Quantum 2 - Getting Started – Issue A

Issue A for Software Version 1400+

To be read in conjunction with the SD/QUANTUM Series Software Reference
Quantum 2 - Getting Started – Issue A
Quantum 2 - Getting Started – Issue A

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Manual Issue and Date: Issue A – March 2021 – For Version 1400+

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Quantum 2 - Getting Started – Issue A

Contents
The Console ...............................................................................................1
1.1 Manual Overview ............................................................................................................ 1
1.2 Before You Start .............................................................................................................. 2
1.2.1 Worksurface Layout ............................................................................................................ 2
1.2.2 Layers and Banks ................................................................................................................. 4
1.2.3 Using the Control Surface .................................................................................................... 5
1.2.4 The Assigned Channel.......................................................................................................... 6
1.2.5 The Master Fader ................................................................................................................ 8
1.2.6 Channel Types ..................................................................................................................... 9
1.3 Hardware Configuration ................................................................................................ 10
1.3.1 Connections ...................................................................................................................... 10
1.4 Software Configuration ................................................................................................. 11
1.4.1 Templates ......................................................................................................................... 11
1.4.2 Session Structure Overview ............................................................................................... 11
1.4.3 Audio I/O Overview........................................................................................................... 12
1.4.4 Opto V221 (SD Racks) ........................................................................................................ 13
1.4.5 Single SD Console System .................................................................................................. 13
1.4.6 Automatic Conforming ...................................................................................................... 13
1.4.7 Manual Conforming of Racks ............................................................................................. 14
1.4.8 Rack Sharing ...................................................................................................................... 15
1.4.9 Assigning Faders to the Worksurface ................................................................................. 15
1.5 Saving and Loading Sessions.......................................................................................... 16
1.5.1 Save As New File ............................................................................................................... 16
1.5.2 Save Session ...................................................................................................................... 16
1.5.3 Load Session...................................................................................................................... 16
1.6 Audio Sync .................................................................................................................... 17
1.7 Routing Basics ............................................................................................................... 18
1.7.1 Selecting Inputs & Outputs ................................................................................................ 18
1.7.2 Ripple Channels ................................................................................................................. 19
1.7.3 Channel Names ................................................................................................................. 20
1.8 Channel Processing ....................................................................................................... 20
1.8.1 Dynamic EQ ....................................................................................................................... 20
1.8.2 Dynamics .......................................................................................................................... 21
1.9 Mustard Channels ......................................................................................................... 22
1.9.1 Mustard Channel Strip....................................................................................................... 22
Quantum 2 - Getting Started – Issue A
1.9.2 Insert Position ................................................................................................................... 22
1.9.3 Safes/Scopes ..................................................................................................................... 23
1.9.4 Presets .............................................................................................................................. 23
1.9.5 Pre-amplifier Modelling .................................................................................................... 23
1.9.6 Equaliser ........................................................................................................................... 24
1.9.7 Compressor ....................................................................................................................... 24
1.9.8 Gate/Ducker ..................................................................................................................... 25
1.10 Spice Rack .................................................................................................................. 26
1.10.1 Chilli & Naga 6 Overview ................................................................................................... 26
1.10.2 User interaction options .................................................................................................... 28
1.10.3 Presets .............................................................................................................................. 29
1.11 Auxiliaries .................................................................................................................. 30
1.12 The Matrix ................................................................................................................. 31
1.13 Control Groups .......................................................................................................... 32
1.14 Multi-channel formats ............................................................................................... 33
1.15 Solo Setup ................................................................................................................. 34
DMI Cards ................................................................................................ 35
2.1 Fitting DMI Cards .......................................................................................................... 35
2.2 DMI-MADI Cards ........................................................................................................... 37
2.2.1 Connecting DMI-MADI ...................................................................................................... 37
2.2.2 Sharing Racks with DMI-MADI ........................................................................................... 40
2.3 DMI - Dante Cards ......................................................................................................... 42
2.4 DMI - ADC - DAC - MIC - AES Cards ................................................................................ 44
2.5 DMI - Waves - Hydra Cards ............................................................................................ 45
2.6 DMI - ME - A3232 Cards................................................................................................. 46
2.7 DMI – AMM .................................................................................................................. 46
2.8 DMI-KLANG ................................................................................................................... 50
2.9 DMI-Dante 64@96 & Dante IO Control ......................................................................... 50
Quantum Home ....................................................................................... 53
3.1 Main Shortcuts .............................................................................................................. 53
3.2 Settings Pane ................................................................................................................ 54
3.3 System Information....................................................................................................... 55
3.4 Advanced Settings ......................................................................................................... 56
3.5 Network Settings........................................................................................................... 58
3.6 Keyboard Shortcuts ....................................................................................................... 58
Quantum 2 - Getting Started – Issue A 1.1 Manual Overview

The Console
The Digico QUANTUM 2 consists of a worksurface, an audio engine and a range of onboard inputs and outputs. This can be connected to
multiple Input/Output Rack Units by optical fibre and/or MADI links, which carry all the audio input and output signals.

It also provides two DMI slots for the fitting of optional I/O cards and a "UBMADI" port.

NOTE: The UBMADI (USB AUDIO) port provides up to 48 I/O channels of audio when the console is running at either 48kHz or 96kHz
via a USB connection. "UBMADI" runs at 48kHz irrespective of the console sample rate.

The console worksurface consists of 2 sections that can be configured to control up to 72 input channels, 12 Control Groups, 36 busses
plus a Master buss (Stereo/LCR) and a 12 x 12 Matrix.
Each of the sections has 12 assignable faders and a set of assignable channel controls, the right section has an additional fader which is
fully assignable but defaults to being assigned to the Master Buss.
The console's buss architecture is dynamic, and can support mono, stereo and LCR configurations.
Multiple console setups can provide:
Front of House and Monitoring with shared stage racks and gain tracking.
Remote control of one console from another console or from a laptop computer.

1.1 Manual Overview

This manual provides an overview of the desk and describes some of the basic operating principles which the user will need to understand
in order to run the desk.

For full details on all Quantum/SD software functionality please refer to the Quantum/SD Series Software Reference Manual available
for download at www.digico.biz

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Quantum 2 - Getting Started – Issue A 1.2 Before You Start

1.2 Before You Start

There are certain general operating principles and terms that should be understood before continuing to use this manual.
Please read this chapter carefully before proceeding.

1.2.1 Worksurface Layout

Channel processing

Alt Input
switch
High and low
pass filter

4-band Dynamic
Parametric EQ

Multiband Dynamics
Thresholds & on/off

Master Section
Headphones USB port

Macro control
Master screen

Solo
s
Snapshot control
Assignable rotaries Touch turn and talkback control
and switches
Snapshot previous
Mute, solo and and next
TFT displays
Assignable master fader
Channel faders and master screen assign

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Quantum 2 - Getting Started – Issue A 1.2 Before You Start
Rear Panel

World Optocore
Ethernet ports (optional) MADI I/O Ethernet port Display port
Clock I/O

Waves I/O port

(optional)

Console USB
USB Audio
MIDI In/Out/Thru

GPIO
DMI Slots 1&2

Dual PSU

4 AES I/O
8 mic/line in
and 8 line out

IP Addresses on a QUANTUM 2
The QUANTUM 2 Engine board contains 2 devices that require an IP address. The Console PC and the Host Interface controller.
Both devices' IP addresses are displayed in the console diagnostics tab.

NOTE: This IP address will be set to appropriate values when the console is shipped and they should not be changed in normal
operation.

The IP Addresses for these devices can however be set using Network Settings in the Quantum Home interface. Quantum Home can be
accessed using the Master screen > System > Quit To Windows function.

