live frame exceeds 100W,
active cooling is imperative. If no cooling system for the whole rack is used,
this 1U fan unit is required underneath the frame. Seven fans draw air in from
the front (filtered) and from the bottom (unfiltered) and blow it out upward.
The bottom is open and allows installing an additional air deflector/filter unit
underneath the fan unit as described above, increasing the air intake crosssection. In most cases, however, closing the fan units bottom with a piece of
metal sheet is sufficient.

SCore Live 23

SCore Live

For power supply to the fans and fan status monitoring, two connectors are
provided one at the front, the second at the rear of the unit. They are connected in parallel, so either one can be used depending on the application. If
any of the fans should have a short or open circuit, the alarm signal is triggered.

A 15-pin D-type cable (order no. C089.201167) for connection to the primary
PSU is required.

Please note that currently the fan monitoring is implemented for the use of
the fan unit within the SCore Live only.
For more information on cooling as well as guidelines for power dissipation
estimation refer to chapter 1.2.2, paragraph thermal considerations.

FAN/STATUS Connector (15-pin D-type, male, UNC 4-40 thread)

15

Solder/Crimp View
(or Socket View)

Replacement Fan:

3.8

Pin
1
2
3
4
5
6
7
8

Signal
+Vcc (fan supply, +15...24 V)
n.c.
GND
n.c.
Alarm relay + (open collector,
pulling up to Vcc if alarm triggered)
n.c.
GND
n.c.

Pin
9
10
11
12

Signal
GND
n.c.
reserved (NTC)
n.c.

13 GND
14 n.c.
15 reserved (Alarm LED+)

Order no. C072.010117

D21m I/O Subsystem

The D21m I/O system consists of various different analog and digital I/O
cards, general-purpose I/O cards, and cards for serial control. It is described
in a separate brochure (order no. BD10.275102).

24 SCore Live

Date printed: 28.02.11

Vista 5 Digital Mixing System

CHAPTER 9: APPLICATION NOTES

Application Note 1: Matrix buses Panning in a PA Environment (Vista 5/8)......................................................9-3

Application Note 2: TV Gallery "Pre-Hear" (Vista 5/8)..........................................................................................9-5

......................................................................................................................................................................................

......................................................................................................................................................................................

......................................................................................................................................................................................

......................................................................................................................................................................................

......................................................................................................................................................................................

......................................................................................................................................................................................

......................................................................................................................................................................................

......................................................................................................................................................................................

......................................................................................................................................................................................

......................................................................................................................................................................................

......................................................................................................................................................................................

......................................................................................................................................................................................

......................................................................................................................................................................................

......................................................................................................................................................................................

Date printed: 20.06.2007

SW V3.6

Application Notes 9-1

Vista 5 Digital Mixing System

9-2 Application Notes

SW V3.6

Date printed: 20.06.2007

Vista 5 Digital Mixing System

9.1

Application Note 1:
Panning in a PA Environment (Vista 5/8 Matrix Buses)
Even though matrix buses can be used for a number of applications, a most
typical situation will be described here. A live venue has a number of
speakers and wants to use the console panner for positioning sound sources
within the given installation. The consoles panner is assuming the
speakers to be placed at standard angles and distances with respect to the
listener (such as, for the well known 5.1 format, left/right/center/left
surround/right surround/LFE). Lets assume that the venue has 10
loudspeaker channels. Obviously there is a need to map the standardized
surround channels to these 10 speakers, depending on their placement
within the venue. This is done by configuring 10 matrix buses that can be
fed by the 6 master channels. Depending on a speakers position, the
operator adds signal from one or several master channels to a speaker
channel, in order to match the sonic impression in the venue with the
panner directions. It is also possible to add some DSP processing in the
matrix output channels, e.g. some delay or EQ.
The Channel/Bus view of the Configuration Editor software could look like
this:

Matrix Channels with their Matrix Buses

In this very simple example the matrix buses are only fed by the master
buses (such short matrix buses will not need the same amount of DSP
power as other buses in the system) The six master buses are used as
surround masters , and the multi-format pan on the input channels is set to
5.1.
Date printed: 20.06.2007

SW V3.6

Application Notes 9-3

Vista 5 Digital Mixing System

When working in two-channel stereo or LCR (3 channel) mode, the same

principles apply. In this case, two or three master channels would be
configured. The operator mixes the loudspeaker signal from the available
masters. If the speakers are removable and their position changes between
different productions, there is no problem to adjust the translation
between standard pan formats and the installation by adjusting the matrix
level on the master channels. The number of matrix outputs would always
match the installation in the venue.

9-4 Application Notes

SW V3.6

Date printed: 20.06.2007

Vista 5 Digital Mixing System

9.2

Application Note 2:
TV Gallery "Pre-Hear" (Vista 5/8)
It is a common requirement in TV studios especially when doing light
entertainment and current affairs that the director and producer in the
studio control room want to hear the main presenters even when their mics
are faded down. They normally listen on a small desk loudspeaker or via
the comms system. It is of course a simple matter to route a pre fade direct
output of each presenter mic to an Aux and send this to the director.
However when the presenter mic is faded up the director gets two signals,
one from the main monitoring and the second from the pre-hear speaker. A
simple use of the Vista/D950 conferencing automatically produces a
simple pre-hear mix and removes presenters mics from this pre-hear when
they are faded up.
Configuration

First the DSP configuration must be set to provide as many NX buses as

there are presenters, say 10. Also the configuration must include an MPX
bus.

The required NX m buses (dashed) and one MPX bus (solid) are added. If
you use the NX Wizard do not add the master Aux bus to mix the
program to the MPX bus.
Build the config and then load it and create or merge to your title.
Title

Date printed: 20.06.2007

The first thing is to make all the presenters mics NX bus owners. Open
"Option/N1 Assign" and you get the screen on the next page. Add all the
presenters as NX bus owners (note the N1 Bus pull down must be "Bus
NX m 1" etc. If you cannot find this bus then you have configured the
wrong NX bus type in the config tool). You do not need to add the send
lines or check the Channel Assignment boxes.

SW V3.6

Application Notes 9-5

Vista 5 Digital Mixing System

Open the general patch and select "Bus Out" on the "Show Sources" pull
down menu.

Patch this bus to the output port feeding the director's loudspeaker.
9-6 Application Notes

SW V3.6

Date printed: 20.06.2007

Vista 5 Digital Mixing System

Setting up the Conference

Now we have to add the presenter mic channels to the MPX conference.
On a Vista 5 or 8, press the MPX key on the master bay. On Vista 6 or 7
press the F6 key on the control bay. The LINK/SEL keys of all possible
conference members half light, the user may add all or some of the bus
owners as required by pressing the LINK/SEL keys. If you are using the N
X system for external clean feeds from TBUs or Outside Sources you may
or may not wish these channels to be members.
On the strip setup page you can see the assigned conference channels in
blue.
If you do not wish the input channel meters to show the conference signals
you may disable the NX metering in the options menu: "Options/Vista
Settings/Misc"

Working!

As soon as the fader of one or more of the channels is closed it will mix the
prefader channel signal to the MPX bus. You may globally activate and
deactivate this feature in the GUI with the button on the screen or the
OPTION F7 key. (Vista 5 hosts a dedicated key for this next to SETUP
Conference). The F7 key lights to show the function is enabled.
The GUI button has three settings:Grayed-out: Not active or defined.
Coloured: Conference active, even if members closed.
Coloured and crossed out: Conference defined but deactivated.

Levels

Date printed: 20.06.2007

The channel Vistonics Out N1 assignment has for each NX bus owner a
level control n1 SEND (next to the front) controlling the mix to the
director's pre-hear. You may adjust this as required, note; this must be set
with the fader closed as the level to the MPX bus changes when the fader
opens.
Note, the pre-hear will be active if the channel is muted; in order to cut the
pre-hear during toilet breaks you need to either disable the MPX, "Option
F7" or leave the fader at 70 dB or so.

SW V3.6

Application Notes 9-7

Vista 5 Digital Mixing System

Vista Digital Mixing System

VISTA SW V4.0, DIFFERENCES AND NEW FEATURES

Please insert this document at the end of chapter 10 of your Vista operating instructions folder.
A

"5.1 Channels" (SCore Live only) ................................................................................................................................... 3

A.1
Introduction ................................................................................................................................................................. 3
A.1.1
Channel Patch...................................................................................................................................................... 4
A.1.2
"Upmix" Panner for Stereo Channels .................................................................................................................. 4
A.1.3
New Surround Bus Order .................................................................................................................................... 5
A.1.4
Monitoring........................................................................................................................................................... 6
A.1.5
Metering .............................................................................................................................................................. 7
A.2

Parameters ................................................................................................................................................................... 8

A.3
Global Views............................................................................................................................................................... 9
A.3.1
Input Parameters .................................................................................................................................................. 9
A.3.2
Pre-Amp Remote Parameters ............................................................................................................................ 10
A.3.3
Direct, Multi-Track and N1 Output Parameters .............................................................................................. 11
A.3.4
Mono AUX Parameters ..................................................................................................................................... 12
A.3.5
Stereo AUX Parameters..................................................................................................................................... 12
A.3.6
Filter Parameters................................................................................................................................................ 13
A.3.7
Delay and Insert Parameters .............................................................................................................................. 14
A.3.8
Compressor/Limiter Parameters ........................................................................................................................ 15
A.3.9
Expander/Gate Parameters ................................................................................................................................ 16
A.3.10 EQ Parameters ................................................................................................................................................... 17
A.3.11 Panning Parameters ........................................................................................................................................... 18
A.3.12 Global Bus Assignment View ........................................................................................................................... 19
A.4
Channel-Related Views ............................................................................................................................................. 20
A.4.1
Dynamics Parameters ........................................................................................................................................ 20
A.4.2
EQ / Filter Parameters ....................................................................................................................................... 22
A.4.3
Panning Parameters ........................................................................................................................................... 23
A.4.4
Channel View .................................................................................................................................................... 25
A.4.5
Misc View (Miscellaneous Parameters) ............................................................................................................ 27
A.4.6
Bus Assignment View ....................................................................................................................................... 28
B

Vintage Dynamics (SCore Live only)............................................................................................................................. 29

B.1

Introduction ............................................................................................................................................................... 29

B.2

Block Diagram........................................................................................................................................................... 29

B.3
Global View .............................................................................................................................................................. 30
B.3.1
Vintage Compressor Parameters........................................................................................................................ 30
B.3.2
Vintage Expander/Gate Parameters................................................................................................................... 31
B.4
Channel-Related View............................................................................................................................................... 32
B.4.1
Vintage Dynamics Parameters........................................................................................................................... 32

Date printed: 17.06.08

SW V4.0

Software V4.0 1

Vista Digital Mixing System

2 Software V4.0

SW V4.0

Date printed: 17.06.08

Vista Digital Mixing System

A
A.1

"5.1 CHANNELS" (SCore Live only)

Introduction
With the Vista V4.0 software release, 5.1 channels were introduced.
These are also referred to as surround channels, using only one single
fader for bringing a surround source into a mix. 5.1 channels are available in the SCore Live configuration editor as input, group or master channel types.

Date printed: 17.06.08

SW V4.0

Software V4.0 3

Vista Digital Mixing System

A.1.1

Channel Patch
A surround source can very easily be patched to a 5.1 input channel by
using the auto route facility, where all six discrete mono sources are
patched at once and with one single click. Moreover, there is a "+" unfold
icon with every 5.1 target. When clicking on it, all 6 individual legs of the
surround target are shown and can be patched in any desired order. Clicking on "-" closes this view to show only one single patch connection again.

A.1.2

"Upmix" Panner for Stereo Channels

Normally, a significant number of stereo sources is still used for a typical
surround production, so they need to be brought into the 5.1-channel format. The upmix panner is a way to pan stereo signals to a surround mix,
providing the possibility to unwrap a simple stereo signal to a surround
sound field.
Every stereo channel can be equipped with the new upmix panner. There
are three operating modes: "Normal LR", "5.1", and "5.1 width" modes.
"LR" mode is normal stereo panning; "5.1" mode simply uses standard
panning, where e.g. the left channel is also sent to the left surround
speaker, etc. The most uncommon of these modes is "5.1 width", applying
a special algorithm (using Harman corporate intellectual property), extending the stereo width control to the rear channels as well.

4 Software V4.0

SW V4.0

Date printed: 17.06.08

Vista Digital Mixing System

A.1.3

New Surround Bus Order

With the surround channel order now accepted by the industry, according
to the ITU standard (L, R, C, LFE, Ls, Rs), the bus order in Vista consoles
has been changed. The newly introduced bus labeling in the Vistonics
touch area allows a better overview and secure and quick assigning.

Note:

It is very important to understand that the new 5.1 input channels can be
assigned to buses in this strict order only.
Daily broadcast work shows, however, that not all 5.1 sources are delivered
in the standard format yet. An input order selector has been designed comparable to the "2-CH mode" (L to both, R to both, swapped, mono) in stereo channels. This is an easy way to detangle different standard surround
material, so once it is on the 5.1 fader, everything is in the correct "L R C
LFE Ls Rs" standard order.

The configuration editor application provided with this release will only
use surround panner modules (for mono channels) that pan to the buses in
the new order.
This means that there are new surround panner modules that are:
"Multiformat Pan w/LFE": l/r/c/lfe/ls/rs, and
"VSP2": l/r/c/lfe/ls/rs.
The new "Upmix" panner for stereo channels also pans to the buses in the
new order.

There are different possible update scenarios for your VMC configurations:
Add 5.1 channels and stereo upmix panners to your existing configurations, and change the mono channel surround panners to the new bus
order.
Dont add 5.1 channels or stereo upmix panners, but change the existing mono channel surround panners to the new bus order.
Dont change your configurations at all.
We recommend the first or second scenario. The necessary steps are described in detail in the SW release upgrade notes.

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A.1.4

Monitoring
In order to cope with the new surround bus order, the monitoring patch and
the surround orders in the monitoring file dialog, along with the order of
the monitoring meters have been changed with SW V4.0. This is achieved
by modifying the Mon.ini file, as indicated in the SW release upgrade
notes.

Vista 8 CR meters below SW V4.0:

Vista 8 CR meters with SW V4.0:

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A.1.5

Metering
For level indication of the surround input signals, two possibilities
are available:
The channel meters indicate maximum level values of several signal
legs, as shown below (left: Vista 6/7/8, right: Vista 5).

Discrete levels of all surround input legs are displayed in the panning window of the Vistonics screen:

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A.2

Parameters
With the 5.1 input channels, the user has input, EQ, dynamics and panning
sections completely designed for premixed 5.1-channel input sources. The
main goal is that he can adjust the most important parameters directly with
a touch on the Vistonics screen, without the need to spilling single
mono or stereo channels to additional faders, where other important
sources would be hidden and become unavailable.
On the following pages you will find a detailed parameter description of
these new channel types. Functions that remain the same as with mono or
stereo channels are not necessarily mentioned.
Parts of the mixing console/Vista application that are affected by the 5.1
channels are described as well.
Global View of two 5.1 Input Channels:

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A.3
A.3.1

Global Views
Input Parameters
Press GLOBAL VIEW: INPUT.
Compared with mono or stereo channels, the global input control section of
a surround input channel is slightly different: There is no phase control
switch, and the 2 CH Mode selector has been replaced by 5.1 ORDER.