This program allows the user to enter a single IP and subnet mask. This is the IP for the Console PC and the application will automatically
set the Host Interface controller's IP to the correct sequential Address.
Once the required IP or Subnet has been entered, a console power cycle is required for the change to take effect. Pressing the OK and
Shut Down button will initiate the Shut Down Procedure.

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Quantum 2 - Getting Started – Issue A 1.2 Before You Start

1.2.2 Layers and Banks

The QUANTUM 2's worksurface is divided into Layers and Banks. Each Bank contains twelve channels, and the channels which are
currently active on the control surface are defined using the fader bank and bank layer buttons to the right of the Channel Strip section’s
fader.

NOTE: There is also a Master Screen Assign button above the master fader on the centre section which is used to switch the right
section to display the Master Screen.

A ‘bank’ is a set of twelve faders, and a ‘layer’ contains up to four ‘banks’. There are up to 3 ‘layers’ in each section of the desk
Pressing the bank layer button, located above the fader bank buttons, toggles between layers.

To access a bank of faders within that layer, press the appropriate fader bank button. To switch both sections of the console to the same
bank level, press and hold one of the fader bank buttons.

The specific channels which are contained within each Bank are defined in the Layout > Fader Banks display. By default, the Input
channels will be assigned to Layer 1 of the console. The different output channels will be assigned to Layer 2. Control Groups will be
assigned to Layer 2. These bank assignments can be customised by the user and saved in a session at any time.

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Quantum 2 - Getting Started – Issue A 1.2 Before You Start

1.2.3 Using the Control Surface

There are two main ways in which all of the functions of the QUANTUM 2 are accessed:

1. The touchscreen display, which can be controlled directly using a finger, or by using the keyboard and mouse
2. The physical encoders, switches and faders.

A number of functions can be accessed in different ways, allowing users to operate the console using whichever interface they prefer.
This manual will describe accessing on-screen functions by touching the screen directly and not by using the mouse.

All of the physical controls are described in full within the relevant section of the manual and many require no further introduction.

The Master screen has a row of grey buttons across the top, which are used to access a range of configuration displays. Pressing these
buttons opens either a further drop-down sub-menu or a pop-up display. If a drop-down menu is opened, pressing on one of its entries
will open a pop-up display. The buttons lighten to indicate that their sub-menu or pop-up display is open. A number of the buttons within
each pop-up display generate further pop-ups.

Generally, buttons within the pop-ups are coloured grey when their function is inactive, switching to a colour when their function is
active. Pressing on a text box opens a numeric or QWERTY keypad which can be operated directly by pressing the screen or via the
console’s external keyboard.
Pop-ups are closed by pressing the box in the top right-hand corner of the pop-up, marked CLOSE or CANCEL (or by pressing CAN on
keypad pop-ups).
On the Right-hand panel is a single encoder marked Touch-Turn (shown below). This is used to access any rotary controls within the
Master Screen. To assign the Touch-Turn encoder to a particular on-screen pot, touch the pot to be assigned. You will notice that a
coloured ring appears around the on-screen pot, indicating that it is assigned to the Touch-Turn encoder. The colour of this ring is unique
to that control and is also reflected in the base of the Touch-Turn encoder, providing further indication of which pot is currently assigned
to it.

The Master Screen button on the right-hand section switches the right screen view from the Master Screen to the bank of channels which
are selected in the right-hand section.

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Quantum 2 - Getting Started – Issue A 1.2 Before You Start

1.2.4 The Assigned Channel

One of the channels in the Channel Strip panel is displayed in gold, indicating that it is currently the Assigned Channel. This means that it
has been assigned to the worksurface controls and can be configured in detail, as described below. To Assign a channel, touch anywhere
in the channel on the screen (except the Aux Send area or the meters at the top of the screen).
Alternatively, use the ch left and right buttons at the bottom of the channel worksurface controls to scroll through the channels in the
panel:

Note that these left and right arrows are duplicated in the channel Setup and Output displays.
Note also that the Channel List display provides another method for assigning a channel to the worksurface controls.

Once a channel is assigned, all of the controls for that channel which are not displayed within the channel strip itself can be accessed via
secondary pop-ups, displayed by touching inside the relevant area of the channel. These pop-ups include controls such as input and
output routing and signal processing parameters.

A number of the physical rotary encoders on the control surface can be assigned to different on-screen pots. In order to ensure that it is
clear which function is assigned to which encoder, the assigned on-screen pot will have a coloured ring around it which will be reflected
in the colour of the light around the base of the encoder on the control surface

The row of twelve encoders and buttons immediately below the touchscreen (shown above) refer to the channels with which they are
aligned.

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Quantum 2 - Getting Started – Issue A 1.2 Before You Start
Pressing one of the Quick Select buttons on the left of the screen will assign the selected function to the row of these controls below the
screen. Five aux sends can be displayed in the Channel Strip panel at any one time. If more than six aux sends have been created in the
session, the scroll button outside the bottom left-hand corner of the screen can be used to scroll the display through the remaining
auxilaries.

The controls to the right of the Channel Strip panel allow the Assigned channel to be adjusted:

The top half of the channel worksurface controls (down as far as the insert a, insert b and direct buttons, as shown above) control the
signal processing parameters which are displayed in the pop-ups accessed by touching in the appropriate section of the active channel.
The bottom half of the channel worksurface controls is concerned with output routing.
To the left of the screen are more channel controls: When pressed, the 2nd function button allows access to different parameters:
1) Stereo Aux Pan and Pre/Post switching
2) Hard Mute of a channel
3) Switching of LR or LCR panning
2nd function is indicated by a green 2nd Function display appearing in the bottom left-hand corner of the screen, as well as by the 2nd
function button lighting with a ring of green.

The Option/All button has 2 main functions:

1) When pressed and released, any channel that is a member of a gang or Multi will be temporarily isolated from that gang or
Multi.
2) When pressed and held, any parameter that is adjusted on a single channel will also be adjusted in the same way on all of the
channels in that bank

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Quantum 2 - Getting Started – Issue A 1.2 Before You Start

1.2.5 The Master Fader

By default, the fader in the bottom right corner of the right worksurface is assigned to the Master buss, which is the lowest numbered
stereo group output by default.
In addition, this fader can be reassigned to control any input channel or buss of your choice using the Layout>Fader Banks panel
Press the Assign master fader button and the Channel List will be displayed.
Select a channel by touching its entry in the Channel List and it will be assigned to the Master Fader
The fader can also be unassigned (set to empty) by pressing the Unassign master fader button

Layout> fader banks

Assign master fader

Select channel

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Quantum 2 - Getting Started – Issue A 1.2 Before You Start

1.2.6 Channel Types

The QUANTUM 2 has 4 different channel types which are laid out in banks of 12 on the console worksurface and can be identified by
their colour.
By default, the Input Channels will be assigned to Layer 1 on the left and right sections of the console.
The output channels (Groups, Auxes and Matrices) will be assigned to Layer 2.
Control Groups will be assigned to Layer 2. These bank assignments can be customised by the user and saved in a session at any time.
Holding any left or right section bank or layer button down for a couple of seconds will switch the left and right worksurface sections to
the same bank level or layer.
The controls on each different type of output channel are identical but an input channel has a number of additional of features.