[1]

[2]

DIG 1 GAIN [1]

As it is the case with mono or stereo channels, the digital gain stage acts as
a trim after the A/D converter. Input gain can be set in 1 dB steps in a
range of 24 dB. The default value is 0 dB. In a 5.1 channel, all six surround input legs are treated simultaneously.

5.1 ORDER [2]

Like the 2 CH MODE function in a stereo channel, this functionality provides a kind of patching within the 5.1 channel. The bus order in Vista
consoles with SW V4.0 has been changed according to the ITU standard
(L, R, C, LFE, Ls, Rs). The 5.1 ORDER selector allows converting different surround formats to the ITU order.
Format
ITU
Studer (SW before V4.0)
Film
LR

Input Channels
L R C L F E Ls Rs
L R C Ls Rs LFE
L C R Ls Rs LFE
L R

ITU Output Channels

L R C LFE Ls Rs

For further information on this subject, please refer to chapter A.1.3.

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A.3.2

Pre-Amp Remote Parameters

Press GLOBAL VIEW: MIC CTRL.
The same functions for Mic control are found as on mono and stereo input
channels. On the 5.1 surround input channels these controls are linked for
all six legs of the surround signal.

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A.3.3

Direct, Multi-Track and N1 Output Parameters

Press GLOBAL VIEW: OUT n-1.
This view is similar as with mono or stereo channels; it allows controlling
the levels of the Direct and Multi-Track outputs and of the channels contribution to the N1 bus.
From surround input channels, N1 mono buses are fed with an ITUcompatible mono down-mix of the surround signal. N1 stereo buses are
fed accordingly with an ITU-compatible stereo down-mix.

[1]

Pan On/Off [1]

Date printed: 17.06.08

Allows panning of the channel's output signal to the multi-track bus if set
to "Pan On", in addition to the standard channel pan. The panning is adjusted with the usual Pan controls.

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A.3.4

Mono AUX Parameters

Press one of the GLOBAL VIEW: AUX MONO keys.
The mono Aux sends are fed from the 5.1 channels with an ITUcompatible mono down-mix.

A.3.5

Stereo AUX Parameters

Press one of the GLOBAL VIEW: AUX STEREO keys.
The stereo Aux sends are fed from the 5.1 channels with an ITUcompatible stereo down-mix. Compared with the stereo Aux send view for
mono or stereo input channels, there is no panner control available for 5.1
surround input channels.

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A.3.6

Filter Parameters
Press GLOBAL VIEW: FILTER.
This view is the same as with mono or stereo channels; it allows controlling the high- and low-cut filter parameters. Please note that HI- and LOCUT filter parameters applied here will be valid for all surround signal
legs, except the LFE. For further information on this subject, please refer to
chapter A.4.2.

[2]
[1]

[2]
[1]

HI CUT/LO CUT [1]

Slope setting for the high- and low-cut filters, selectable from 12, 18, and
24 dB/octave (toggles 12, 18, 24, 12, ...).

Frequency [2]

Cutoff frequency adjustment for the high- and low-cut filter: Both filters
can be set in 120 steps in the range from 20 Hz through 20 kHz.

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A.3.7

Delay and Insert Parameters

Press GLOBAL VIEW: DLY-INS.
This view is the same as with mono or stereo channels; it allows controlling the channel delay and insert parameters. Please note that the available
delay processing block for 5.1 channels has a maximum delay time of
700 ms (compared with the standard 240 or 100 ms delay in the mono or
stereo channels).

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A.3.8

Compressor/Limiter Parameters
Press GLOBAL VIEW: COMP-LIM.
This view is the same as with mono or stereo channels. Please note that the
compressor and limiter settings applied here will be valid for all surround
signal legs except the LFE. For further information on this subject, please
refer to chapter A.4.1.

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A.3.9

Expander/Gate Parameters
Press GLOBAL VIEW: EXP-GATE.
This view is the same as with mono or stereo channels. Please note that the
expander and gate settings applied here will be valid for all surround signal
legs except the LFE. For further information on this subject, please refer to
chapter A.4.1.

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A.3.10

EQ Parameters
Press GLOBAL VIEW: EQ
This view is the same as with mono or stereo channels. Please note that the
equalizer settings applied here will be valid for all surround signal legs except the LFE. For further information on this subject, please refer to chapter A.4.2.
Standard view:

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SW V4.0

Alternate view:

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A.3.11

Panning Parameters
Press GLOBAL VIEW: PAN.
Please note that the panning section in the 5.1 channels is completely different from the panning we already know from mono or stereo channels.
The main goal of the panning section for surround input channels is the direct adjustment of the most important parameters by a touch on the VistonicsTM screen, without the need to spill single mono or stereo channels to
additional faders, since other important sources would then be hidden and
become unavailable. This is realized by introducing completely new parameters for balancing the 5.1 signal using the Vistonics rotary encoders.
The complete 5.1 channel panning section is described in chapter A.4.3.
The most important 5.1 panning parameters can be seen and controlled in
the global view:

[1]
[2]

[3]

[4]

[5]

LFE LEVEL [1]

LFE LEVEL On/Off [2]

This is a simple level trim for the LFE leg of the surround signal. The default level is 0 dB. Maximum boost/cut is +10 dB/90 dB.
"Off" mutes the LFE signal.

FRONT L-R [3]

Balance control for the FRONT channels of the surround signal. When set
towards the left, the signal of the right channel is attenuated, and vice
versa. This is comparable to the input balance of a stereo channel.

F-R [4]

Balance control for the relation between the surround signal's FRONT and
REAR channels. When set towards the FRONT, the REAR signal pair is
attenuated, and vice versa.

REAR L-R [5]

Balance control for the REAR channels of the surround signal. When set
towards the left, the Rs channel signal is attenuated, and vice versa.

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A.3.12

Global Bus Assignment View

Press GLOBAL VIEW: BUS ASN. This is an On/Off key that can be activated
in addition to other global view keys. The bus assignment overview will
cover the EQ, dynamics and pan curves on the lower part of the TFT; it
disappears when GLOBAL VIEW: BUS ASN is pressed again.
The displayed bus assignment bitmap varies depending on the channel
type. Some channel types may show a part of the bitmap only, depending
on possible bus assignments. Therefore the display may show a blank region for some channel types.

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A.4
A.4.1

Channel-Related Views
Dynamics Parameters
Touch the green VistonicsTM dynamics field.
This view is the same as with mono or stereo channels with one exception,
refer to the screenshot below. Please note that the dynamics settings applied here will be valid for all surround signal legs except the LFE.

[1]
[2]

If such a setting has been made, the default VistonicsTM dynamics display
shows in small characters which signal leg is different from the others (in
this case, only "Lf" is shown since the LFE's EQ setting is not modified),
as shown left.
If one or more of the signal legs must be adjusted differently from others
such as adding expansion in the center channel only, the CHANNEL VIEW
has to be selected. Then all the separate EQ and dynamics settings for
"Front", "Center", "LFE" and "Rear" are accessible. Please note that there
also is a gain reduction indication at the left of each of the four individual
dynamics icons.
Parameters Shared by the Dynamics Functions:
SC LINK [1] The Side-Chain Link function allows forming a side-chain group from up
to eight channels in order to control the dynamics of all of them by the
maximum level of all side-chain group members. Side-chains are defined
in the GCs Channel Patch window ("Sidechain Link Setup", tick "Enable
side Chain Link"). The rotary encoder selects the surround signal legs used
for the side-chain group; for details, see the block diagram below.
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Four different possibilities are available:

All signal legs (L, R, C, Ls, Rs) are part of the sidechain link.
Only the L, R, Ls and Rs signal legs are part of the sidechain link.
Only the L, R and C signal legs are part of the sidechain link.
Only the L and R signal legs are part of the sidechain link.
SC LINK intKey/extKey [2]

Date printed: 17.06.08

The key source input can be selected from intKey (dynamics processing
depends on the channels own input signal, i.e. an internal key signal), or
extKey (processing is controlled by a signal connected via the patch, i.e. by
an external key signal).

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A.4.2

EQ / Filter Parameters
Touch the red VistonicsTM EQ field.
This view is the same as with mono or stereo channels. Please note that the
equalizer settings applied here will be valid for all surround signal legs except the LFE.

If such a setting has been made, the normal VistonicsTM EQ display shows
in small characters which signal legs are different from the others (e.g.
"Lf"), as shown left.
If one or more of the signal legs must be adjusted differently from others
such as boosting HF in the center channel only, the CHANNEL VIEW has to
be selected. Then all the separate EQ and dynamics settings for "Front",
"Center", "LFE" and "Rear" are accessible.

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A.4.3

Panning Parameters
Touch the yellow VistonicsTM pan field.

[1]

[11]

[2]

[10]

[3]

[13]
[12]

[4]
[6]

[5]
[8]

PAN On/Off
CENT LEVEL [1]
FB On/Off [2]

[15]
[14]

[9]

is selected with the PAN hardware key.

[17]
[16]

Center level control from MUTE (i.e. dB) to +10 dB.

On/off switch for center channel contribution to the F-R control [4].

FRONT L-R [3]

Front panning between the left, (center) and right channels in 1 steps. The
contribution to the center channel is determined by the CENTER control.

F-R [4]

This parameter allows variable blending from front to rear channels in 60

increments, either with a contribution from the center channel (FB On) or
without (FB Off).

REAR L-R [5]

PANARND On/Off [6]
PANARND [7]
LFE On/Off [8]
LFE LEVEL [9]

Date printed: 17.06.08

[7]

Panning between the left and right surround channels in 1 steps.

Activates the Pan-Around function.
Single-knob function, allows rotating the surround sound field by 180.
On/off selector for LFE channel use.
LFE channel percentage control; 0% = no LFE channel use, 100% = LFE
channel fully active.

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CENTER On/Off [10]

CENTER [11]

FRONT WIDTH On/Off [12]

FRONT WIDTH [13]

F/R DEPTH On/Off [14]

F/R DEPTH [15]

REAR WIDTH On/Off [16]

REAR WIDTH [17]

24 Software V4.0

On/off selector for center channel use.

Center channel percentage control; 0% = no center channel use (phantom
center), 100% = center channel fully active.
Switches the FRONT WIDTH function on/off.
The FRONT WIDTH parameter is used to control the width of the front
signal. It is only functional if there is a difference between the left and right
input channels. FRONT WIDTH operates over a range from 0% (mono) to
200% (super stereo).
Switches the F/R DEPTH function on/off.
The F/R DEPTH parameter is used to control the depth of the surround
space. It is only functional if there is a difference between the front and the
rear input channels. F/R DEPTH operates over a range from 0% (zero
depth) to 200% (super depth).
Switches the REAR WIDTH function on/off.
The REAR WIDTH parameter is used to control the width of the rear signal. It is only functional if there is a difference between the left and right
input channels. REAR WIDTH operates over a range from 0% (mono) to
200% (super stereo).

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A.4.4

Channel View
Pressing VIEW: CHANNEL brings up an overview of the channel, covering
the whole Vistonics TFT. All available parameters are shown in the rotary
section, except for dynamics, EQ, and panning (see chapter A.4.5). Only
visible parameters are available for adjustment.

As can be seen above, there is an additional selection possibility in the

touch area that allows modifying the EQ and dynamics parameters for the
Front, Center, LFE and Rear signals individually.
Upon touching one of these fields (e.g. the red "Center" EQ field) the display changes to the individual EQ setting of the "Inp x 1" 5.1 input's center
channel.
The display changes then as shown on the next page.

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After the individual setting is made, pressing VIEW: CHANNEL again

switches back to the standard channel view. In our case (where the front
and center channels of Inp x 1 have individual EQ settings), the EQ field
then displays the standard EQ curve with supplementary, small L, R and C
characters, indicating that the front and center EQ settings are different
from the displayed curve.

Individual dynamics settings for the different surround signal legs can be
adjusted and are indicated in the same way. Please note that there is a gain
reduction indication at the left of each of the four individual dynamics
icons:

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A.4.5

Misc View (Miscellaneous Parameters)

Pressing VIEW: MISC brings up an overview for one channel, covering the
whole Vistonics TFT. The most important parameters of a channel (i.e. dynamics, EQ, and pan) are shown in the rotary section. Only visible parameters are available for adjustment.

Date printed: 17.06.08

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A.4.6

Bus Assignment View

When pressing VIEW: BUS ASN, the display changes to the bus assign window of this particular channel.

Only buses are shown here to which the current channel can be assigned.
Pressing VIEW: BUS ASN on a master channel, however, will activate the
inverse bus interrogation view described below.
The CLR buttons will clear the assignment to all buses of the corresponding type.
Inverse Bus Interrogation

28 Software V4.0

Pressing VIEW: BUS ASN on a group master, an AUX master or a master

channel (having a bus routed to its input) opens the Strip Setup dialog on
the GC screen, showing the currently assigned channels in magenta color.
When pressing VIEW: BUS ASN on an NX owner channel, the inverse bus
interrogation is done on the associated NX bus.

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Vista Digital Mixing System

B
B.1

VINTAGE DYNAMICS (SCore Live only)

Introduction

Alternative Vintage Dynamics Processing Block

With the Vista SW version 4.0 there is a new VMC processing block available for mono and stereo channels. It is called Vintage Dynamics and
consists of a compressor which can be used in conjunction with an
expander/noise-gate. The design focus was very clearly set on the compressor. This new compressor algorithm provides an alternative to the current dynamics section in the Vista consoles, which has been described as
rather transparent. This is a desired property for most users. For some
applications, however, the compressor is utilized in a more pronounced
way, i.e., as an effect itself. This new compressor unit is targeted to be
flexible enough for many different types of sound coloration, including
extreme and unusual settings.

B.2

Block Diagram

Date printed: 17.06.08

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B.3
B.3.1

Global View
Vintage Compressor Parameters
Press GLOBAL VIEW: COMP-LIM.
This global view enables the user to control the most important parameters
of the vintage dynamics sections compressor part. The complete parameter
set is available on the channel-related vintage dynamics view, refer to
chapter B.4.1. There you will also find the parameter details.

[1]

[2]
[3]

[4]

[5]
[6]

CMP THRS [1]

The compressor threshold level can be adjusted in 1 dB steps from 0 dBFS

to 96 dBFS.

CMP RTIO [2]

The compressor ratio can be adjusted from 1:1 (no compression) to 40:1
(heavy compression or limiting).

CMP peak/RMS [3]

CMP ATCK [4]

MKUP GAIN [5]

MKUP GAIN auto on/off [6]

30 Software V4.0

Level detection mode: peak or RMS

The compressor attack time can be adjusted in 64 steps within a range of
0.2 ms to 250 ms.
Manual gain compensation from 0 dB to +24 dB
Auto Make-up Gain function on/off.

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B.3.2

Vintage Expander/Gate Parameters

Press GLOBAL VIEW: EXP-GATE.
This global view enables the user to control the most important parameters
of the vintage dynamics sections expander or gate parts. The complete parameter set is available on the channel-related vintage dynamics view, refer to chapter B.4.1. There you will also find the parameter details.
Standard view:
Shift view:

[1]

[5]

[2]

[6]

[3]

[7]

[4]

[8]

GATE THRS [1]

The gate threshold level can be adjusted in 1 dB steps from 0 dBFS to

96 dBFS.