Inputs Groups Auxes Matrix

Input Module - Touch to Expand
Analogue Gain/Digital Trim
Phase - Gain Tracking
Main/Alt Input Select
Delay

HPF/LPF

Insert A Routing & On/Off

4 Band Dynamic EQ
Touch To Expand

Multiband Dynamics
Touch To Expand

Insert B Routing & On/Off

SD/Mustard Display Switch

Aux Sends
Touch to Assign Row

Channel Pan
Mute Indicators

Channel Label
Routing Module - Touch to Expand
Gang & Safe Indicators

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Quantum 2 - Getting Started – Issue A 1.3 Hardware Configuration

1.3 Hardware Configuration

1.3.1 Connections
Detailed information on the various systems of connection is provided in the relevant chapter of this and the "Software Reference"
manual but the following diagram provides an overview of a single console/single rack setup

CONNECTION WITH MADI

SD Rack / DiGiRack
MAIN MADI IN MAIN MADI OUT

PO RT 1 I N
M ADI P ORT 1 O U T

M A DI

CONNECTION WITH OPTICAL FIBRE

OPTO A OPTO A
OPTO B OPTO B

OPTIONAL
REDUNDANT
LOOP

OPTO A OPTO B

All connections should be made before switching on the console and racks.
The console and rack each have dual redundant power supplies and both should be switched on at all times. After switching on the
console the software will be launched automatically and the state of the worksurface and settings should be the same as when it was
last Shut Down.
To Shut Down the console press the System > Shut Down button and wait until you receive a message saying that it is safe to switch the
power off.

The QUANTUM 2 worksurface has 8 analogue I/O and 4 AES Inputs (2 pairs) and 4 AES Outputs (2 pairs) on its rear panel (referred to as
Local I/O) and additional I/O is supplied in the form of remote Racks which can each accommodate up to 56 inputs and 56 outputs in
different formats. These racks are connected to the worksurface by either 100M high specification 75 Ohm coaxial cables fitted with BNC
connectors or optical fibre. The Racks have two pairs of MADI connectors - Main MADI IN & OUT and AUX MADI IN & OUT.
In normal operation the MADI connections should be as follows (see diagram above):
Rack MAIN MADI IN connected to the console MADI 1 OUT
Rack MAIN MADI OUT connected to the console MADI 1 IN

Any of the console's other MADI Ports can be connected to a MADI recorder (See Audio I/O Panel for setup details) or a second DiGiCo
Rack or console.

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Quantum 2 - Getting Started – Issue A 1.4 Software Configuration

1.4 Software Configuration

The QUANTUM 2 has a default setup which means that the new user need not get involved in configuring the desk at this stage. However,
here is a brief overview of how the different displays are used in putting together a session. Each of the master displays introduced below
are described fully within the rest of the manual.

The Files > Templates display is used for loading pre-configured session templates.
The Files > Session Structure display is used for configuring how the console’s audio channels are to be divided between channel types,
and where the format of the channels is defined
The Session Structure display can be used to automatically assign the channels to the worksurface. However, channels can also be
manually added to the worksurface using the Layout > Channel List display.
The Setup > Audio IO display is used to configure the physical I/O connected to the QUANTUM 2, including configuring and naming the
sockets of the option cards installed in racks, and the setting of pads and phantom power.

1.4.1 Templates
If any templates have been created, they provide an easy starting point for sessions which are already customised to your context. To
load a session template, open the Session Templates display by selecting the Templates option at the top of the Files menu. Now touch
the template you wish to load from the list shown and press OK.

1.4.2 Session Structure Overview

When starting a new session from scratch, it is important to decide how many of each type of channel is required. While changes to
session structure can be made once a session has been started, it is best to try and set these parameters before configuring the session.
The structure will set items such as the number of input channels, the number and type of aux channels and group channels available

Select session sample rate

Enter session title

Set number of input

channels

Set number of Aux busses

Set number of group busses

Total number of unallocated Total number of spare busses

processing

Begin by setting the sample rate at the top of the panel. There is a total of 72 input channels available and 36 busses (plus a Master buss
which can be stereo or LCR).

Channel resources can be split into input or output channels in almost any configuration. The default configuration is :
48 input channels (Input channel formats are defined within each channel, not within the Session Structure)

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Quantum 2 - Getting Started – Issue A 1.4 Software Configuration
6 Mono Aux busses & 6 Stereo Aux busses
6 Mono Group busses & 6 Stereo Group busses
12 Matrix Inputs and 12 Matrix Outputs
12 Control Groups

Note that a Talkback channel is also assigned to the control surface, though it isn't configurable within the Session Structure and is
therefore not displayed there.

To adjust any of the channel allocations, touch on the associated channel count box, and either enter a number using the pop-up number
keypad, or adjust using the assigned touch turn controller.
Clear All Buttons : When changing routing, you have the option of clearing any non-default routing or processing (EQ, dynamics etc) from
the channels in the session. This is especially useful when restructuring an existing session to make a new session. The other 'clear'
buttons in the display perform similar operations.
Aux Sends and Direct Sends : By toggling the state of the Aux Sends and Direct Sends Buttons in the Input Channels section, it is possible
to change the default operation of the Aux Sends and Direct Sends. These functions toggle between “Post Fader”, “Pre-Fader” and “Pre-
Mute”.
Aux Order and Group Order : The Aux Order and Group Order buttons open a second window, providing you with the ability to change
the order of auxes and groups. By default, mono busses come first, followed by stereo busses. The Master buss is the first stereo buss,
regardless of the order you place the busses in.
Auto-Route : The Auto-route functions automatically routes consecutive inputs for input channels, and consecutive outputs for busses.
For example, auto-routing 72 inputs will route the first physical input (eg 1:Mic 1) to input channel 1, the second physical input (1:Mic 2)
to input channel 2… until you either run out of inputs or channels. Auto-routes are as follows :
Input Channels auto-route with physical inputs
Aux, Group and Matrix Channels auto route to physical outputs
Matrix Inputs auto-route with group outputs

NOTE : Auto-Routing can only be used in conjunction with the “Clear All” button.

Rebuild Banks : When changing the number of allocated channels in any section (input channels, busses etc), you can restructure the
session without rebuilding banks, meaning that any additional channels you have allocated will not be “placed” on the worksurface, and
need to be manually assigned to faders. If however, you restructure a session with Rebuild Banks (either Horizontally or Vertically)
enabled, the worksurface will be built with all channels available on the worksurface in a default layout. Rebuilding horizontally will result
in input channels being spread across the top layer of both sides of the console, using as many banks as required, with output channels
being assigned to Layer 2. Rebuilding vertically will result in input channels being assigned to Layer 1 on the left side of the console, and
output channels to Layer 1 on the right.

1.4.3 Audio I/O Overview

The Audio I/O window is used to configure the physical I/O connected to the QUANTUM 2, including configuring and naming the sockets
of the option cards installed in racks, and the setting of Pads and phantom power.
Local I/O : The QUANTUM 2 provides local audio I/O on the rear of the console. These operate independently of connected racks,
providing additional audio I/O.
To access the QUANTUM 2 Audio I/O Setup Touch “Setup” on the Master Screen, followed by “Audio I/O”
The Audio I/O window that opens is divided up into the following sections

Selected Port’s
Properties
Port Selection
and Status

Graphic
Representation of
Selected Rack

Configuration of
Management Cards & Sockets
Global Port Splits & Sharing,
Or Optocore,
as defined by
buttons to the left

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Quantum 2 - Getting Started – Issue A 1.4 Software Configuration
The top-left corner of the window shows the ports. Each port relates to an available physical audio connection (Local IO, IO Rack, or MADI
Port, USB Audio (UBMADI), DMI cards). Ports can be added and removed using the buttons towards the bottom-left corner of the window.

NOTE: Please refer to the DMI card section of this document for more details on the use of DMI cards in the system

The top-right area contains the controls relating to specific ports. When a port is selected, this section changes to reflect the status of
the selected port and allows its configuration to be changed as required.

Most of the right-hand section of the panel consists of a graphical representation of the rack configuration connected to the selected
port. Depending on the port selected, the graphic will change, showing the available physical I/O. Each small “square” on the image
represents a single physical audio connection or socket, with these arranged in columns or rows, representing I/O cards in racks, or the
local I/O on the back of the console.
The section below the graphical rack picture allows configuration of either the cards or slots and sockets (including custom naming,
phantom power and pad selection), or card splits and control sharing. The Cards & Sockets and Splits & Sharing buttons define which
elements are displayed for configuration.
The local I/O configuration is fixed, so no hardware changes are possible. You can, however, change the Port Name, the Group Names
(relating to the name of each physical card) and the Socket Names (the name of each physical connector on a card).

1.4.4 Opto V221 (SD Racks)

IMPORTANT NOTE: The QUANTUM 2 can only use Optocore via the optional Optocore connections on the console itself.
The QUANTUM 2 cannot use an Optocore DMI card to connect to an Optocore system

SD Series consoles can operate with either one of two different Optocore firmware versions - V220 and V221.
The Quantum Series can only operate with Optocore firmware version V221.
V220 is compatible with DiGiRacks and MiNiRacks and cannot be used with SD Racks or DRacks.
V221 is compatible with SD Racks, SD MiNiRacks, NaNoRacks and DRacks, and cannot be used with DiGiRacks and MiNiRacks.

Note: Any type of rack can be used with a Quantum Series console if it is connected with Coaxial BNC MADI irrespective of the Optocore
version that the console is using.

Sessions that have been created using Optocore connected DiGiRacks and MiNiRacks can be used with SD Racks and DRacks but a
procedure must be followed to achieve this.
Sessions created using Optocore connected SD Racks and DRacks can also be used with DiGiRacks and MiNiRacks but this also involves a
“conversion” procedure.

Note: For detailed information on Optocore system setup please refer to the SD/Quantum Software Reference manual Appendix -
DiGiCo Optocore V221 - For SD Rack Optocore Operation

1.4.5 Single SD Console System

On a QUANTUM 2, go to Setup > Audio I/O. Press the Setup Optocore button and the Single Console button will be shown with a bright
red background. Press this button, press Yes at the confirmation stage and the console will create ports for all connected racks, allocate
all output cards to your console and create the Optocore map. The system is now ready to use.

Audio I/O Panel

Optocore Setup
Single Console

1.4.6 Automatic Conforming

Once all hardware is connected, go to System/Diagnostics/Optocore. This will list all connected Optocore devices either SDeng (console
engines) to SDRack (SD Rack or D Rack) by ID. If any expected devices are not listed, please check all physical connections, Optocore ID’s
and Fibre Speeds. Once all devices are present, close the Diagnostics panel.
Irrespective of the type of rack being used, the system needs to be conformed. This involves the console checking the type of racks
connected and their I/O capability
There are three levels of automatic conforming:
- globally, using the red Conform All Ports button in the bottom left of the window;
- on a rack-by-rack basis, using the conform rack button just below the rack view section of the window;

13
Quantum 2 - Getting Started – Issue A 1.4 Software Configuration
- on a card-by-card basis, by selecting a socket from the card in the graphical display and using the conform card button next to
the Card/Slot type button selector in the lower section of the window. (Note that the Cards & Sockets button towards the bottom-left
should be selected)
Pressing any of these buttons will correctly select the card types for the range in question. Once complete, all of the Card Labels beneath
each slot should turn green.

1.4.7 Manual Conforming of Racks

With a Rack selected in the left-hand port selection list, the window will look something like the image below, depending on the cards
installed in the connected rack. The graphic shows the 14 available card slots, 7 input & 7 output.
Edit the Port Name here.
Select the port to be configured Eg. Stage Rack, Local Rack etc... Copy Rack Audio to another port

Auto Conforming for all ports,

individual racks,
or individual cards

Select the contents of the bottom-right Select Card Type manually or Selected Socket Properties
corner of the Audio IO window using Auto-Conform function, Edit Name and Socket options.
and edit Group Name

In order to use the rack, the on-screen contents of the rack must match the cards physically installed in the rack connected. This is
normally achieved by pressing the Conform All Ports button but can also be achieved manually if necessary.
Select each card (column) and manually select the appropriate card in the Card/Slot Type drop down menu in the lower section of the
window (displayed when the Cards & Sockets button towards the bottom-left is selected). Once the correct card type is selected, the
Label at the bottom the selected card will turn green, indicating the card type matches the card installed in the rack. If the Card Type
name is Red, then there is a mismatch, and the error should be corrected by selecting the correct card type.

Copying Audio and Listening to Copied Audio (MADI Recorder Setup)

Audio from a Rack can be copied to the MADI Port Output by selecting the incoming Port in the Ports list and using the Copy Audio To
drop down menu. For example, if you want to copy the Rack Audio Inputs to a recorder connected over MADI, select Rack 1 in the ports
list and then select MADI from the Copy Audio To drop down menu. The 56 inputs on Rack 1 will be copied to the QUANTUM 2 MADI
output.
In addition, by connecting the recorder's MADI Output to the QUANTUM 2 MADI Input, the playback can be monitored in the same
channels as the original source material. Just press the Listen To Copied Audio button to monitor playback and press it again to return
to monitoring the live sources from the rack

Standard MADI Connections

If you have a standard MADI connection (not a DiGiCo Rack) to your QUANTUM 2, you can set the console to display the MADI with
generic signal names, i.e. MADI 1, MADI 2.. etc. through to MADI 56 (or 64) instead of the usual rack style names. The naming does not
affect the signal, but makes routing signals easier.

14
Quantum 2 - Getting Started – Issue A 1.4 Software Configuration
Unrouting All Outputs
All outputs to the selected port can be unrouted at once by pressing the unroute all outputs button below the cards graphic and selecting
yes in the warning pop-up which appears. "Copied" audio is not unrouted by this action.

Note that this will cancel all routing created in the channel screens and cannot be undone.

1.4.8 Rack Sharing

In a multi-console system where Racks are connected with MADI and shared between two DiGiCo Consoles, only one of the consoles can
take control of the rack, with respect to Gain, Phantom Power and Pads. To overcome this, it is possible to place the QUANTUM 2 into
one of 3 states of operation:
Isolate : The QUANTUM 2 will not communicate with the rack and therefore any adjustment of input gain or +48V switch will have no
effect on the rack settings
Receive Only : The QUANTUM 2 will receive the rack’s existing settings but will not be able to control the gain etc on the racks.
Full Control : The QUANTUM 2 will send its settings to the racks and change them accordingly.

Sharing is configured in the Rack Sharing area, found in bottom right-hand corner of the window when the Splits & Sharing button is
selected:

These three states can be set on a per-rack basis (right column), or globally for all shared racks (left column).

1.4.9 Assigning Faders to the Worksurface

If, after a Session Restructure, you find that newly created channels do not appear on the worksurface, open the Layout/Channel List
panel on the Master screen and you will see a full list of all input and output channels that are present in the session.
To assign channels to the worksurface, select a bank and press the LCD Function button.
Then press the LCD button labelled Assign Faders to enter that mode and press each of the LCD buttons for the channels that you wish
to assign.
Now press the first channel that you wish to assign on the Layout > Channel List on the Master screen.
Consecutive channels will be assigned to the worksurface for each LCD button that is in Assign mode.
Now press the LCD Function button again and return to the standard mode by pressing the LCD button labelled Solo

Note that column widths can be adjusted by dragging their borders within the title row. To return all columns to their default widths,
press RESET WIDTHS, in the top left-hand corner of the window.