GATE ATTN [2]

The gate attenuation level can be adjusted in 1 dB steps from 0 dBFS to

+60 dBFS.

GATE ATCK [3]

The gate attack time can be adjusted in 64 steps within a range of 0.2 ms to
5 ms.

GATE HOLD [4]

The gate hold time can be adjusted in 64 steps from 0 ms to 2000 ms.
Activated by pressing GLOBAL VIEW: EXP-GATE and the key (Shift) at
the same time.
The expander threshold level can be adjusted in 1 dB steps from 0 dBFS to
96 dBFS.

nd

2 Global View:
EXP THRS [5]

Date printed: 17.06.08

EXP RATIO [6]

The expander ratio level can be adjusted from 1:1 (no expansion) to 1:40
(heavy expansion).

EXP ATCK [7]

The expander attack time can be adjusted in 64 steps within a range of

0.2 ms to 5 ms.

EXP HOLD [8]

The expander hold time can be adjusted in 64 steps from 0 ms to 2000 ms.
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B.4
B.4.1

Channel-Related View
Vintage Dynamics Parameters

[2]

[3]

[1]

[4]

[5]

[23]

[6]

[8]

[22]

[24]

[7]

[16]

[13]

[9]
[10]

[11]
[12]

[25]

[14]

[15]

[25]

Compressor Parameters:
CMP KNEE On/Off [1]

[24]

For smoother transitions between compressed and uncompressed signals

around the threshold, the knee of the static curve can be softened ->
Soft knee (also referred to as OverEasy compressor).

CMP KNEE Width [2]

This smoothing takes place in a region around the threshold, the width of
which can be adjusted (soft knee width). The width is measured symmetrically around the threshold point. Its range is 0 dB to 60 dB in steps of 1 dB.

CMP MIX % [3]

To further increase the flexibility of the Vintage compressor, a mixing

stage letting the user combine the processed with the clean signal was
added. Heavy compression can produce some interesting effects, but the
clarity and punch of the original might get lost. By mixing the processed
signal with the clean signal, this can be partially remedied. This technique
is sometimes referred to as parallel compression. The icon shows the relation between wet and dry (processed/unprocessed) signal. The % value is
always reading the amount of the wet signal from 0% to 100%.

CMP THRS [4]

The compressor threshold level can be adjusted in 1 dB steps from 0 dBFS

to 96 dBFS.

CMP REL [5]

To overcome some of the compromises associated with setting a fixed release time for a given signal, the vintage compressor makes use of an autorelease mode that adjusts the recovery time dynamically. The release time
parameter sets the maximum release time. This does not affect the
automatic scaling of the release time in any way but just limits the

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Vista Digital Mixing System

maximum time, and thus allows fine-tuning the automatic control in order
to reach the desired behavior.The maximum release time ranges from 5 ms
to 5000 ms in 64 steps.
CMP ATCK [6]

The compressor attack time can be adjusted in 64 steps within a range of

0.2 ms to 250 ms.

CMP RATIO [7]

The compressor ratio can be adjusted from 1:1 (no compression) to 40:1
(heavy compression or limiting).

CMP peak/RMS [ 8]

Level detection mode: peak or RMS.

The level detection block has two modes of operation. This choice was
implemented to allow a wide range of applications requiring different types
of responses for example, percussion or vocal recordings.
The RMS window size is coupled with the attack time. This is based on the
observation that these two parameters have a relatively similar effect on the
sound and tend to influence each other.

MKUP GAIN [9]

MKUP GAIN auto on/off [10]

Noise Gate Parameters:

GATE THRS [11]

Manual gain compensation from 0 dB to +24 dB

Auto Make-up Gain function on/off.
Compensates the decrease in loudness caused by the compression

The gate threshold level can be adjusted in 1 dB steps from 0 dBFS to

96 dBFS.

GATE REL [12]

The gate release time can be adjusted in 64 steps within a range of 5 ms to

5000 ms.

GATE ATCK [13]

The gate attack time can be adjusted in 64 steps within a range of 0.2 ms to
5 ms.

GATE ATTN [14]

The Gate attenuation level can be adjusted in 1 dB steps from 0 dBFS to

+60 dBFS.

GATE HOLD [15]

The gate hold time can be adjusted in 64 steps from 0 ms to 2000 ms.

MODE [16]

Date printed: 17.06.08

Switches the Expander/Gate section from Gate to Expander and back.

Please note that only one of the two functions can be active at the same
time: either Expander or Noise Gate.

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[17]

[18]

[19]

[20]

[21]

[16]

Expander Parameters:
EXP THRS [17]

The expander threshold level can be adjusted in 1 dB steps from 0 dBFS to

96 dBFS.

EXP REL [18]

The expander release time can be adjusted in 64 steps within a range of

5 ms through 5000 ms.

EXP ATCK [19]

The expander attack time can be adjusted in 64 steps within a range of

0.2 ms to 5 ms.

EXP RTIO [20]

The expander ratio level can be adjusted from 1:1 (no expansion) to 1:40
(heavy expansion).

EXP HOLD [21]

In the same way as with the noise gate, the expander hold time can be adjusted in 64 steps from 0 ms to 2000 ms.

MODE [16]

Switches the Expander/Gate section from Gate to Expander and back.

Please note that only one of the two functions can be active at the same
time: either Expander or Noise Gate.

Parameters Shared by the Dynamics Functions:

SC LINK [22] The Side-Chain Link function allows forming a side-chain group from up
to eight channels in order to control their dynamics by the maximum level
of all side-chain group members. Side-chains are defined in the GCs
Channel Patch window. The rotary encoder switches the side-chain link
function on/off, if it is available for the specified channel.
SC LINK intKey/extKey [23]

The key source input can be selected from either intKey (dynamics processing depends on the channels input signal), or extKey (processing is
controlled by a signal connected via the patch).

SC HI CUT/LO CUT On/Off [24]

Low-cut and high-cut filters are available within the side-chain key signal.
This facilitates frequency-dependent dynamic processing for creating effects, such as de-essing. Both side-chain filters can be switched on/off independently.

SC HI CUT/LO CUT [25]

Both side-chain filters feature cut-off frequencies continuously adjustable

between 20 Hz and 20 kHz.

Note:

There are COMP/LIMIT and EXP/GATE hardware keys for activating or deactivating the compressor and expander/gate parts of the vintage dynamics
section; however, as opposed to the standard dynamic section, there are no
individual On/Off keys in the channel-related Vistonics View.

34 Software V4.0

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Date printed: 17.06.08

Vista Digital Mixing System

VISTA SW V4.1, DIFFERENCES AND NEW FEATURES

Please insert this document at the end of chapter 10 of your Vista operating instructions folder.
A

Studer RELINK (Resource Linking)............................................................................................................................... 3

A.1

Input Patching.............................................................................................................................................................. 3

A.2

Output Patching........................................................................................................................................................... 4

A.3

Mic Take-Over Procedure ........................................................................................................................................... 5

A.4

Vista Restrictions......................................................................................................................................................... 8

A.5
Technical Details ......................................................................................................................................................... 9
A.5.1
Setting up the Vista for I/O Sharing .................................................................................................................... 9
A.5.1.1
ConfigTool for DNet Applications.............................................................................................................. 9
A.5.2
Restricting Shared I/O ....................................................................................................................................... 13
A.5.3
Configuration Changes...................................................................................................................................... 13
A.5.4
Container.ini ...................................................................................................................................................... 14
A.5.5
D950System.ini ................................................................................................................................................. 15
A.5.6
Tie Line Management........................................................................................................................................ 15
A.5.7
Control Network................................................................................................................................................ 16
A.5.7.1
Vista 5........................................................................................................................................................ 16
A.5.7.2
Vista 6, 7, 8................................................................................................................................................ 16
A.5.8
IP Addresses ...................................................................................................................................................... 17
A.5.9
Audio Sync for all Systems ............................................................................................................................... 17
A.6
Recommended Network Setup Examples ................................................................................................................. 18
A.6.1
Vista 8 and Vista 5 --- with a Switch................................................................................................................... 18
A.6.2
Vista 8 and Vista 5 --- Peer-to-Peer..................................................................................................................... 19
A.6.3
Vista 5 and Vista 5 --- Peer-to-Peer..................................................................................................................... 20
A.6.4
Vista 8 and Vista 8 --- Peer-to-Peer..................................................................................................................... 21
A.6.5
Vista 8, Vista 5, Route 6000, OnAir 3000......................................................................................................... 22

A.7

Messages from Other Systems .................................................................................................................................. 23

A.8

Labels from Other Systems ....................................................................................................................................... 23

A.9

Locked Patch Points .................................................................................................................................................. 23

A.10

Stereo and Surround Sources .................................................................................................................................... 24

DAW Control................................................................................................................................................................... 25
B.1

Basics......................................................................................................................................................................... 25

B.2

Vista Settings............................................................................................................................................................. 27

B.3
DAW Settings............................................................................................................................................................ 28
B.3.1
General Recommendations................................................................................................................................ 28
B.3.2
Digidesign ProTools.......................................................................................................................................... 29
B.3.3
Apple Logic Pro ................................................................................................................................................ 30
B.3.4
Merging Technologies Pyramix ........................................................................................................................ 33
B.3.5
Steinberg Cubase / Nuendo ............................................................................................................................... 34
B.3.6
Magix Samplitude Pro / Sequoia ....................................................................................................................... 37
B.3.7
SADiEe.............................................................................................................................................................. 38
B.3.8
Troubleshooting................................................................................................................................................. 40
B.4

Channel Strip Keys.................................................................................................................................................... 40

B.5

Central Keys on Vista 7............................................................................................................................................. 41

Date printed: 20.08.09

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Vista Digital Mixing System

Redundant Bridge Card (for SCore Live) .....................................................................................................................43

Labels in Strip Setup .......................................................................................................................................................45

General Patch...................................................................................................................................................................46

Monitoring Delays............................................................................................................................................................47

Configuration Editor .......................................................................................................................................................48

G.1

Optimized Stereo Channels........................................................................................................................................48

G.2

Vintage Dynamics at 96 kHz .....................................................................................................................................48

G.3

New Upmix Panner Version ...................................................................................................................................48

Changes.............................................................................................................................................................................49
H.1

Configuration Change................................................................................................................................................49

H.2

Modified Vistonics Mic Ctrl View ........................................................................................................................49

H.3

Improved AUX Send Level Resolution .....................................................................................................................49

H.4

D21m Dialog..............................................................................................................................................................49

H.5

Automated title.ini File Backup ..............................................................................................................................50

Changed Files ...................................................................................................................................................................51

Improvements and Fixed Bugs .......................................................................................................................................52

2 Software V4.1

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Vista Digital Mixing System

STUDER RELINK (RESOURCE LINKING)

Studer RELINK is an I/O sharing network technology available for all
Studer products (OnAir consoles, Vista consoles and Route 6000) allowing
direct access to sources and targets throughout the entire network provided that the desired sources and targets are configured as NetSources
and therefore available for remote components of the system.
RELINK allows the design of distributed audio network systems enabling Studer products to access all sources and targets of the complete system, and therefore enhancing the flexibility of your facility.
Mic control takeover mechanisms are implemented on both the OnAir and
the Vista consoles.
On the OnAir consoles, signaling is coupled with the I/O sharing, this
means that red light, fader start and signaling connections are automatically
following any console where the audio signal is used, and correctly applied
to the source (Studio, CD Player, etc) from anywhere.
RELINK requires version V4.1 of the Vista SW as well as V3.1 on the
OnAir SW, and V2.0 on the Route 6000 SW. OnAir and Router releases
are also available from now.
RELINK is a software functionality that, on the Vista side, is not depending on hardware, allowing systems still using a Performa DSP core being
part of the network, too, as long as all the mic preamplifiers are of the
D21m type.

A.1

Input Patching
With SW V4.1, a new source and target navigator menu has been introduced. It still is a pull-down menu, but it shows not only local sources and
targets, but also sources and targets of all systems connected via the network.

Shared inputs can be selected directly from any of the displayed systems.
The sources of OnAir consoles e.g. a DJ microphone are appearing as
Logical Inputs, and their output signals as Master Outputs.

Date printed: 20.08.09

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Vista Digital Mixing System

A.2

Output Patching

Set Outputs activates all preselected patch points to outputs on remote

systems. This introduces an additional step in creating a patch connection,
which the Vista SW did not know up to now.
The operator might want to switch several outputs to a different system
(e.g. program outputs) at the same time. So when he is making the connections in the patch, they are marked in gray, indicating that the connection
has not yet been established. Only when the Set Outputs button is clicked,
all the gray connections are set active at the same time. Set Outputs only
becomes active if some output patch connections are made to other systems.
This is only necessary when doing patch connections manually. When
using snapshots, the connections are applied immediately.

There is now also a new Edit dialog that allows saving multiple output
patches to shared targets as Output Snapshots. They must be given a
name so that they can be recalled later from the lower right corner of the
GC (graphic controller). An existing Output Snapshot can be loaded as
well, which means that the saved patch connections are not established but
just shown in the gray, pending state instead. In this state, the pending
connections can now be edited and saved, e.g. under a new name.

4 Software V4.1

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Date printed: 20.08.09

Vista Digital Mixing System

A.3

Mic Take-Over Procedure

The following status diagram shows how the mic control take-over mechanism is realized in the OnAir3000. This has to be followed, since it is
firmly implemented in the DNet code.

With the Vista desk, this dialog is handled in the channels Vistonics
view in order to be able to link a number of channels and do the take-over
handling for all of these channels at the same time (with a gang).
There is one difference to the OnAir behavior: When a mic source of
another system is patched to a local input channel as long as the mic control is not taken by another desk (i.e., free in the OnAir terminology),
control is automatically given to the local Vista and the mic control parameters are displayed immediately.
There is a new parameter in the Vistonics view (Mic Ctrl) that allows
setting the mic access control to Free, so that the mic can be controlled by
other systems directly.
Date printed: 20.08.09

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Vista Digital Mixing System

1a

1b

6 Software V4.1

A description of how all the necessary states look like is given below.
First, no mic is connected to the channel. Then, a shared mic currently in
use by another OnAir or Vista console is patched to input channel manually:

First, no mic is connected to the channel. Then, a shared mic currently not
in use by another OnAir or Vista console is patched to the input channel
manually:

SW V4.1

Date printed: 20.08.09

Vista Digital Mixing System

1c

The same behavior is valid if one or more shared mics currently not in use
by other systems is/are patched to the local input channel via a snapshot.
If one or several shared mics are used on other systems but then get
patched to a local channel via a snapshot, the following message appears
on the GC:

If confirmed with yes, the control for all the shared mics patched in the
snapshot is taken over from the other systems.
2

Date printed: 20.08.09

A shared mic is patched to an input channel but then is taken over from a
different desk:

SW V4.1

Software V4.1 7

Vista Digital Mixing System

If this happens (on one single channel or also on several channels at the
same time), a warning message appears on the GC screen:

This is the window that shows all I/O Sharing events. It disappears after a
click on the OK button.

A.4

Vista Restrictions
Signaling, such as red light or fader start, is not combined with I/O
Sharing.
Vista systems cannot have any NETInputs configured (chapter 2.1.7).
96 kHz sampling rate configurations on Vistas can only be used when
no OnAir console and no Router is involved in the RELINK network.
As long as only Vista systems are within the RELINK network, 96 kHz
configurations can be used. However, all Vistas then need to run at 96
kHz.

8 Software V4.1

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Date printed: 20.08.09

Vista Digital Mixing System

A.5
A.5.1

Technical Details
Setting up the Vista for I/O Sharing

A.5.1.1

ConfigTool for DNet Applications

For configuring the tie lines necessary for I/O Sharing on the Vista system,
we use the ConfigTool for DNet Applications known from the OnAir
product range. This program now needs to be installed on the Vistas control computer (C:\Release ConfigTool\ConfigTool.exe). In the same folder
there needs to be a file named container.ini with setup information for this
DNet ConfigTool. Here is an example of the container.ini file for the ConfigTool:

##########################################################################
#
# container.ini: Necessary for initialization of each container (.exe)
#
# Digital Mixing Console: VISTA
# Studer Professional Audio GmbH, Regensdorf, Switzerland
#
# Last modification
: Sep, 1st 2006
# Compatible with OATreeLib : V2.1
# Author
: SIA
#
# Rules:
# ======
# - always leave one blank before and after the = (e.g. systemid=1 NO!)
# - never change the left expression
# - the right expression of systemid, containerid, systemname
# and containername MUST be defined
#
##########################################################################

# The systemid identifies the mixing console system to which this container
# belongs to. The systemid is a unique number within a network.
# The serial number must be in the range 1...255
systemid = 36

this needs to be a unique number

# The systemname identifies the mixing console system in a readable way

# and must be unique within a company resp. network. It is recommended
# not to use more than 8 characters due to visualization aspects.
# Undefined is not allowed!
systemname = ConfigTool

Date printed: 20.08.09

the name of the system

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Vista Digital Mixing System

# The containerid identifies this container
# and must be unique within the mixing console system
# This id is fixed to 10 (CORE) for all VISTA desks
containerid = 20

20 is always standing when the container.ini is belonging to a configtool

# The containername identifies this container in a readable way

# and must be unique within the mixing console system. It is recommended
# not to use more than 8 characters due to visualization aspects.
# Undefined is not allowed!
containername = Config

the name of the container

# Multicast
# ----------# If you use IGMP multicasts instead of broadcasts in your network,
# you have to uncomment the lines below. It is possible that a
# container is member of one or more than one multicast groups.
#
# NOTE: For an optimal performance, make sure that all network resources
#
(Switches, Routers...) support IGMP.
#
# NOTE: To avoid IP conflicts, check the available addresses for
#
multicast groups (www.iana.org). Use preferable addresses from the
#
local scope (239.255.0.0/16) described in RFC 2365.
#
# NOTE: If the multicast should reach computers beyond the local subnet
#
Set MulticastTimeToLive > 1 (1 is default)
# MulticastGroup = 239.255.0.1
# MulticastGroup = 239.255.0.2
# MulticastGroup = 239.255.0.3
# MulticastTimeToLive = 10
# Multiple Network Adapters
# --------------------------------# When more than one network adapter is enabled on the computer, the MAC Address has to be specified
#
# MAC = 00-1A-A0-B9-F9-88

Note:

10 Software V4.1

There needs to be a second container.ini file on the Vistas control computer the one which is belonging to the mixing console application (see
chapter 7.1.4).

SW V4.1

Date printed: 20.08.09

Vista Digital Mixing System

Start Config tool for DNet applications in the Vista consoles C drive
(C:\Release ConfigTool\ConfigTool.exe)

Select one of the DNet systems available in the network, select the appropriate Vista system.

If the Vista or the other connected systems are not appearing, please refer
to chapter 7.1.2 to verify the settings in the Container.ini file.
In the configuration tool, go to Physical Connections. Under Destination all HD links within your system are listed.

Select the physical inputs to be used as tie lines. Once they are configured
as tie lines, they will no more be visible in the Vista general patch. Configuration always takes place on the consumer system (target system). Only
the tie line inputs need to be configured, i.e., the tie lines that are directed
towards our system. The tie lines that go away from our system are configured as inputs on the other systems, such as the router.
Select the appropriate system (e.g. the Star router, as shown below):

Date printed: 20.08.09

SW V4.1

Software V4.1 11

Vista Digital Mixing System

In the next step a D21m frame is selected (the external frame Ext in our
example:

Now select the appropriate interfaces (e.g. MADI), one by one, for every
single physical audio connection.

When finished, click the Save IO Sharing button at the right-hand edge
of the Configuration Tool GUI.
This procedure only needs to be done once, during system setup. All these
tie line configuration settings are saved on the consumer side and will remain after a system restart.

12 Software V4.1

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Date printed: 20.08.09

Vista Digital Mixing System

A.5.2

Restricting Shared I/O

Per default, all sources and targets attached to a Vista system can be seen
and used by other systems that are part of the I/O Sharing network. Access
to these I/Os may be restricted; they can then be used on the local Vista
system only, but are not available to other systems within the network.
This is done with a text file containing a list of fixed labels of the I/Os that
should be visible to others; the file must be named SharedPatches.iosharing
and saved in the folder of the VMC configuration which it is valid for, such
as D950SystemDB\Config1.

SharedPatches.iosharing Example:

Notes:

A.5.3

...
I 17 B 1 Ch17
I 18 B 1 Ch18
I 19 B 1 Ch19
I 20 B 1 Ch20
I 21 B 1 Ch21
I 22 B 1 Ch22
I 23 B 1 Ch23
I 24 B 1 Ch24
...
The I/O configured as tie lines must also be added in this file.
If no file with this name is found in a configuration folder, all I/Os of this
Vista system will be available for networked access.

Configuration Changes
Every VMC configuration change in a Vista console has an effect on the
other consoles using this Vistas I/O at the same time. This means that an
I/O can disappear and then reappear in a different constellation.
When using a file named CommonSharedPatches.iosharing located in the
D950SystemDB folder, a number of sources and targets can be defined as
I/O that must not change. This is useful for inputs or outputs that remain
the same throughout all VMC configurations on the Vista. It contains a list
of the fixed labels of the desired I/O.

CommonSharedPatches.iosharing Example:
...
I 65 B 1 Ch65
I 66 B 1 Ch66
I 67 B 1 Ch67
I 68 B 1 Ch68
I 69 B 1 Ch69
I 70 B 1 Ch70
I 71 B 1 Ch71
I 72 B 1 Ch72
...
This file needs to be created manually. If no file with this name is found in
a configuration folder, all I/O will be reinitialized by a configuration
change.

Date printed: 20.08.09

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Vista Digital Mixing System

A.5.4

Container.ini
The container.ini file for the Vista system is found in C:\D950System\. This
file contains some important entries making the I/O Sharing work. Here a
list of these entries:

##########################################################################
#
# container.ini: Necessary for initialization of each container (.exe)
#
# Digital Mixing Console: VISTA
# Studer Professional Audio GmbH, Regensdorf, Switzerland
#
# Last modification
: Sep, 1st 2006
# Compatible with OATreeLib : V2.1
# Author
: SIA
#
# Rules:
# =====
# - always leave one blank before and after the = (e.g. systemid=1 NO!)
# - never change the left expression
# - the right expression of systemid, containerid, systemname
# and containername MUST be defined
#
##########################################################################
# The systemid identifies the mixing console system to which this container
# belongs to. The systemid is a unique number within a network.
# The serial number must be in the range 1...255
systemid = 35

this needs to be a unique number

# The systemname identifies the mixing console system in a readable way

# and must be unique within a company resp. network. It is recommended
# not to use more than 8 characters due to visualization aspects.
# Undefined is not allowed!
systemname = Vista5

the name of the system

# The containerid identifies this container

# and must be unique within the mixing console system
# This id is fixed to 10 (CORE) for all VISTA desks
containerid = 10

10 is always standing when the container.ini is belonging to a Vista desk

# The containername identifies this container in a readable way

# and must be unique within the mixing console system. It is recommended
# not to use more than 8 characters due to visualization aspects.
# Undefined is not allowed!
containername = Desk

14 Software V4.1

the name of the container

SW V4.1

Date printed: 20.08.09

Vista Digital Mixing System

# Multicast
# ------------# If you use IGMP multicasts instead of broadcasts in your network,
# you have to uncomment the lines below. It is possible that a
# container is member of one or more than one multicast groups.
#
# NOTE: For an optimal performance, make sure that all network resources
#
(Switches, Routers...) support IGMP.
#
# NOTE: To avoid IP conflicts, check the available addresses for
#
multicast groups (www.iana.org). Use preferable addresses from the
#
local scope (239.255.0.0/16) described in RFC 2365.
#
# NOTE: If the multicast should reach computers beyond the local subnet
#
Set MulticastTimeToLive > 1 (1 is default)
# MulticastGroup = 239.255.0.1
# MulticastGroup = 239.255.0.2
# MulticastGroup = 239.255.0.3
# MulticastTimeToLive = 10

Multicast groups should all be disabled

# Multiple Network Adapters

# ------------------------------------# When more than one network adapter is enabled on the computer, the MAC Address has to be specified
#
MAC = 00-AA-11-BB-22-CC
in case of a Vista 6/7/8 with multiple network adapters, they need to be specified here

A.5.5

D950System.ini
The following entry needs to be added in the D950system.ini file:
IsRelinkActive=Yes

A.5.6

Tie Line Management

On every Vista console, tie lines need to be configured with the OnAir
configuration tool. They may be any type of I/O, the most efficient of them
are HD links giving 96 channels in both directions per Cat5 cable pair. Furthermore, MADI interfaces with a maximum channel capacity of 64/64 are
quite popular for tie lines. MADI tie lines may also be configured to use
less than 64 I/O any desired number smaller than 64. AES/EBU or Line
interfaces can also be used as tie lines if only a small number of audio
channels needs to be shared, such as for transmission lines.
Tie line management is dynamic, therefore only the maximum number of
audio channels used simultaneously needs to be considered.
The total amount of configured tie lines is displayed in the I/O Sharing area
of the general patch in the GC, as well as the number of the currently free
tie lines.

Date printed: 20.08.09

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Software V4.1 15

Vista Digital Mixing System

A.5.7

Control Network
All systems that need to be part of the I/O Sharing network need to be
interconnected via Ethernet. On the Vista side, it is always the desk that
needs to be networked.

A.5.7.1

Vista 5
Vista 5 is by default equipped with two network ports: Primary LAN and
Secondary LAN, the sockets thereof can be found on the rear side of the
desk.
The simplest way is to use the Secondary LAN port for I/O Sharing. In
that case, the Primary LAN port can still be wired directly to the bridge
card of the SCoreLive. In case of cable redundancy to the bridge card (both
ports of the desk are wired to both ports of the bridge card in parallel), an
Ethernet switch needs to be placed between Secondary LAN port and
bridge card. From this Ethernet switch, the connections are made to all the
other I/O Sharing devices.
In case the I/O Sharing network only consist of two Vista 5 consoles, also a
X-over network cable between both Secondary LAN ports of the two
consoles could be used instead of an Ethernet switch.

A.5.7.2

Vista 6, 7, 8
Since Vista 6, 7 and 8 are not equipped with a second network port per
default, an Ethernet switch needs to be used.
In the case of a Vista 8 with a redundant control system it is recommended
to connect the Ethernet switch between the network port of the main control system and the bridge card of the SCoreLive. The network port of the
redundant control system would then still be connected straight to the second port of the bridge card.

Vista desk networked (Ethernet)

Tie lines between cores (MADI, AES, or HD Links)
DNET technology from OnAir product range
16 Software V4.1

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Date printed: 20.08.09

Vista Digital Mixing System

Setup with the OnAir configuration tool also on the Vista side.

A.5.8

IP Addresses
The IP addresses of the SCore Live bridge cards should not be changed.
They are always set to 192.168.1.60 for the primary network port, and to
192.168.2.60 for the secondary network port.
Please refer to chapter 9 for network examples with Vista and OnAir
consoles in a RELINK setup.
Note:

A.5.9

In case of a network design where more than one Vista console communicates with its SCore through one and the same Ethernet switch, the IP addresses may be changed as with the OnAir console range. But then the
Vistas D950System.ini files need to be adapted accordingly.

Audio Sync for all Systems

All systems being part of the network that can exchange audio via tie lines
must be properly synchronized. The best option to do this is having a
Studer D21 MasterSync unit feeding word clock in a star configuration to
all the systems involved.
If a single system cannot be synchronized, either AES/EBU cards with
SFCs or analog cards have to be used for tie lines.

Date printed: 20.08.09

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Software V4.1 17

Vista Digital Mixing System

A.6
A.6.1

Recommended Network Setup Examples

Vista 8 and Vista 5 with a Switch

18 Software V4.1

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Date printed: 20.08.09

Vista Digital Mixing System

A.6.2

Vista 8 and Vista 5 Peer-to-Peer

Date printed: 20.08.09

SW V4.1

Software V4.1 19

Vista Digital Mixing System

A.6.3

Vista 5 and Vista 5 Peer-to-Peer

20 Software V4.1

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Date printed: 20.08.09

Vista Digital Mixing System

A.6.4

Vista 8 and Vista 8 Peer-to-Peer

Date printed: 20.08.09

SW V4.1

Software V4.1 21

Vista Digital Mixing System

A.6.5

Vista 8, Vista 5, Route 6000, OnAir 3000

22 Software V4.1

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Vista Digital Mixing System

A.7

Messages from Other Systems

When there are patch connections to other systems in the RELINK network
e.g. when using a mic input of another Vista or OnAir console or when
outputs are patched to a Route 6000 or to an other console, the local Vista
will receive status messages from these systems.
Vista systems receive and display the following message types from OnAir
and Route 6000 systems:
Power loss on Core and D21m frames
D21m hardware change
System shut down
Vista systems send the following message type:
System shut down
These messages are all displayed in the same type of window that also
shows mic control messages:

As long as no sources or targets of a remote system are used locally, no

status messages of these systems are shown on the local Vista.

A.8

Labels from Other Systems

When patching remote inputs to a Vista system, the user label of this
input on the remote system is propagated to the Vistas input channel label
display.

A.9

Locked Patch Points

Locked patch points are treated in the same way as local sources.

Date printed: 20.08.09

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Vista Digital Mixing System

A.10 Stereo and Surround Sources

The following remote sources can also be in stereo or 5.1 surround formats:
Vista Direct Outputs (Input, Group and Master channels)
Stereo and Surround Inputs from OnAir consoles.
These sources can be patched directly, with one single patch point connection, to a local target.

24 Software V4.1

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Date printed: 20.08.09

Vista Digital Mixing System

B
B.1

DAW CONTROL
Basics
With the Vista consoles it is now possible to directly operate Digital Audio
Workstations (DAW) from the desk surface.
This is realized by using two different serial communication protocols: The
more straightforward and simpler Mackie Control Protocol and the more
complex Mackie HUI Protocol.
A choice of the most popular DAWs is supported and has been tested with
the new Vista desk control:
Digidesign ProTools (HUI)
Apple Logic Pro (Mackie Control)
Merging Technologies Pyramix (HUI)
Magix Sequoia (HUI)
Magix Samplitude (HUI)
Steinberg Cubase (Mackie Control)
Steinberg Nuendo (Mackie Control)
SADiE (Mackie Protocol)
Thanks to an extended strip setup, so-called DAW channels can be inserted
into any desired slot of the setup. With a DAW channel a number of DAW
controls can be operated, as provided by the Mackie Control protocol: The
fader level as well as the status of mute, solo and track arming. The transport control keys on the desk can be used for transport commands to the
DAW.
Note:

DAW channels are excepted from snapshots and presets, no DAW settings
will be saved or can be recalled, apart from the channel strip position defined in the strip setup. In addition, DAW channels cannot be automated by
the dynamic automation; however, this can be made on the DAW itself in
an elegant way.
When controlling the DAW via HUI, an auto-label mechanism automatically copies the channel labels of the workstation project to the DAW
channel strip on the Vista console.
If the DAW should not support HUI (see list above), user labels can be
entered in the strip setup now for every DAW channel.