15
Quantum 2 - Getting Started – Issue A 1.5 Saving and Loading Sessions

1.5 Saving and Loading Sessions

1.5.1 Save As New File
When you change the configuration of a session you should save it to the console's flash drive under a new filename.
If the Save Session panel has not appeared automatically after a session restructure then touch the Files button on the Master screen
and then press Save As New File.
Select the destination drive (Internal or Removable) and file path and then enter a new file name and description for the file - then press
the Save button.

Note: If you touch a session name on the existing list, this name will automatically be selected as the new file name and touching Save
will overwrite the old file.

Enter a Filename Enter a Description

Select Internal or
Removable USB
Internal Files saved
in D:\Projects

To create a new folder

in D:\Projects

Note that column widths can be adjusted by dragging their borders within the title row. To return all columns to their default widths,
press RESET WIDTHS, in the top left-hand corner of the window.

1.5.2 Save Session

This button which is found above the Save As New File button will save the existing session in the same location and under the same file
name as it was previously saved or loaded from. It therefore serves as a "Quick Save" option to update an existing session.
Remember that this function will overwrite your last saved version.
If you wish to save the session under a new name use the Files menu button and select Save As New File (See above).

1.5.3 Load Session

To load a previously saved session:
Touch the Files button on the Master screen and then press Load Session.
Select the source drive (Internal or Removable) and the required file from the list - then press the Load button.

Select a File File Details

Select Internal or
Removable USB
Internal Files saved
in D:\Projects

Press Load

16
Quantum 2 - Getting Started – Issue A 1.6 Audio Sync

1.6 Audio Sync

To access the Audio Sync Panel, touch the Setup Menu button, followed by Audio Sync. The following window will open…

The QUANTUM 2 will operate at Sample Rates of either 48000Hz (48kHz) or 96000Hz (96kHz), as configured in the Session Structure
panel.
By default, it is set to clock internally but, if Optocore is fitted, the standard Audio Sync method is Optocore when the entire system uses
the device with the lowest Optocore ID (usually ID1) as its sync source.
This setting is saved within the session file so if any console(s) are connected to racks with optical fibre then all console engines should
be set to Optocore as their sync source

Example Clocking from Optocore@ 96kHz

There are also times when the QUANTUM 2 needs to be clocked externally. The Audio Sync panel allows you to control external
synchronisation.
The QUANTUM 2 will clock from the following sources : Word Clock, Waves, MADI, Optocore and relevant DMI cards
In this situation one Optocore device should be set to clock to the external source and all other Optocore devices should be set to sync
to Optocore.

Note : When a valid clock is detected on an external sync input, the corresponding Green OK box will light, even if that input is not
selected as the clock source for the QUANTUM 2.

17
Quantum 2 - Getting Started – Issue A 1.7 Routing Basics

1.7 Routing Basics

1.7.1 Selecting Inputs & Outputs
All channel input, output, insert send and insert return routing is done via routing displays, accessed via the dark grey routing buttons in
the channel Setup and Output displays (shown below for an Input channel’s input).

Note that multi-channel signals are routed individually, and then collected together as a "Multi Channel" as described in the
SD/Quantum Software Reference Manual

To access Channel Input Setup, touch the top of an input channel display on the touchscreen.
To access Channel Output Setup, touch the bottom of any channel type's display on the touchscreen.

It is also possible to configure channel input and output routing directly from the Channel List display: Activate the Edit button at the
bottom of the display, then touch the input route box for a channel. A standard Setup display will then appear, from which a Routing
display can be opened. Inserts and Outputs can also be routed from this display by touching in the appropriate column.

Touch top of Select or type

Input Channel Number of Inputs
to Ripple Route

Select a Layer
Select Format

Press Main Input

Select a Bank

Select
Label Channel Rack Select
Card
Select
Socket

Within each display, there are three columns containing three levels of routing selection:

- The left-hand column contains the available ports within which the desired input or output might be located;
- The middle column, signal groups, then shows the available groups of inputs or outputs within that port;
- The right-hand column, signals, then displays the individual inputs or outputs available within that signal group.

The boxes in each column are lit blue to indicate that they are currently selected. If there is already a routing assigned within the display,
the port and signal group columns containing the current assignment will be half-lit.

Each output can only have one channel routed to it. The outputs that are currently in use by another channel display in blue text. If you
attempt to route a different channel to an output which is already in use, a confirmation box appears, indicating which channel is already
using it, and warning that continuing with the action will cause the old channel to be unrouted from this output. Press Yes to proceed,
No to cancel.

Note that when routing direct outs from Input channels or outputs from output channels, any number of available signals can be
selected. A new route selection will therefore be added to previous selections in these cases. However, inputs, insert sends and insert
returns can only route to/from one signal (in the case of mono channels) or two signals (in the case of stereo channels). A new route
selection will therefore result in the previous selection being lost for inputs and insert sends and returns.

For stereo channels, left and right routes are presumed to be consecutive: When routing stereo signals, select the left route, and the
next signal in the list will be automatically selected as the right route. If the last signal in a signal group or port is selected as the left
route, the first signal in the following signal group or port will selected as the right route.

18
Quantum 2 - Getting Started – Issue A 1.7 Routing Basics
For input and insert return routing, the INTERNAL port provides the following signal groups:

Misc: The oscillator, white and pink noise generators.

Graphic EQs: The outputs of the QUANTUM 2’s internal graphic EQs.
Effects: The outputs of any effects sends that have been created
Channels: The direct outputs from the other input channels
Groups: The outputs of the group busses
Auxes: The outputs of the auxiliary busses
Matrix: The outputs of the matrix busses.
Solos: The outputs of the Solo busses

Note: The outputs for the channel being routed are locked out of the signal list

Note also that the console views all routes as a single list. Therefore, if the left signal is connected to the last signal in a port, the right
signal, will be automatically connected to the first signal of the next port, regardless of port type.

For output and insert send routing, the INTERNAL port provides access to the inputs of the QUANTUM 2’s Graphic EQs, and the inputs to
any effects that have been created.
The 0:Local I/O port contains a list of the inputs or outputs found directly on the QUANTUM 2’s back panel.
The Rack ports contain all of the inputs or outputs available within the remote I/O racks, as defined in the Audio I/O display
Once a route has been selected, its name will appear below the routing button in the Setup or Outputs display.

Whenever a route is created, metering and additional controls are made available below the routing button. These controls are dependent
on the type of route created.

Line input routed to an input or insert return: an analogue gain control.

Mic pre-amp routed to a mono input: an analogue gain control and a 48V button for remote control of rack functions.
Mic pre-amp routed to a stereo input: an analogue gain control and a 48V button for remote control of rack functions.
Mic pre-amp routed to an insert return: an analogue gain control, a 48V button and a phase reverse button.
Output routed to a console output: a -10db pad (rack out only), on button for switching the send on and off, gain trim
and send point selector which toggles the place within the channel from which the
direct output is fed:
pre-F Pre-fader,
post Post-fader
pre-M Pre-mute (and pre-fader)
Insert send routed to a console output: a -10db pad (rack out only), on button for switching the send on and off, and trim.
Insert send routed to a graphic EQ: an on button for switching the send on and off
Output routed to a graphic EQ: no additional control.

Buttons become ringed in either red or green to indicate that they are on.

1.7.2 Ripple Channels

The ripple channels function, located at the top of the route display, allows consecutive channel routes to follow the routing of the
current display incrementally. For example, Channels 1 to 8 direct outputs can be routed to Rack 1 > Line outs 1 to 8 respectively by
routing Channel 1’s direct out to Rack 1 > Line out 1 and allowing the ripple channels function to route Channels 2-8 automatically.