Note:

Date printed: 20.08.09

Only one DAW can be controlled at a time. The Mackie protocols support
a maximum of 32 channels, so this is also the maximum number of DAW
channels that can be controlled.

SW V4.1

Software V4.1 25

Vista Digital Mixing System

Protocol selection (Mackie Control or Mackie HUI) is done in the Vista

Settings dialog. This is not done automatically but has to be decided by
the user:

To enable transport control specifically for the connected DAW, there is a

new menu option in the TC Reader / Generator setup dialog. Please note
that the 9-pin serial control is disabled as soon as the DAW Control setting is selected:

MIDI-Over-Ethernet:

26 Software V4.1

Instead of the MIDI connection normally used as the physical layer for the
Mackie protocols, a MIDI-over-Ethernet solution is used that allows using
one single Ethernet Cat5 cable instead of several MIDI cables. Therefore
the ipMIDI driver needs to be installed on both the Vista desk PC and on
the DAW.

SW V4.1

Date printed: 20.08.09

Vista Digital Mixing System

B.2

Vista Settings
ipMIDI

(to be installed on Vista console PC)

Install ipMIDI v1.6 (requires DirectX 8.1 or later)
Deactivate Loop Back (un-tick the checkbox in the ipMIDI monitor
window)
Define four ports in the ipMIDI monitor window

Restart the Vista console PC

Specify MIDI Ports

(i.e., MIDI ports used for DAW Control)

While using ipMIDI, add the following two lines into D950system.ini as
shown below. (Please note: the entry is case sensitive).
[Midi]
DawPorts=Ethernet MIDI

Define Network Card

Define which network card of the Vista is used for DAW control:
Set a persistent route by entering the following command to the command line on the Vista
route add 225.0.0.0 MASK 255.255.255.0 x.x.x.x p
(x.x.x.x is the static IP address of the network card connected to the DAW)
In order to check whether the route has been set correctly, use the command:
route print
(refer to the screenshot below)

Date printed: 20.08.09

SW V4.1

Software V4.1 27

Vista Digital Mixing System

The entered route will now appear under the Persistent Routes header, e.g.
192.168.2.41

B.3

DAW Settings
ipMIDI

B.3.1

(to be executed on DAW)

Install ipMIDI v1.6 (requires DirectX 8.1 or later)
Deactivate Loop Back (un-tick checkbox in the ipMIDI monitor
window)
Define four ports in the ipMIDI monitor window, as shown in chapter
B.2
Restart the DAW platform (PC or Mac)

General Recommendations

Startup Order

1
2

Vista
DAW (otherwise the initialization of faders may fail)

Shutdown Order

1
2

DAW
Vista (otherwise all faders on DAW go to zero)

28 Software V4.1

SW V4.1

Date printed: 20.08.09

Vista Digital Mixing System

B.3.2

Digidesign ProTools (tested with V7.4)

Protocols

Mackie HUI protocol: OK

Mackie control protocol: Not supported

Controller Settings

Known Issues

Date printed: 20.08.09

When closing Vista before ProTools: Access violation in ProTools, ProTools will not shut down correctly
the Windows Task Manager is then
required to end the program.

SW V4.1

Software V4.1 29

Vista Digital Mixing System

B.3.3

Apple Logic Pro (tested with V8.0.2)

Protocols

Mackie HUI protocol: Not supported

Mackie control protocol: OK

Controller Settings

30 Software V4.1

SW V4.1

Date printed: 20.08.09

Vista Digital Mixing System

Date printed: 20.08.09

SW V4.1

Software V4.1 31

Vista Digital Mixing System

Known Issues

32 Software V4.1

Solo un-mutes the channel on the DAW.

SW V4.1

Date printed: 20.08.09

Vista Digital Mixing System

B.3.4

Merging Technologies Pyramix (tested with V6.0)

Protocols

Mackie HUI protocol: OK

Mackie control protocol: Not fully supported

Controller Settings

Date printed: 20.08.09

SW V4.1

Software V4.1 33

Vista Digital Mixing System

Known Issues

B.3.5

When flooding Pyramix with messages (most commonly with a huge

gang), a crash of Pyramix can be provoked.

Steinberg Cubase (tested with V4.0) / Nuendo (tested with V4.2)

Protocols

Mackie HUI protocol: Only 8 channels supported (Enable Auto Select

must be disabled)
Mackie control protocol: OK (Enable Auto Select must be disabled)

Controller Settings

34 Software V4.1

SW V4.1

Date printed: 20.08.09

Vista Digital Mixing System

Date printed: 20.08.09

SW V4.1

Software V4.1 35

Vista Digital Mixing System

Note:

36 Software V4.1

In Cubase/Nuendo, the controller #4 must be mapped to Ethernet MIDI

port 1, controller #3 to Ethernet MIDI port 2, etc., as shown in the screenshots above, in order to get the correct order of DAW channels 1 through
32 on the Vista console.

SW V4.1

Date printed: 20.08.09

Vista Digital Mixing System

B.3.6

Magix Samplitude Pro (tested with V10) / Sequoia (tested with V10)
Protocols

Mackie HUI protocol: Use the correct *.cps files (1 x Vista (HUI), 3 x
Vista XT (HUI))
Mackie control protocol: Use the correct *.cps files (1 x Vista (MackieProtocol), 3 x Vista XT (MackieProtocol))
These *.cps files are provided by Studer with the Vista SW 4.1 release,
they must be copied to the Controller folder in Samplitude.
Please contact Studer Customer Service if these files are not available.

Controller Settings

Date printed: 20.08.09

SW V4.1

Software V4.1 37

Vista Digital Mixing System

B.3.7

SADiE (tested with V5.6.2)

Protocols

Mackie HUI protocol: Only 8 channels supported

Mackie control protocol: Only 24 channels supported

Controller Settings

38 Software V4.1

SW V4.1

Date printed: 20.08.09

Vista Digital Mixing System

Notes:

Date printed: 20.08.09

In theory, SADiE supports 32 channels to be controlled with both types of

protocol (Mackie Control Protocol, Mackie HUI Protocol). During the
tests, instabilities of SADiE were experienced when using more than 8
channels in HUI protocol mode, and more than 24 channels in Mackie
Control Protocol mode. Therefore using max. 8 or 24 channels, respectively, is recommended.
The Heartbeat message (90 00 00) is answered by Vista (answer:
90 00 7F) only if Vista is operating in HUI mode.

SW V4.1

Software V4.1 39

Vista Digital Mixing System

B.3.8

Troubleshooting
Problem
Solution

B.4

Communication between Vista and DAW works only from DAW to Vista,
but not vice versa.
The persistent route has not been set correctly (see chapter B.2).

Channel Strip Keys

Since DAW control is applicable for Vista 5, 6, 7 and 8, on all desk surfaces some of the channel strip keys can be used as channel control buttons
for the DAW:
Vista 5:

Blue:
Yellow:
Green:

40 Software V4.1

Vista 6:

Vista 7:

Vista 8:

The marked keys can be used to control the following DAW functions:
Mute
Solo
Track Arming

SW V4.1

Date printed: 20.08.09

Vista Digital Mixing System

B.5

Central Keys on Vista 7

The 16 MACHINE CONTROL keys available on the Vista 7 can, of course,
also be used for controlling central DAW functions.

These keys are mapped to fixed MIDI commands, as on the Mackie control
surface:

These commands are interpreted differently from DAW to DAW. Some

DAWs also offer a learn mode, i.e., a desired DAW function can be
mapped to one of these keys.

Date printed: 20.08.09

SW V4.1

Software V4.1 41

Vista Digital Mixing System

The programmed MIDI commands are given below:

Mackie Control Protocol
Key Press
Key Release

42 Software V4.1

F1

90 36 7F

F2

90 37 7F

F3

90 38 7F

F4

90 39 7F

F5

90 3A 7F

F6

90 3B 7F

F7

90 3C 7F

F8

90 3D 7F

MIDI Tracks

90 3E 7F

Inputs

90 3F 7F

Audio Tracks

90 40 7F

Audio Instr

90 41 7F

Aux

90 42 7F

Busses

90 43 7F

Outputs

90 44 7F

User

90 45 7F

SW V4.1

Mackie HUI Protocol

Key Press
Key Release
B0 0F 09
B0 0F 09
90 36 00
B0 2F 41
B0 2F 01
B0 0F 09
B0 0F 09
90 37 00
B0 2F 40
B0 2F 00
B0 0F 09
B0 0F 09
90 38 00
B0 2F 42
B0 2F 02
B0 0F 09
B0 0F 09
90 39 00
B0 2F 43
B0 2F 03
B0 0F 09
B0 0F 09
90 3A 00
B0 2F 45
B0 2F 05
B0 0F 1A
B0 0F 1A
90 3B 00
B0 2F 41
B0 2F 01
B0 0F 1A
B0 0F 1A
90 3C 00
B0 2F 45
B0 2F 05
B0 0F 1A
B0 0F 1A
90 3D 00
B0 2F 40
B0 2F 00
B0 0F 18
B0 0F 18
90 3E 00
B0 2F 42
B0 2F 02
B0 0F 18
B0 0F 18
90 3F 00
B0 2F 44
B0 2F 04
B0 0F 18
B0 0F 18
90 40 00
B0 2F 45
B0 2F 05
B0 0F 18
B0 0F 18
90 41 00
B0 2F 41
B0 2F 01
B0 0F 18
B0 0F 18
90 42 00
B0 2F 40
B0 2F 00
B0 0F 18
B0 0F 18
90 43 00
B0 2F 43
B0 2F 03
B0 0F 19
B0 0F 19
90 44 00
B0 2F 42
B0 2F 02
B0 0F 0C
B0 0F 0C
90 45 00
B0 2F 41
B0 2F 01
(Values in Hex)

Date printed: 20.08.09

Vista Digital Mixing System

REDUNDANT BRIDGE CARD (FOR SCORE LIVE)

Note:

Setup Possibilities up to Now

Since SW V4.1, a redundant Bridge card can be used in the SCoreLive, so

not only cable redundancy can be provided now, but also true bridge card
redundancy.
Order no. of the bridge card with this functionality is A943.0370.35; earlier
bridge cards cannot be updated to this level.
When using a redundant bridge card, the SCoreLives maximum capacity
for DSP cards is reduced from 9 to 8 cards.
(i.e., pre-V4.1)

In the examples above, the (single) bridge card must be installed in slot 10
of the SCoreLive frame; the maximum number of DSP cards is 9.

Date printed: 20.08.09

SW V4.1

Software V4.1 43

Vista Digital Mixing System

Additional Setup Possibilities

(since SW V4.1)

In these examples, the dual bridge cards are installed in slots 9 and 10, so
the maximum numbers of DSP card is 8.

44 Software V4.1

SW V4.1

Date printed: 20.08.09

Vista Digital Mixing System

LABELS IN STRIP SETUP

As can be seen in the DAW Control chapter above (chapter B), there is a
new possibility for labeling console channels from the strip setup page.
Not only DAW channels can be labeled in this way, but also the user labels
of the following channel types:
CGM/VCA masters
Aux masters
Matrix masters
Group masters
Masters
Up to now, these labels had to be edited all in the channel patch view,
except for the CGM/VCA label that is edited in its own setup dialog window.
Important:

Date printed: 20.08.09

Input channels are the only channels that cannot be labeled in the strip
setup. This is because the input channels use a special mechanism always
propagating the name of the Input interface (e.g. mic input) to the channel
patched to this particular interface. This is very helpful since the user
names need not be relabeled whenever the patch is changed.
Therefore, it is of no use when manually changing the user label of an
input channel it will always get overwritten automatically.

SW V4.1

Software V4.1 45

Vista Digital Mixing System

GENERAL PATCH
Establishing connections in the General Patch view has been improved and
simplified:
By keeping the left trackball button pressed while dragging the pointer
across a region in the General Patch view, multiple connections can be
selected now.
Once the (multiple) selection has been made as shown in the picture
below, a right-click opens a selection window; when Auto is selected,
any desired number of patch points can be connected at the same time.
A double-click on a patch point allows either connecting or disconnecting this patch point immediately.

46 Software V4.1

SW V4.1

Date printed: 20.08.09

Vista Digital Mixing System

MONITORING DELAYS
The settings of the Stereo and Multi-format Monitoring Delays (for control
room, PFL, headphones etc.) can now be made in the same dialog window
where the Shared Delay processes are set.

In addition, the shared delays are no more saved in snapshots, but are valid
for the whole title. The monitoring delays, however, remain identical
throughout all titles (if desired), they are still saved in the monXxx.ini file.

Date printed: 20.08.09

SW V4.1

Software V4.1 47

Vista Digital Mixing System

G
G.1

CONFIGURATION EDITOR
Optimized Stereo Channels
In the latest version of the Config Editor that is also part of this SW release, the load balancing process handling the stereo channels has been improved.
Therefore if existing configs containing stereo channels are recompiled,
resources can be set free, then being available for other purposes, such as
increased channel count, etc...

G.2

Vintage Dynamics at 96 kHz

The Vintage Dynamics processing module introduced with SW 4.0 is now
also available for configurations with a sampling rate of 96 kHz.

G.3

New Upmix Panner Version

The Upmix panner in stereo channels also introduced with SW 4.0 now
uses an improved panning law, where the spreading of the stereo signal to
a surround signal is optimized.

Note:

48 Software V4.1

Please refer to chapter J Improvements and Fixed Bugs below, where bug
fixes relating to the configuration editor are listed.

SW V4.1

Date printed: 20.08.09

Vista Digital Mixing System

H
H.1

CHANGES
Configuration Change
When a configuration is changed either by changing a title or manually
since SW V4.1 the Vista application automatically gets restarted. This is
required in order to have the configured I/O system initialized properly, so
that it is available for other systems within the RELINK network immediately.

H.2

Modified Vistonics Mic Ctrl View

Due to the microphone take-over mechanism for the RELINK functionality, the layout of the Vistonics mic control view has changed.
For details please refer to chapter A.3.

H.3

Improved AUX Send Level Resolution

Several users reported that the AUX send level resolution is too coarse; the
resolution of the level-type Vistonics elements has been increased
around the 0 dB region.

Note:

H.4

No more excuses now for bad monitor mixes!

D21m Dialog
A new version of the notorious dialog window reporting a change in the
I/O setup has been introduced with SW 4.1:
Earlier Version:

Date printed: 20.08.09

SW V4.1

Software V4.1 49

Vista Digital Mixing System

Current Version:

So the OK button has the same function now as the Cancel button had
before this should make the operation somewhat easier to understand.

H.5

Automated title.ini File Backup

In case of a corrupted title.ini file, up to now the affected title could no
more be loaded through the normal application load mechanism. Now a
backup file of the title.ini is created automatically that enables opening the
title under any circumstances.

50 Software V4.1

SW V4.1

Date printed: 20.08.09

Vista Digital Mixing System

CHANGED FILES
Some changes in the following *.ini files are also part of the SW release
V4.1.
These files must be installed on your system in order to allow for the new
functionality and improvements.
For more details, please refer to the Installation Notes paper.
Signalling.ini

D950System.ini

Date printed: 20.08.09

Introduction of simplified signaling logic:

Option Channel Mute logic simplified and automated reset to previous
value
RELINK enabling added
DAW port definition added

SW V4.1

Software V4.1 51

Vista Digital Mixing System

IMPROVEMENTS AND FIXED BUGS

Description
VSP User mode microphone settings not working
System instability on loading Strip Setup while in channel view on
Control Bay
System instability while using Contribution view and View follow
PFL/Solo
Wrong message text on restoring a backup with already existing
session configuration
Global snapshots were sometimes not recalled correctly after
changing titles
Vista 5 and Vista 5 SR only
Fixed producer level setting missing in Vista5 mon template
SCore Live
Stereo Channels with Upmix panner are unable to be assigned to
Multitrack Enh. Busses.
Vintage Dynamics: Makeup Gain doesnt work when SC link is on

52 Software V4.1

SW V4.1

Comment
fixed
fixed
fixed
The wrong message A non identical session configuration.. is
now corrected to: An identical session configuration ..
fixed

Fixed with new Mon.ini template file

fixed
fixed

Date printed: 20.08.09

Vista Digital Mixing System

VISTA SW V4.2, DIFFERENCES AND NEW FEATURES

Please insert this document at the end of chapter 10 of your Vista operating instructions folder.
A

Theatre Functionality........................................................................................................................................................ 3
A.1
Virtual Vista ................................................................................................................................................................ 3
A.1.1
Screen Layout...................................................................................................................................................... 4
A.1.2
Fader Bay View ................................................................................................................................................... 5
A.1.3
Control Bay View................................................................................................................................................ 6
A.1.4
GC View.............................................................................................................................................................. 8
A.2
Theatre Cue List .......................................................................................................................................................... 9
A.2.1
New Look ............................................................................................................................................................ 9
A.2.2
New Event Types............................................................................................................................................... 10
A.3

MIDI Port Deactivation ............................................................................................................................................. 15

A.4

VCA/Channel Mute Mode......................................................................................................................................... 15

A.5

Isolate Labels and VCA Assignment......................................................................................................................... 16

A.6

Mute Groups.............................................................................................................................................................. 16

A.7

Hard Mute.................................................................................................................................................................. 17

A.8
Theatre Workflow ..................................................................................................................................................... 18
A.8.1
General .............................................................................................................................................................. 18
A.8.2
Suggested Workflow With V4.2 Functions ....................................................................................................... 19
A.8.2.1
Console Setup ............................................................................................................................................ 19
A.8.2.2
Building Cues ............................................................................................................................................ 20
A.8.2.3
Rehearsal Phase ......................................................................................................................................... 22
A.8.2.4
Shows ........................................................................................................................................................ 25
B

Dynamic Automation for Vista 5.................................................................................................................................... 28

B.1

System Start............................................................................................................................................................... 28

B.2

Time Code ................................................................................................................................................................. 29

B.3

Virtual ACU .............................................................................................................................................................. 29

B.4

Desk Controls ............................................................................................................................................................ 30

B.5

Hardware Keys .......................................................................................................................................................... 30

B.6

Fader Recording Status Indication............................................................................................................................. 31

Date printed: 17.03.10

SW V4.2

Software V4.2 1

Vista Digital Mixing System

2 Software V4.2

SW V4.2

Date printed: 17.03.10

Vista Digital Mixing System

THEATRE FUNCTIONALITY
The specific Vista theatre functionality is contained in a software release
that can be used for the whole Vista console range. The theatre mode option can be turned on or off in the D950system.ini file by the system administrator (under [options] - either TheatreMode=Yes or TheatreMode=No).

A.1

Virtual Vista
Offline and online editors are one single software application having both
online and offline capabilities. An indicator visible on all fader and control
bay screens shows whether the editor is currently offline or online (i.e.,
connected to a desk/core system or to a core only). The latter option can be
thought of in particular as a failsafe scenario in case the desk should fail.

Working Offline

The offline editor is used to set up and prepare or change shows without
being at the actual console. All parameters can be controlled. However,
when working offline, there is no access to the monitoring facilities.

Working Online with a Desk

The online editor can be used as an alternate control possibility next to the
console while the console is powered on and running. The two devices then
run in parallel.
All changes made on one device are reflected on the other immediately.
The online editor can also run on a wireless Tablet PC, so that the operator
can walk away from the console and adjust parameters as he walks around.
All parameters can be controlled.
Should the desk fail, the online editor can be used to continue the session.
This is an additional failsafe scenario. In such a case, the yellow
CONNECT TO CORE button can be used for taking over direct control
of the core. However, the online editor has no access to monitoring facilities, PFL/Solo excepted. The operator can press PFL or Solo on a channel
in the online editor, and the selected signal is then fed to the PFL output of
the desk.

Date printed: 17.03.10

SW V4.2

Software V4.2 3

Vista Digital Mixing System

A.1.1

Screen Layout
Since the Vistonics screen picture uses 1024 768 pixels and additional
space is required at the sides of and below the Vistonics screen area, the
screen resolution should be at least 1440 900 pixels in order to display
the complete Virtual Vista screen:

Global
View
Selection
&
Central
Channel
Processing
Keys

Vistonics / Fader/Meter Area

Central
Assign
Area

&
Section
Navigation
Desk Overview Area

The space below the Vistonics screen area (desk overview area) is used to
display a downsized overview of a virtual desk with up 72 faders. This is
the maximum possible desk size so that all possible titles can be viewed
with the original strip setup and desk layout.
The area to the left of the Vistonics screen area shows the global view
selection as well as central channel processing buttons (as used in Vista 5).
Section navigation is at the bottom of this part. It will change depending on
whether a fader bay or a control bay is currently selected.
On the right side of the Vistonics screen area a central assign fader strip is
shown. It will change, too, depending on whether a fader bay or a control
bay is currently selected.
The online/offline editor cooperates with Vista 5 (32 or 42 faders) as well
as with the modular Vista 7 and Vista 8. For space considerations, mostly
the Vista 5 operating concept is used.

4 Software V4.2

SW V4.2

Date printed: 17.03.10

Vista Digital Mixing System

A.1.2

Fader Bay View

By clicking into the meter area of one of the fader bay icons (Faderbay
1...), the corresponding Vistonics view opens up. The upper part of the selected fader bay icon is highlighted in order to make clear which bay the
operator is looking at.
The LINK / SEL button below the label area of the Vistonics screen is
used to assign a single central fader that is displayed on the right-hand side.
As long as the fader knob is touched (i.e., the mouse pointer is located
upon it and the left mouse button is pressed), the current fader value is displayed in both channel label fields, as shown in the screenshot above.
Channel Grouping (Ganging)

Date printed: 17.03.10

The MULTI SEL button allows grouping channels for parallel operation. If
a channel is selected with its LINK / SEL button, a click on MULTI SEL
followed by a click on the next desired LINK / SEL button builds a twochannel group; a third channel is added to the group by another click on
MULTI SEL and the next LINK / SEL button, and so on, until all the desired channels are grouped. The other way round, a click on LINK ALL
and any LINK / SEL button selects all currently displayed channels; then,
using the MULTI SEL and LINK / SEL buttons allows removing channels
from the group.
There is a different, convenient way for building a channel group (or
gang): Left-click-and-hold a LINK / SEL button, then while still holding
the left mouse button right-click on another one. This will add all LINK /
SEL buttons between the selected ones to the group. This works, by the
way, also when right-clicking-and-holding first and left-clicking afterwards.

SW V4.2

Software V4.2 5

Vista Digital Mixing System

By clicking into the fader area of one of the fader bay icons (Faderbay
1...), the ten corresponding faders are shown instead of the Vistonics
screen. The central fader on the right is then hidden. The lower part of the
selected fader bay icon is highlighted in order to make clear which bay
the operator is looking at.

Operation

A.1.3

The hardware keys and buttons (also the keys next to the rotary encoder
knobs) on the screen can be operated by clicking on them either with the
right or left mouse/trackball buttons.
Rotary encoder knobs can be operated by clicking-and-holding them with
the left mouse/trackball button (this corresponds to touching the real encoder knob on the desk surface); the parameter value is then underlined and
displayed below the label area in addition. By moving the mouse or trackball to the right or upwards (or anything in-between) the parameter value is
increased; by moving it to the left or downwards (or anything in-between)
the parameter value is decreased.

Control Bay View

The control bay view can be selected from the desk overview area at the
bottom of the screen. By clicking into the meter area of the control bay
icon (Controlbay 1), the corresponding Vistonics view opens up, as shown
below. The upper part of the selected control bay icon is highlighted in order to make clear which bay the operator is looking at.
The SECTION navigator changes to the four-FADER PAGE navigator
used in the control bay view. The global Vistonics VIEW selector of the
control bay is shown next to the central fader.

6 Software V4.2

SW V4.2

Date printed: 17.03.10

Vista Digital Mixing System

By clicking into the fader area of the control bay icon in the desk overview
area, the ten faders of the control bay are shown. At the right of the screen
the two GRAND MASTER faders are displayed.

Date printed: 17.03.10

SW V4.2

Software V4.2 7

Vista Digital Mixing System

A.1.4

GC View
The GC general patch view opens after a click on the GRAPHICAL
CONTROLLER SHOW button (at the bottom right of any of the fader
and control bay windows), or by a click on
in the taskbar,
followed by a click on the
general patch icon.

There are two other shortcut buttons as well: In order to have the clipboard
library window displayed in front of the general patch view, click the
GRAPHICAL CONTROLLER CLIPBRD LIBRARY button; in order
to have the strip setup window displayed in front of the general patch view,
click the GRAPHICAL CONTROLLER STRIP SETUP button.

8 Software V4.2

SW V4.2

Date printed: 17.03.10

Vista Digital Mixing System

A.2
A.2.1

Theatre Cue List

New Look

The enhanced theatre cue list is activated in the Option Snapshot

Automation window by ticking Enable Theatre Cue List, as shown at
the left, in the same way as with earlier software versions. The earlier cue
list has been extended by additional areas, such as the Snapshots, Events
and Configuration areas at its left. The Snapshots area shows the currently available console snapshots; they can be dragged-and-dropped into
the desired cue row of the cue lists # column. The Events area allows
dragging-and-dropping the desired events into the cue lists Events column. If one of the events is selected, the Configuration area shows the settings and options useful for the current event.
A click on the Library Entries button opens the cue actor overview window that gives a comprehensive overview of all library events.
At the bottom of the theatre cue list window, the name of the current cue
(and snapshot, if appropriate) is indicated in large characters so that it may
be clearly read even from a certain distance. The last and the next cues
names are displayed as well at the upper or lower border of this indication
field in small characters. Any desired cue from the list can be recalled either by double-clicking on its name or by using the PREV or NEXT buttons.
At the right-hand edge of the theatre cue list, some buttons have been
added as well:
Date printed: 17.03.10

SW V4.2

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The Name # button is used for entering/editing a name for the currently
selected cue, and for manually editing its number.
Make inserts a new cue below the one currently selected. Its number is
generated automatically. If the selected cue is, e.g., #14, the new cues
number will be #14.5, and its name will be Cue 14.5; a next one will be
#14.75, etc.
After having edited the theatre cue list by making new or deleting cues, the
Renumber button allows renumbering a selection of cues. In order to renumber the complete list, simply select all cues before.
The Cue and Snapshot - Make button allows generating a cue, together
with a snapshot of the whole console, in one go; the new cue is named according to the rule given above, and its name will be SNAPSHOT #x.
With Snapshot Update, the snapshot of the selected cue is updated with
the current console settings; this can be undone using Snapshot Undo.
For more information on the cue list functions, also refer to chapter 4.9.3.

A.2.2

New Event Types

Library Events

Cue-based theatre productions need a large number of parameter changes

per channel, usually for a number of subsequent cues.
Example: In scene 3, the character Jasbo Brown played by Daniel wears a
wide-brimmed hat, changing the sound of his lavalier microphone due to
reflections.

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The solution is to modify the EQ of his channel in order to make up for the
different microphone response. This is valid for cues 3, 4, 8...10, etc., (Hat
EQ). For cues 5...7, the original EQ settings have to be applied, while cue
11 demands for a flat EQ. This can easily be achieved with Library Events.
They may be adjusted while running the show, without the need to update
the cue settings that are ahead of the current cue.
A detailed theatre workflow tutorial is given in chapter A.8.

MIDI/MMC Events

The MIDI/MMC (MIDI machine control) event type can either be used for
automatically sending MIDI commands if the symbol has been entered into
the Events column (such as Program, Note On, Controller, MMC and
Sysex), or for triggering the associated cue on arrival of the command if
the symbol has been entered into the column (such as Program, Note On
or Controller).
MMC commands are a subset of the MIDI Sysex (system exclusive)
command set that are used for triggering transport commands for external
playback equipment, such as Stop, Play, Locate, etc.; Deferred Play is a
Play command that is executed after the playback transport has found the
desired cue position.
A MIDI event is entered either by dragging it from the Events area and
dropping it into the Events column of the selected cue, or by a right-click
into the Events column of the selected cue and selecting the desired event
from the dropdown list. It can be configured in the Configuration area, or
deleted if highlighted by a click and either pressing Del on the keyboard or
clicking on the Cue Delete button.
If MIDI input control signals are used, a MIDI event symbol is inserted
into the column of the cue list, either by dragging-and-dropping it from
the Configuration area or just by double-clicking into the desired cue list
cell. For deleting it, either highlight it with a click and press Del on the
keyboard or click on the Cue Delete button. It can also be deleted from
the cue list with a double click.
In order to avoid undesired influence by external devices, the ARM
CUELIST button is used to arm/disarm the cue list inputs. If not armed,
the blackout function, MIDI In events, as well as the hardware NEXT and
PREVIOUS keys on the console surface are disabled. Different options for
this button can be set in the Option - Snapshot Automation menu.
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Timed Events

For a timed event, the time until the next cue is recalled as well as the
number of the next recalled cue can be set. When clicking into the corresponding entry field, the recall time can also be adjusted by moving the
mouse or the trackball up/down (range: 060 seconds). A progress bar is
shown in the large cue area while the timer is running.