The number of channels to be rippled is defined either by selecting the appropriate grey numbered button, or by selecting the keyboard
button to the right of the numbered buttons, typing the required number of channels (8 in the example above) into the numeric keypad
which appears, and pressing OK. Once you have configured the ripple channels function, any routing action will also effect the
appropriate number of channels above the channel being routed.

The ripple channels function treats stereo channels as two channels. In other words, if Channel 2 in the above example is stereo, the
ripple channels function will route Channel 1 to Line out 1, Channel 2 Left and Right to Line outs 2 and 3, Channel 3 to Line out 4 etc.

The Ripple by bank/ channel number function changes how the channels are rippled, Ripple by bank ripples the channels by their
position in the bank irrespective of channel number, Ripple by Channel number routes the rippled channels by channel number
irrespective of position within the bank.

19
Quantum 2 - Getting Started – Issue A 1.8 Channel Processing

1.7.3 Channel Names

The black and white text box in the Setup display is used for naming the channel. Channel names are displayed in the scribble strip at the
bottom of the screen. By default, the channel is given the same name as the selected input signal.
Note that if no input signal is selected, the scribble strip simply displays the channel number, prefixed by ch for Input channels, and
prefixed by Aux, Grp or Matrix in the case of output channels.
The following notes are specific to naming channels:
The Next button moves the entire Setup display to the next channel.
At the very top of the channel, the channel number and input signal name are displayed for Input channels, and the channel type and
number are displayed for output channels. These labels remain unchanged, regardless of any channel naming.

For Input channels, note that if the channel input signal is changed once a channel has been manually named, the channel name will
no longer follow the input signal name. To reactivate the automatic channel naming function, clear the name and re-select the channel
input.
Note also that the channel Output display also provides access to this channel naming facility.

Channels can also be named directly in the Channel List display (in the Layout menu). Open the display, activate the Edit function below
the list, and expand the required channel type list by touching its row. Touching the channel name column for any channel in the list will
cause a keyboard pop-up to appear, where a name can be typed in the usual way.

1.8 Channel Processing

1.8.1 Dynamic EQ
The EQ section comprises four user-configurable parametric filters with Dynamic Control on all Channels and a pair of swept High-pass
and Low-pass filters.
The EQ is accessed by touching the on screen display to Assign the channel (the colour changes to yellow) and then using the controls
on the right hand side of the input module.
When a control is adjusted the expanded view seen below appears on the screen. This view can be seen at any time by touching the EQ
response graph on the screen.

NOTE: If the expanded view does not appear when a control is adjusted open the Options panel and set the Auto Expand EQ option to
Yes

Each band's response can have one of two characters – precision and classic. These can be switched for all bands using the precision and
classic buttons.
To access the Dynamic control, touch the left arrow symbol on any EQ band.
Touching the normal EQ response graph will show an expanded view in a separate panel.
The order of EQ and Dynamics in the channel signal path can be changed using the worksurface button at the bottom of the EQ section.

HPF/LPF

EQ Type

4 Bands
Dynamic EQ

EQ Presets
Copy EQ Settings
Undo EQ Changes

Note: The type of filter used on the top and bottom bands can be changed by successive presses of the Curve button for that band.

20
Quantum 2 - Getting Started – Issue A 1.8 Channel Processing

1.8.2 Dynamics
The dynamics are accessed by touching the words Comp or Gate just below the EQ graph on screen to open the dynamics panel.
There are two dynamics modules, the first of which can function as a simple compressor, a 3 way multiband compressor, or a de-esser,
according to the comp/multi/desser button to its left. The second (lower) module can function as a gate, a ducker or a compressor with
an external sidechain, according to the gate/duck/comp button to its left.
The worksurface controls beneath the screen control the various parameters. Touching the Close button in the top right corner of the
panel will close it.
The Graph button will display user configurable parameters that can be adjusted by screen touch and are shown in a graphical format
Dedicated Threshold, Gain controls and In/Out switches can be found on the right hand side of that section's worksurface. These can
control the Assigned channel's dynamics whether the on-screen dynamics panel is open or not.

Dynamics Undo Dynamics Copy

Dynamics Presets

The Assignable encoders and switches beneath the screen can be assigned to any of the main dynamics controls. Hold the Assign Switch
button on the right of the input section and touch the dynamics control required on the screen. The selected control is shown by the
Status Display.

Multiband Compression is available on all channel dynamics modules. Click on the dynamics mode select button on the left of the display
to access the 3 dynamics bands

Each band includes all of the parameters as those found in the single band compressor. The link function remains available for the whole
compressor and is not assigned to any band. The bands can be switched on individually using the on buttons in the left-hand side of each
band, or together using the all on button to the display’s right.

The crossover frequency between bands is controlled using the purple and red pots to the left of the hi and lo bands. Each crossover has
a range of 20Hz to 20kHz, and the crossover frequencies are displayed below each pot. Each band can be auditioned by pressing the
listen button below each gain pot which solo’s that band to the mix (not the solo buss), in effect temporarily switching off the other
bands.

The channel strip’s compressor threshold and gain controls adjustment all three bands’ controls, maintaining any relative offsets. The
individual controls are mapped to the assignable rotaries below the screen.

Note: Beyond the link function, the single and multi-band compressors have completely separate settings: No settings are copied
between them, and the settings of each remain unchanged when the other is active.

21
Quantum 2 - Getting Started – Issue A 1.9 Mustard Channels

1.9 Mustard Channels

Mustard channels are a feature of Quantum engines and work alongside standard SD channel strip processing, with both being available
at once.

Mustard provides a tube/preamp modelling section, an EQ, a compressor with four different models and a gate/ducker.

Up to 24 Mustard channel strips (Software V1400+) can be used across the console at any one time. A channel is counted as having
Mustard processing active once any one of the Mustard modules are turned on.
When this is the case, the channel will display the ‘Active’ icon above the Mustard processing icon, as shown below.

Mustard processing enabled

1.9.1 Mustard Channel Strip

The Mustard channel strip layout and operation is similar to that of the SD channel strip, as shown below.

Mustard Tube section

Mustard EQ

Mustard Compressor

Mustard Gate/Ducker
section
Mustard Processing
Insert Position
Switch between viewing
SD processing and
Mustard processing

1.9.2 Insert Position

There are 5 selectable positions to choose from when enabling Mustard processing on a channel.

The default position for Mustard processing is between the EQ & Dynamics module (depending on the EQ/Dynamics order).

Two options will be unavailable as these are the locations of the channel’s Insert A and Insert B. These insert positions can be selected
for the Mustard processing by changing the location of Insert A/B, at which point they become available.

This comes after channel trim and before channel delay/DiGiTube

This comes after filters and before EQ/dynamics

This comes in between EQ & Dynamics

This comes after processing and before the mute & fader

This comes after the channel’s fader

22
Quantum 2 - Getting Started – Issue A 1.9 Mustard Channels

1.9.3 Safes/Scopes
Each Mustard module (tube, EQ, dynamics) can be safed individually with the tube safe including the insert position of the Mustard
processing.

The global scopes follow SD processing with tube under input/trim, EQ under EQ and the compressor and gate under dynamics.
Input/trim scope also includes the insert position of Mustard processing.

1.9.4 Presets
Channel presets can be created as normal and each Mustard module can be included or excluded in the recall scope.

Recalling a preset from within the view of a particular module will include only that module in the recall scope by default.

Similarly to channel safes, the insert position of the Mustard processing is included within the pre-amp scope.

1.9.5 Pre-amplifier Modelling

The Mustard pre-amp modelling section provides the user with a choice of either a simple tube model or a more advanced pre-amp
model. This is chosen by selecting type, where a menu will display with the two options.

Mustard Tubes
Mustard Tubes has a drive control, an output gain control, an on/off button and six selectable preset options.

Odd harm – This is a modern sounding, low gain distortion preset

Even harm – This is a vintage sounding, medium gain distortion preset
Overdrive – This is modern sounding, medium gain distortion preset
Distortion - This is modern sounding, compressed, high gain distortion preset
Crunch – This is a vintage sounding, high gain distortion preset
High distortion – This is a modern, heavy sounding, very high gain distortion preset

23
Quantum 2 - Getting Started – Issue A 1.9 Mustard Channels
Mustard Amp Model
The Mustard Amp Model is a two-stage, highly customisable distortion & overdrive processor.

Both stages can be switched to odd or even harmonics independently of each other. Even harmonics can create a triode-style distortion
whereas odd harmonics can create a pentode-style distortion.

The drive control alters the input level to the first stage of distortion.

A bias control between the two stages can create asymmetrical distortion if desired. The midpoint value of 11 is the most transparent.
Turning on the ‘saturate’ option increases the effect of the bias setting.
There is a high frequency boost after both stages which applies a shelving boost above 6kHz. This is followed by the output gain.

Input meter First stage Saturate Second stage High frequency Output meter
harmonics control harmonics boost
Drive Bias Output gain
control control

1.9.6 Equaliser
Mustard EQ operates in a similar manner to the standard SD channel EQ, with four fully parametric bands.

When used on a channel alongside the standard SD processing, this allows the user to have double the amount of fully parametric bands.
The top and bottom bands can be switched to act as high and low shelf filters respectively, rather than bell.
The middle two bands can be switched from bell filters to all-pass filters.

There are also high-pass and low-pass filters (both 24dB/8ve).

1.9.7 Compressor
The Mustard channel strip gives the user a choice of four different compressor models, which are modelled on classic analogue
compressors.

All of the compressor types give the user an on/off button, a wet/dry mix knob, and an output gain control. Other controls vary depending
on the type selected.
The mix knob controls the balance between the wet (compressed) audio and the dry (uncompressed) audio. If it is set to 100%, there will
only be the compressed signal at the output.

On all but the Green FET Limiter, there is a threshold control, along with high and lowpass filters in the compressor’s side chain controlled
by the low and high rotaries. The effect of the filters on the sidechain signal can be monitored by pressing the s/c listen button.

An external sidechain, that is shared with the gate/ducker, can be used with the compressor by selecting a sidechain source in the box
underneath the gate/ducker controls and then selecting to send it to the compressor sidechain.

Classic
The Mustard classic compressor is a general-purpose feed-forward compressor design with multiple controls allowing flexibility.
The threshold, attack time, release time, and ratio can be all controlled by the user.

A hard or soft knee can also be selected, and the sidechain’s amplitude sensing can be changed between RMS (Root Mean Squared) level
and peak (instantaneous) level.

24
Quantum 2 - Getting Started – Issue A 1.9 Mustard Channels
Vintage VCA
The Vintage VCA compressor models classic VCA compressors, with a fixed attack time and an auto-release time. The user can set the
threshold and ratio.

Optical
The optical compressor models classic opto-compressors, with a unique release characteristic that models the gain reduction provided
by an optical compressor circuit. It has three options for attack time and recovery time, along with a ratio control.

The gain reduction also behaves uniquely by having a ratio-dependent maximum gain reduction value, with the compressor continuing
to be linear above this value.

FET Limiter
The FET limiter has a fixed threshold like many classic FET limiters, however the input and output gain knobs can be adjusted accordingly
in order to achieve the desired output level and gain reduction. The attack and release values can be adjusted and the ratio can be set
at either 4:1, 8:1, 12:1 or 20:1.

1.9.8 Gate/Ducker
The gate/ducker works functions similarly to the gate and ducker found in the standard SD channel strip, however it has different attack
and release shape characteristics.

An external sidechain source can be selected, which can then be sent to the sidechain of the compressor and/or gate/ducker.

25
Quantum 2 - Getting Started – Issue A 1.10 Spice Rack

1.10 Spice Rack

Spice Rack is the new audio processing rack on Quantum engines. It was released with the Chilli 6 Multiband Compressor and also now
includes a 6 band Dynamic EQ called Naga 6.
The Spice Rack can be accessed by touching the Master Screen > Processors then Spice Rack.
Soloing a channel with a Spice Rack processor inserted will bring up the Spice Rack and the relevant slot.

1.10.1 Chilli & Naga 6 Overview

Open the
Safe the current presets

The channel and insert where

Spice Rack The user window Link two Chilli 6 Select the Spice Rack
processor interaction type units together
the device is routed device type

List of The current

current frequency
units in the response of
Spice Rack the
slots. processed
Inserted signal
units
display the The dB range
channel that the
name. compressor
will act over

These set the

side chain
source and
type

This sets
the global
Solo
Mode.
This sets the solo
source

26
Quantum 2 - Getting Started – Issue A 1.10 Spice Rack
The Naga 6 can be accessed by selecting a Chilli 6 unit and pressing the type button, then choosing Naga 6.
Open the
Safe the current presets
Select the Spice
The channel and insert Spice Rack The user Link two Naga 6 Rack device type
where the device is routed processor interaction units together
type
The current
frequency
List of response of
current the processed
units in the signal
Spice Rack
slots.
The dB range
Inserted
that the
units
compressor
display the
will act over
channel
name

Select Side
Chain route
These set the
side chain
source and
type
This sets the
global Solo
Mode

This sets the solo

source
Chilli 6 is a classic multiband compressor with four flat top filter type bands with shared crossover slope and two separate parametric
bands. The Naga 6 is a Multiband Dynamic EQ with six parametric bands and no flat top filters. They both allow frequency specific
dynamic control with compression or expansion applied to audio above a set threshold. When stereo channels are routed to the Spice
Rack, two consecutive slots are automatically set to stereo, therefore ganged together. They can be set back to mono to allow the units
to have different parameters. Before units can be stereo linked the pair of units have to be set to the same type Chilli 6 or Naga 6. Pairs
have to be neighbouring units such as 1 and 2 ,3 and 4, 5 and 6 etc. Note that 2 and 3, 4 and 5 etc cannot be made into a stereo pair.

The green line represents the frequency response of the processed audio and reflects the compression or expansion applied in real time.

The Release Shape is used to alter the release characteristic with curve type exponential (0) through linear (0.5) to inverse exponential
(1). Inverse exponential is a new feature which reduces sharp decays between peaks in signal, whilst maintaining the same overall decay
time.

Dynamic Angle affects how far above the threshold the signal needs to be before the full range of EQ is applied, similar to a ratio with a
smooth transition through the threshold. This can be set anywhere between 1 (default) equivalent to a higher ratio and 0, a lower ratio.
Also similar to a knee, when the Dynamic Angle is set to a value less than 1, gain reduction will be applied to signal below the threshold
however will always maintain a soft curve.

27
Quantum 2 - Getting Started – Issue A 1.10 Spice Rack
Parametric (Bell) Filters. The six bands on the Naga 6 and two of the bands (P1 and P2) on the Chilli 6, are parametric EQ type filters,
which have a centre frequency range of 20Hz – 20kHz and Q of 0.35 – 60. When the band is set to “Split” mode, these bands also have
their own independent flat top filter bands, which are used only on the side chain dynamic control and as isolating filters when soloing
the band. The centre frequency of these bands follow the frequency control of their main parametric filter, and the width adjusts in
sympathy with the main ”Q” control. Setting the band to “Wide” bypasses the flat top filter in the dynamic side chain control such that
the side chain is fed directly from the input signal, although these filters remain active as isolating filter when soloing.