Dynamic Automation Events

With dynamic automation events, automatic parameter changes can be

inserted into a cue, such as cross-fades, panorama or AUX level changes.
Programming such events is very convenient and easy. Dynamic automation events are only used when working with the theatre cue list, therefore
the console has to be started in static rather than in dynamic mode.
After a click on the Dyn Auto icon in the cue list it is highlighted (blue
background), and the Configuration area shows the controls used for the
dynamic automation, see below.

record button. The

For recording, e.g., a fade-in, just click on the
automation system switches to record-pause mode, the record buttons
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color changes to red

, and the
play button is replaced by
pause.
Parameter recording is then started either by touching a control (fader or
rotary knob), by pressing a key (e.g. MUTE), or by a click on the pause
button. Once the recording is complete, click on
stop.
The easiest way to record different controls at once (such as for a crossfade), this is best done on the console. However, since the automation system allows several record passes with different controls, one after the
other, a cross-fade can also be recorded with Virtual Vista on the online
editor, or even on the offline editor.
All mix passes are saved, and if the operator is unhappy with the last one
(or several of them), he just uses the Kill Pass x button in order to delete
as many of the mix passes as desired. Please note that no undo function is
available for the Kill Pass x button.
The cue mix files are saved in the CueMixFiles subfolder of the
D950SYSTEM folder (main D950 projects folder). They follow the same
folder structure as the ones of the standard automation mix files and can, of
course, be exchanged with them. In other words, any existing automation
mix file may be copied into the CueMixFiles subfolder of the current production, and vice versa, except that the cue mix files are not saved pass-bypass. For more information, please refer to chapter 5.4.

VCA/Mute Events

VCA/mute events must be activated in the Option Snapshot Automation window by ticking Enable VCA Events, as shown above.
Particularly in large, cue-based musicals, assigning channels to VCA
masters provides the basis for the mixing console cue list. It is very easy
just to use a small number of VCA masters during the show, reassigning
slave channels from cue to cue, instead of working on a very large number
of input channels directly.
One of the main tasks when setting up a cue list for a production is assigning the appropriate channels to VCA masters on every single cue. With
VCA/mute events this is achieved very easily.
After a double-click on the desired VCA/mute event in the cue list, the
VCA details window opens (see next page).

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All channels currently muted are indicated in red. The ones being part of a
VCA group have the group number in their upper part. When right-clicking
on one of the channels, a list with all group assignment possibilities pops
up; a channel can also be muted or un-muted without an assignment to a
VCA group.
A detailed theatre workflow tutorial is given in chapter A.8.

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A.3

MIDI Port Deactivation

For enabling or disabling (cutting) the MIDI control input and output ports,
two of the OPTION keys on the console are used, as shown below. The corresponding key flashes as long as the port is disabled. For Vista 7 and Vista
8, the function keys are assigned as follows:
F1 CUT MIDI In
F2 CUT MIDI Out
F3 Toggle Blackout
F5 Update VCA/Mute
F6 Update Snapshot

Vista 5:

Vista 7:

Vista 8:

The MIDI In port can be disabled, in addition (together with the blackout
function as well as the hardware NEXT and PREVIOUS keys on the console surface) using the ARM CUELIST button in the theatre cue list. Different options for this button can be set in the Option - Snapshot Automation menu.

A.4

VCA/Channel Mute Mode

A snapshot includes all audio parameters of the console by definition. This
means that the sound designer would have to specify for each cue what audio parameters should be masked from snapshot recall, so that only certain
parameters change. In most cases however, making changes of VCA assignments, VCA labels, and channel mute status per cue is preferred, rather
than working with snapshots in the normal sense. Aside from this, the
desk has to work in a manual way whereby the operator is not concerned
with snapshot recall but only with changes of certain parameters within
certain cues. The new theatre cue list offers a philosophy that does not only
deal with snapshots and attached recall masks per cue, but offers that the
snapshots of the VCA/mute and other parameter changes are handled per
cue by a library system that stores the parameters.
Please note that the VCA assignment and channel mute parameters are
neither saved nor overwritten by snapshots.
This functionality is enabled, as described at the beginning of this chapter,
in the D950system.ini file by the system administrator ([options] TheatreMode=Yes).

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A.5

Isolate Labels and VCA Assignment

In order to allow label changes being copied into several snapshots (by
recalling and updating snapshots) they need to be able being isolated on an
input port-by-input port basis. This is done with the
isolate button next
to the User Label button in the general patch page; if isolation is active, the
button is highlighted in yellow.
Isolated User Label

The VCA assigns need to be able to being isolated as well. The VCA
assign isolation can also be done on the input channel side, individually
channel per channel. This is done in the channel patch page.
Isolated VCA Assignment

Isolated VCA User Label

A.6

Mute Groups
In theatre mode, the mute groups are fully independent from snapshots and
VCA/mute events. Mute group mutes will neither be saved in the snapshots
in this case, nor will they be overwritten by a snapshot recall.

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A.7

Hard Mute
Hard mute is a new, additional mute status that was introduced together
with SW V4.2 and the extended theatre cue list. It can be used in the same
way as a mute group, but doesnt need a mute group setup and has, in particular, top priority over any other programmed mutes. This means that a
hard mute is fully independent of what is recalled via a snapshot, a
VCA/mute event or a mute group. It can be applied to every desired channel at any time, making sure that no audio is passing through this/these
channel(s). Its main purpose is solving problems with a channel, if, e.g., a
wireless microphone is defective.
In order to set up a hard mute, first the corresponding option needs to be
activated. This is done in the User - Vista Settings window. Select the
Misc tab and tick the Live mode activates Hard Mute entry.

A click on the LIVE button (or pressing the small LIVE key in the desks
CONTROL ROOM monitor section) followed by a channel MUTE button activates a hard mute of this channel, regardless whether this channel is currently muted or not. If a channel is hard-muted, a
indicator
appears in the Vistonics label area, and the MUTE button is illuminated.
If a hard mute is applied to a channel that already has a soft mute caused
either by the system (via a snapshot or a VCA/mute event) or manually
with the MUTE button, this is indicated by illuminating the MUTE button
together with the small MUTE LED, as shown below.

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A.8

Theatre Workflow

A.8.1

General

1.
2.

Console Setup
Building Cues

3.

Rehearsal Phase

4.

Dress Rehearsal Phase

5.

Preview Rehearsal Phase

6.

Shows

Glossary:

Character / Role

Actor
Understudy
Cast

In general, a cue-based production usually has a workflow similar to the

following scenario:
The channels are labeled, patch connections are made, etc.
With the help of the script, the cues are created and named.
VCAs are labeled and channels are assigned to VCAs.
Mutes are made (per cue).
This is the first time that the cast is involved. No orchestra yet, just a piano.
Mic gains and EQs are set, but only in a hurry, since rehearsals go fast
(through all cues).
With more rehearsals, the mic gain and EQ settings get refined.
Cues need to be added.
This is the first time that the orchestra/band is involved. These channels
can now be setup (gain, EQ, monitor mix).
Now with dresses, props and orchestra, vocals sound different; mic gains
and EQs need to be refined.
This is the first time that an audience is involved. Things sound different
again since the audience modifies the acoustics of the venue.
Fader levels, gains and EQs need to be adapted.
During the show, the console operator reads the script, goes from cue to
cue and rides VCA master levels. Usually there is no time available for
changing parameters apart from the VCA levels.
Basically, the channel settings dont change anymore, but it may happen
anyway (almost every show) that an actor or a musician of the orchestra
needs to be replaced due to sickness or other reasons.
This means that channel settings such as mic gain, EQ and dynamics need
to be adapted to the current understudy actor; this is, however, only required for the corresponding input channels.
The name or term of the character or role in the script, such as Romeo,
Julia, etc. It is very important to understand that one input channel of the
console should always be fed with the mic signal of one certain character/role throughout the whole play.
Name of the person who is playing a specific character/role.
Actor who replaces the main actor in case of sickness, different shifts, etc.
The ensemble/company, i.e. all (or several) actors or all actors of a play.

Conventions for the Workflow Suggested Below:

An input channel of the console is equal to a character of the play.
E.g. Inp m1 = Romeo; Inp m2 = Julia, etc.
When the role of Romeo is played by an actor called John Smith, an actor
for Romeos role (Inp m1) needs to be created whose name is John Smith.
Later on, an understudy actor can be created as a copy of John Smith but
with the actual understudys name.

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A.8.2

Suggested Workflow With V4.2 Functions

A.8.2.1

Console Setup

Tip:

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Always work with active device labels (SysAdmin Device Labels

Use Device Labels, and Overwrite Chan. User Label with Device Label)

In this phase, all the necessary console setup work is made. No actors or
musicians need to be on stage. Therefore this setup phase can also be done
with Virtual Vista without having the physical console available.
Create an appropriate VMC configuration.
Load this configuration and create appropriate project and title names for
the particular production.
Do the labeling of interfaces (device labels).
Create patch points from interfaces to input channels, from output channels to output interfaces, as well as every other patch connection that is
needed (e.g. shared processes).
Add the user labels to the input interfaces, i.e., the labels of the characters
of the play.

Create a strip setup.

Do the bus assignment as required for the particular production.
Save this in a basic settings snapshot or preset.

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A.8.2.2

Building Cues
Cues can be built on the Virtual Vista. When the rehearsals begin at a later
stage, the title needs to be transferred to the real console. Depending on
the time available, cues may, of course, be built on the real console directly. In both cases the goal is having audio as soon as it is needed for the
first rehearsals.
Creating Actors

Since the library events are sorted in the channel settings library by actor
names, consider entering their real names, if they are already available at
this stage. Having all the names already entered in the library ready to use
and to save settings with it would be a good preparatory step. It may also
be done later, however.

Creating Cues

This is the next step. It is usually done according to the script. The best
way to do this is creating and naming all cues used for the play.

Tip:

20 Software V4.2

In the process, the Cue Make and Cue Renumber functionalities can be
used in order to build and update the cue list until it is complete. This phase
may last throughout several rehearsal stages.
In order to be able later to make efficient use of library events, it is recommended that the first cue of a show has a snapshot attached, making sure
that the console is in a 100% defined state at the beginning of the show.
This would be the basic settings snapshot created during console setup.
Since the library and the VCA/mute events are completely separate from
snapshots, the consoles basic settings remain static for all channels for
which no library events are used throughout the whole show. Adjusting any
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static parameters of the console and overwriting the basic settings snapshot is an easy way of updating the static settings, without affecting or
overwriting the changes that are caused through the VCA/mute and library
events on a cue-by-cue basis.
VCA Master and Mute Setup

Along with the cues, it is very likely that input channels are grouped and
assigned to VCA master faders. The setup is done in a very efficient way
using VCA/mute events
. The whole setup process is done in one single window. Normally, the channels that are not used in a cue need to be
muted, in order to avoid that an actor who still wears his wireless microphone backstage while he is e.g. changing his costume can be heard over
the PA system.
Therefore, all channels not assigned to a VCA master are muted automatically if the Unmute/Mute VCA Members option is ticked in the Option
Snapshot Automation window, as shown below.

or a single click on the

Either a double-click on the VCA/mute icon
VCA/mute icon followed by a click on the Edit VCA assignments... button (at the bottom of the Configuration area) opens the VCA Details window. It looks very similar to the strip setup window. Muted channels are
shown in red, and the small digit at the upper end of every channel indicates to which VCA master this channel is currently assigned. By rightclicking on a name a history window is shown that lists the VCA names already used within the current production.

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A right-click on the VCA/mute event icon of the current cue (i.e., the one
that is currently highlighted) allows copying/pasting the VCA/mute settings from the current cue to a different one (that must be made the current
cue, i.e. highlighted, before pasting).
Please note that the VCA/mute event settings of the current cue are copied
and applied whenever a new cue is created. Then, the VCA/mute event
icon is grayed-out
, indicating that this cues VCA/mute event settings
are identical to the one in the cue immediately before.
Alternatively, the mute setup can also be done on the desk with the MUTE
keys of the desired channels. The update in the current VCA/mute event is
then done by opening the VCA Details window and using the Get Current
Settings button at its bottom.

A.8.2.3

Rehearsal Phase
Once the basic settings are transferred to and saved within the console and
the rehearsals are at a stage where the original cast is rehearsing, e.g. already in costumes and with the stage props, the cue list can be completed
with library events where necessary.
Library Events

22 Software V4.2

Library events can be used to make the necessary parameter changes on a

cue-by-cue basis, without the need of using snapshots to accomplish these
changes. This makes the workflow easier, faster and more straightforward,
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allowing the operator focusing on the mix, rather than having to remember
appropriate snapshot and snapshot filter states.
Library event settings are visible in the clipboard library window that is
opened with a click on the clipboard library icon . The collected settings
are organized in such a way that a setting or a number of settings belong to
a particular actor. Just select the desired actor from the Actor drop-down
list to display his settings.
If the Actors have not been created already, they can also be created on the
fly, together with the actual library event settings by copying them from a
channel strip. To do this, proceed as outlined below.

Add a Library Event to a Cue

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Go to the desired channel strip on the desk surface and copy the current
setting of the desired processing block (or a combination of several processing blocks PAN, EQ, DYN, INS/DEL, FILT, or ALL parameters of a
channel at once) with the
or
keys.
Paste it into the library under the desired actor. If the actor does not yet
exist, it can be created while the copied parameters remain in the temporary clipboard.
While being pasted into the library under an actor, the setting needs to be
given a name. The naming of the setting is important, since later on only
the names of the settings are shown on the Vistonics screen, and the operator needs to be able to select to appropriate setting just from reading the
name.
Once a setting is stored in the library, it still needs to be applied to the
desired cue(s). For this purpose, the identification concept uses the names
of the library settings.
First, select the actors view on the Vistonics screen by pressing the
(Shift) and
(INPUT) keys. This is a global actor view across all
Vistonics channels; a particular actor is also shown when opening the
channel view using the
key.
With a right-click in the Events column of a cue and selecting the library
event symbol
from the list that drops down, a library event is added to
that cue. An alternative way to do this is by dragging-and-dropping the library event symbol from the Events area at the left of the cue list into the
Events column of the desired cue.
By clicking on the icon once, the Configuration area opens in the lower
left corner of the cuelist page. When right-clicking in this area, channels
(i.e., characters), actors and library entries can be selected.
If the desired library setting has already been added to the actors library, it
can be dialed up with the Setting Vistonics rotary and applied to that specific channel in the current cue with the Apply key. If there are no other library events further down the cue list, the applied library setting will remain active in the channel through to the end of the cue list. If other library
events have already been applied to cues further down in the play, the new
applied setting will only be applied from the current cue to the one right
before the cue where the next library event is active.

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Actor Overview... Window

An overview window of all library events throughout all cues and all
channels is shown by a click on the Actor Overview... button. In this window the names of all entries are shown per cue. When right-clicking in this
window, the entries can be changed, and further entries can be added.

Other Events

During the different phases of rehearsing, other events can be added to the
cues as well:
MIDI program changes, note-on, note-off and MMC (MIDI machine
control) commands are available from the Configuration area once a MIDI
event has been added.
Plain notes,

blackout events,

timed cue events,

dynamic automation events, and

HiQNet events are available as well.

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A.8.2.4

Shows
Tweaks

During the performances, all console parameters can be tweaked. If these

are static parameters (settings that remain constant throughout the whole
show) and there is only one single basic setting snapshot at the very beginning of the cue list, they remain with the same tweaked value until the
end of the show.
If the changes should be kept for future shows, all these values can be
updated simply by updating the basic setting snapshot in the first cue.
Parameters that have been pasted into a channel from the channel setting
library (i.e., library events) can be tweaked as well, and the changes are
automatically transferred to all the cues where the same setting is used.
The library events name in the clipboard library list and on the Vistonics
channel view such as Hat EQ will then change to Hat EQ*, with the
* (asterisk) signifying that it is different from its original setting. On the
Vistonics channel view a Revert button is added. Pressing it will discard
the changed library setting and bring it back to its original value.
If however such a changed parameter should be conserved and updated in
the library while keeping its original name, the Save button must be
pressed.

Understudy Settings

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With the repeated performance of a play, replacement actors (also called

understudies) need to be considered. They will take over in case the main
actor should get sick, or simply because shifts are introduced. New actors
can be entered into the library just by making copies of existing actors, followed by modifying the individual settings of the understudies.

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In the Cue Actor Overview window, the default actor can easily be
replaced by a simple click on the character - name bar and selecting the
replacement from the drop-down list. All library settings will then automatically be replaced by the ones of the understudy actor.

End Show Button

26 Software V4.2

There is an End Show button at the bottom of the clipboard library window. It is intended to be used at the end of a show performance, as the
name implies.

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This button opens a list that displays all tweaked library event settings. It
prompts the operator to decide whether he wants to save or discard these
tweaks, either globally or setting by setting.

The End Show mechanism simply makes sure that no tweaked setting can
be forgotten to be either discarded or kept. It may, of course, also be used
during a show or a rehearsal in order to clean up the current changes.
If there are any tweaked settings or modified mute events that have not
been saved already, there will appear a dialog box upon closing the clipboard library window, asking the user whether he wants to save the unsaved data. So again, no setting can be forgotten even if there is pressure of
time.

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DYNAMIC AUTOMATION FOR VISTA 5

Dongle

Since SW V4.2, the AutoTouch+ dynamic automation (up to now standard

on Vista 7 and Vista 8 consoles) is available for Vista 5 units as well. This
makes the smallest member of the Vista family (in terms of size) even
more versatile.
For a detailed description of the AutoTouch+ operation refer to chapter 5;
the paragraphs below only mention the prerequisites and differences.
In order to activate the hardware keys described below, a dongle is required. It is plugged into the CUSTOM PANEL GPIO socket at the rear of the
console:

Vista 5 Dynamic Automation Dongle

B.1

System Start
Depending on the desired operating mode (static, i.e. snapshot automation/
dynamic, i.e. with AutoTouch+ dynamic automation), start the system using one of the two GC screen icons.

If Virtual Vista should be used for controlling the core in parallel with the
console, it always starts in the same static/dynamic operating mode as the
console was started. In dynamic mode, however, operation is much more
convenient with the touch-sensitive desk controls. Virtual Vista has a limited range of applications in dynamic mode, such as entering/editing labels.

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B.2

Time Code
Vista 5 utilizes MIDI time code. For synchronization to LTC, an external
third-party converter such as the one in the picture below is required.

LTC Master
(DAW / Tape
Recorder)

B.3

MTC Slave
(Vista 5)

Virtual ACU
Due to space restrictions on the console surface most of the AutoTouch+
functions are operated from the GC screen, using the virtual ACU (automation control unit window).

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B.4

Desk Controls
These are the controls used on the Vista 5 desk:

Note:

B.5

The channel ISO keys are used for the Auto Mode function in dynamic
automation mode.

Hardware Keys
The most important Vista 7/8 AutoTouch+ hardware keys have been
assigned to six keys of the Vista 5 CUSTOM PANEL, as shown below.

Vista 5
Vista 7/8

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B.6

Fader Recording Status Indication

(bottom left of the Vistonics label area)
During automation operation, characters without a frame indicate the status
of the fader (I = Isolate, R = Read, T = Trim, W = Write).
A red frame behind the W or T indicates that the fader is currently
recording.

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Vista 5 M2 Digital Mixing System

VISTA 5 M2, SW V4.5, DIFFERENCES AND NEW FEATURES

Please insert this document at the end of chapter 10 of your Vista 5 operating instructions folder.
Meterbridge Installation (Option).............................................................................................................................................. 3
Mechanical................................................................................................................................................................................ 3
Electrical.................................................................................................................................................................................... 4
Configuration............................................................................................................................................................................. 4
System Start............................................................................................................................................................................... 4
TFT Level Meters........................................................................................................................................................................ 5
TFT Meter Setup....................................................................................................................................................................... 8

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TFT Meters 1

Vista 5 M2 Digital Mixing System

2TFT Meters

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Meterbridge Installation (Option)

Please Note

This option can only be used for Vista 5 M2 consoles, i.e. with SW versions
4.5.03 and up. If your console should not be a Vista 5 M2, it has to be electrically upgraded to M2 before. Please contact your distributor in this case.

Contents of the Kit

Meterbridge (22, 32 or 42 fader version, depending on your console)

6 screws M4
2 Cat5
DVI cable (1.8m)
Power-on link cable DB9 (0.7m)
This installation instruction sheet

Required Tools

2.5mm Allen key

3mm Allen key

Mechanical
Important

For attaching the meterbridge to the console, you will need the assistance of
one or, even better, two additional person(s). Ask them to proceed with care
in order not to damage any surface or screen.
Switch the console off and place it in such away that its rear side can easily
be accessed.
Remove any cabling from the consoles rear side that might get in your way
during installation.
Disconnect and remove the GC screen from the console. Use a 3mm Allen
key. This screen will no more be used since one of the meterbridge screens
is provided for this purpose.
Remove the 6 countersunk-head screws at the rear of the console, marked in
red in the picture below. Use a 2.5mm Allen key. These screws will no more
be used.

32-fader console:

42-fader console:

DESK LIGHT
(12V)

DESK LIGHT
(12V)

DESK LIGHT
(12V)

DESK LIGHT
(12V)

LINE

LINE

CONTROL ROOM
R

AES/EBU
L/R

AES/EBU
L/R (DIR OUT)

LFE

AES/EBU
C/LFE

AES/EBU
C/LFE (DIR OUT)

LINE

LINE

AES/EBU
L/R

AES/EBU
L/R

STUDIO A
L

LINE
(DIR OUT)

LINE
(DIR OUT)

STUDIO B

TB IN
LINE

DESK MIC OUT

TB IN
LINE

PROD TB IN

LINE

POWER
(MAIN)

PRIMARY LAN

LINE

SECONDARY LAN

VGA

VGA

LS

LINE

RS

AES/EBU
LS/RS

AES/EBU
LS/RS (DIR OUT)

LINE

PFL
R

AES/EBU
L/R

CUSTOM PANEL GPIO

GENERIC I/O (AES/EBU)

D 25p / f

MADI (TO CORE)

D 37p / f

WCLK OUT

MONITOR INSERT (AES/EBU)

D 25p / f

COM2 (RS422)

D9p/f

D9p/f

MIDI IN

MIDI OUT 1

MIDI OUT 2

MIDI

MIDI

MIDI

DVI

DVI

COM1 (RS422)

DATA (USB)

POWER
(REDUNDANT)

OUT
(MAIN)

GRAPHICAL CONTROLLER SCREEN

100-240V~

100-240V~

100-240V~

12/24V

DIN

LOCK

Date printed: 

With your assistant(s), set up the meterbridge at the consoles rear side. Provisionally fix it at the extreme left and right with one of the new screws each
in the upper of the two holes. Use a 3mm Allen key. Do not tighten these
screws completely. Then insert the remaining new screws and tighten them
all.
SW V4.5

TFT Meters 3

Vista 5 M2 Digital Mixing System

Electrical
1.
2.

Wire the system according to the diagram below.

Connect the mains cable attached to the meterbridge to the mains outlet at
the consoles rear side.

(Bottom View)
Ethernet

GB Ethernet Switch

GC DVI Input Ext. DVI Input USB Ethernet Power ON

GC DVI Input

Meterbridge PC

Power ON

Power-On Link to Meterbridge PC (0.7 m)

VISTA 5 M2 Desk
Rear Side

Meterbridge PC to
Meterbridge Switch (0.6 m)
GC DVI Signal to Meterbridge (1.8 m)
Secondary LAN Port to Meterbridge Switch (1 m)
Cat5 Control
Connection
Meterbridge
Sw. to Core

Primary LAN Port to Core

SCore Live Frame

Connection
for Systems with
Dual Bridge Cards

Cat5 MADI
Connection
Desk to Core
(CR Monitoring)

Cat5 Ethernet Connection

Cat5 MADI Connection
DVI Connection
Power-On Connection

Configuration

For correct operation of the TFT meters, open the D950system.ini file
and add HasTFTMeters=Yes in the [d950systeminfo] area.

Once this all is done, the Vista 5 M2 can be started as usual, as described in
the manual. The meterbridge will automatically start up with the console.

System Start

4TFT Meters

SW V4.5

Date printed: 25.10.11

Vista 5 M2 Digital Mixing System

TFT Level Meters

For all possible channel types the metering goes with it from mono over
stereo to 5.1, always in the same space. Priority was to have as large a bar
graph meter as possible. In order to bring in more information, a lower area
is configurable that enables displaying different options, depending on the
channel type. It can bring a surround image view or what is called the history
diagram of incoming or outgoing signal waveforms. This shows the history
of the signal and makes it easy to spot anomalies in the audio signal, such as
overloads or signal loss.

When focusing on some important channels, one might miss whats going
on somewhere else. If suddenly hearing something strange, with the history
feature a quick look across the console is sufficient to see what happened, and
where. Another option in the lower portion of the TFTs is a bus assignment
view, giving an overview of the channels current bus assignment, e.g. on a
single channel where bus assignment is changed frequently.

The control bay metering differs from the meter screens on the fader bays; it
is mainly made to show output channels. For the control bay meters different
views are available. This view can be switched to a predefined meter view to

Date printed: 27.09.11

Depending on console size, the TFT meterbridge features either three or four
screens dedicated to the metering. An additional screen is used for displaying either the GC information of the desk control PC, the metering PC or
an external DVI signal; selection from these signals is done with the 3 keys
located just below this screen labeled GC, INT and EXT.
The metering PC also features two USB sockets where a keyboard and a
mouse may be connected whenever it needs to be operated separately (e.g.
for a SW update).

SW V4.5

TFT Meters 5

Vista 5 M2 Digital Mixing System

see e.g. all auxiliary outputs or to all groups, all programme masters, direct
outputs, bus outputs, N1s, matrix channels, etc.

In addition there are user pages assignable to whatever is desired via the strip
set-up. There are four configurable user pages. One of them has ten slots in
one row, the next one has 20 slots in two rows, and the next two have 40 halfwidth slots in two rows. So if calling up page four, there are 40 meters, and
they can be virtually anything. The two meter slots at the right of the control
bay TFT screen continuously show PFL and CR levels.

The illustration on the previous page is an example of a meter screen with

mono, stereo and surround channels, as well as different views in the lower
area such as metering of the L2 channel, history, bus assignment and surround view. Further information is displayed as well, such as gain reduction
or surround signal type.

Level Meters

The level meter bargraphs indicate digital peak values including headroom
of mono, stereo, 5.1 and N1 channels. The meter scale always is in dBFS
with 0dBFS at the top, with an additional overload segment clearly indicating
overloads. Stereo meters feature a correlation meter on top of the meter bars,
both on stereo inputs as well as on stereo master channels.
Above the level bargraph area gain reduction meters are added. Clipping is
displayed by turning the white bargraph section (i.e., the segments above the
headroom threshold) over to red. The meter tap point can be selected from
input, post fader and direct output level of the corresponding channel.
It is possible to use the red overload indicator above the meters to indicate a
level just entering the configured headroom, rather than clipping. This is set
in the GCs Meter/Generator window.

The area below the large bargraphs provides additional visual information,
depending on the channel type and on what the operator prefers to see.
When the desk is in two layer mode, a smaller bargraph meter of the L2
channel (e.g. a spare microphone) is always shown.
Furthermore there is the option to display the audio waveform of the signal
that has passed the channel, so the operator can see the history of the audio
back to a configurable time of up to 50 seconds. The waveform of the audiosignal not only gives very clear information about signal loss or overload
(which colours that part of the waveform in red) but also indicates the character of the signal, as in the age of DAWs most operators are used to interpret
signals by looking at their waveform. The speed of the meter history view
can be set in the Metering & Generator Settings window, as shown below.

6TFT Meters

SW V4.5

Date printed: 27.09.11

Vista 5 M2 Digital Mixing System

Surround channels come per default with a surround image view in the lower
area, offering a spatial visualization of the surround signal. It allows spotting
anomalities in a surround signal much faster than any other method.

Alternatively, a bus assign view can be selected on any channel, giving a nice
overview of the bus routing right below the bargraph meters. This may not be
sensible for every channel but is useful for the ones where the bus assignment
is changed frequently.

The control bay TFT metering is of multiple use. The VIEW keys together with
the (shift) key allow switching between different views. All VIEW keys are
of the momentary/latching type.
The FOLLOW key displays the metering that belongs to the channel assigned
to the desk surface.

Then, there are view keys for all different type of master channels: Aux,
Groups, program Masters, Matrix, etc., as well as output meter views of
multitrack and n-1/x busses.

Moreover, there are four user keys that allow displaying any choice of channels of the mixing console on the four user pages. For assignment there is a
page on the GCs Strip Setup window that lets assign up to 10 channels on
the USER 1 page, up to 20 channels in two rows on the USER 2 page, and
a maximum of 40 half-width channels in two rows on both the USER 3 and
USER 4 pages.

The two meter slots at the right of the control bay TFT screen, however, continuously show PFL and CR levels.
Control Bay

Date printed: 27.09.11

SW V4.5

TFT Meters 7

Vista 5 M2 Digital Mixing System

TFT Meter Setup
Strip Setup Window

8TFT Meters

If the Fader Bays or Control Bay tab is active, every channel displayed
on the console surface also has a slow meter in the strip setup window that
is a slow indication of signal activity at this channels input. Color is used to
identify the channels status. A blue meter bar means that the channel has its
fader open and is switched on. If the meter bar is gray, then the channel has a
signal associated with it, but either the channel fader is closed or the channel
is muted (off). If the meter bar is red, the channel currently is in overload
status.

SW V4.5

Date printed: 27.09.11

Vista 5 M2 Digital Mixing System

Fader Bay Meters

Lower Meter Area

The default assignment of the TFT meters to the fader channel strips is 1:1.
This may be modified by the system administrator only; if not logged in as
system administrator, the Fader Bay Meters tab is not displayed, and meter
assignment is is restricted to the control bay.
Assignment is done in the strip setup window. First, click the Fader Bay
Meters tab. The window changes to the view shown below. Entering channels
is done with the same mechanism as is used for the assignment of channels
to bays.
Changes in the channel assignment may be easily reset to the default setting
by selecting Reset to StripAssignment.
The default settings of the lower meter area are labeled DEF. These are the
history view for mono and stereo channels, and the surround view for 5.1
channels.
When right-clicking into the lower meter area, the display mode of the lower
part of the meter can be selected (HIST for the history display, BUS for
bus assignment view, SRND for surround view, and L2 for layer 2 view).
Options not available for a particular channel type will be grayed-out.
Changes made here may also be reset to the default setting by selecting Reset
to StripAssignment after a right-click in the upper meter area.

Control Bay Meters

Click on the Control Bay Meters tab. The window changes to the view shown
below. Entering channels is done with the same mechanism as is used for the
assignment of channels to bays.
After selecting one of the USER fields, the view corresponding to the user
keys can be defined.
Please note that the two meters at the far right of the control bay are always
used for PFL and CR monitoring and cannot be assigned to a channel.

Date printed: 27.09.11

SW V4.5

TFT Meters 9

Vista 5 M2 Digital Mixing System

10TFT Meters

SW V4.5

Date printed: 27.09.11