Flat top filters. On the Chilli 6 only, bands 1 – 4 have three crossover filters which are used to position the bands over the desired
spectrum. A global Crossover Slope adjusts the filter slope between second order (0) and true fourth order (1). When a band is set to
split mode, the side chain control signal is fed post the filter and will respond only to audio within the band, but when set to “Wide” the
side chain is fed directly from the input and will respond to the whole spectrum. Soloed signals will always pass through the filter
regardless of the “Split”/”Wide” state.

Gain acts as a level adjustment for each band.

Range determines the limits of compression or expansion applied to a particular band. When activated, the dynamic range is shown by
a blue highlight either above (expansion) or below (compression) the current gain in the graphical display.

External Side Chain. Pressing the “Side Chain Source Route” will allow you to select an external source to be used as a side chain. Each
band can be set to use this one signal as it’s side chain source independently by pressing the “Int” / “Ext” buttons. Any band not using
Ext reverts to using self (the input signal) as it’s source. “Ext” cannot be selected if no externally route has been set up.

Soloing Bands. Only one band can be soloed at a time, by pressing the “listen” button in the band. With listen Source set to “Band” the
solo will monitor the input signal passing through the bands filter controlled by the dynamics, and in the case of parametric filter bands,
the signal will also be passed through a side chain isolating flat top filter. This is so that when notch filters (Bell cut) are used, the effected
audio region will be isolated. When Listen source is set to “S/C Listen” the external S/C signal (if set to external) or the input signal, will
be passed through its own flat top side chain filter. This filter will not be controlled by the dynamics as it is monitoring the source that is
controlling the dynamics.

Listen/Solo Destination. The soloed band can be sent to the “Solo 1”buss , the “Solo2” buss, or both, without altering the normal signal
going through the spice rack (non-destructive). Alternatively, Pressing the “Destructive” button will make the soloed band replace the
spice racks normal output with the soloed signal. These controls are global to all the units in the spice rack.

Attack and Release determine the speed at which the compression or expansion acts on the signal.

Threshold sets the point where compression or expansion is applied.

There is an overall Output fader which can be used to make-up or reduce a post-effect gain difference.

Any of the bands can be set to Bypass which sets the gain and range for that band to 0dB, maintaining the overall phase. Bypass All
applies a blanket bypass across all bands which keeps the state of the individual bypasses.

1.10.2 User interaction options

1. Faders
Parameters can be touched on screen to determine which row of controls are assigned to the Quantum 2 faders. Mute buttons act as
bypass and solos act as listen in this option.

2. Touch turn
Each parameter can be pressed individually to be controlled by the touch turn rotary. The touch turn button toggles the bypass state
when on-screen rotaries for that band are selected and listen state when the on-screen faders are selected.

28
Quantum 2 - Getting Started – Issue A 1.10 Spice Rack

1.10.3 Presets

Presets allow the ability to recall and save parameters for a particular setup of a Spice Rack effect. New will create a preset with the
current parameters in the effect, this will be stored under a group. Default will recall the default settings for the effect in the current
slot.
When edit name is selected, the group name, preset name and notes can be altered. Factory presets are locked and cannot be altered
or deleted.
A variety of factory presets are available as starting points for use on different audio sources.

The Naga 6 has the addition of six static gain curves (Band Gains), colour coded to the appropriate band, and as such there are three
display option buttons which allow you to mix and match the graphic display. The live animated spectral gain indicator (the green line)
remains visible at all times.

Band Gain Filters only

Side Chain/isolating Filters only

Range only

29
Quantum 2 - Getting Started – Issue A 1.11 Auxiliaries

1.11 Auxiliaries
The auxiliaries can be accessed by pressing the Quick Select Aux button and touching the auxiliary row on screen or using the Screen
Scroll buttons on the left of the worksurface
Using either of these methods, the highlighted auxiliaries on the input screen will change. The rotary controls and switches beneath the
screen are used as auxiliary sends, pans (with 2nd Function ON), On/Off and pre/post switches (with 2nd Function ON).

Assigned
Control LCD

Assignable Aux Send Controls

Touch screen to select

Hold & touch screen

to Assign

It is also possible to show all of the aux sends for a channel in a single display and assign them to the 12 rotaries beneath the screen. This
is done by touching the currently assigned aux row on the screen for the channel that you want to display. The layout of the display
indicates which encoder each aux is assigned to; if there are more than 24 sends, the assignments becomes scrollable using the Screen
Scroll function.

Once you have adjusted the auxes in this display, you need to close it manually before opening any other channel detail display.

30
Quantum 2 - Getting Started – Issue A 1.12 The Matrix

1.12 The Matrix

To open the Matrix Inputs panel, touch the Matrix button on the Master Screen. The window that opens allow you to route inputs to
the Matrix Output Channels and set the Matrix crosspoint levels.
To route an input, touch the top of the appropriate Matrix column. This opens a standard QUANTUM 2 input routing page.

Matrix input
routing

Matrix
Crosspoint
level control

Matrix Matrix presets Touch turn Enter desired gain

snapshot safe assignment value via text
s

There are five modes of level adjustment: multi, single, all, absolute text and relative text.

Multi (active when no other mode is selected): Touch one or more level “knob” on screen, then adjust using the Touch Turn control.
Single : Touch any level “knob” and adjust. Touching another “knob” will deselect the first.
All : All “knobs” are adjusted at the same time.
When adjusting more than one crosspoint, their relative levels are maintained.
Abs Text: enter the numerical value in the box using a keyboard or the on-screen numpad, all selected “knobs” will have their gain set to
that value.
Rel Text: the value entered in the text box changes all selected “knobs” by the entered amount.
The clear button cancels all active Touch Turn assignments.

31
Quantum 2 - Getting Started – Issue A 1.13 Control Groups

1.13 Control Groups

Any number of input channels and output channels can be connected to one or more of the 12 possible Control Groups. They can then
all be operated from a single worksurface control. Changes to the Control Group fader, mute or solo or controls will affect all channels
connected to the group.

There are 2 methods to set up Control Groups:

1) Press the LCD Function button on the CG fader bank followed by the JOIN CG button;
Press the channel select button for the CG that you want to use;
Press the channel select buttons for each of the channels to be included in the CG;
Deselect the JOIN CG button:

Press LCD Select Control Press Channel LCD Buttons to assign members
Function Button Group to join
then JOIN CG

2) Press the on screen JOIN/LEAVE button for the required CG channel;

Press the channel select buttons for each of the channels that you want to make members of the CG;
Release the JOIN/LEAVE button:

List of members

Press Channel LCD buttons to assign members

Press Join/Leave button on required CG channel

A list of all the connected channels and their names is displayed above each Control Group display.

You can also clear all the channels from a Control Group by pressing Clear.

When a channel is a member of a Control Group, its own controls can still be adjusted independently of the other CG members.
Adjustments to fader levels are transmitted to the CG members as dB changes, so that a level increase of 2dB on the CG fader will increase
all the member levels by 2dB, irrespective of the relative levels of the individual channel faders.

CG Mutes are treated as “in series” where a channel is a member of more than one group. All CG mutes must be off for a channel to be
unmuted; any CG muted always mutes all of its members.
If a channel is CG muted by single or multiple CGs, the worksurface channel mute button will override all CG mutes for that channel. The
channel will not however be removed from CG membership so if the relevant CG is muted again, the channel will also be muted.

32
Quantum 2 - Getting Started – Issue A 1.14 Multi-channel formats

1.14 Multi-channel formats

Multi-channel inputs are controlled by routing each component through a mono channel and then linking those channels via a 'Multi'
channel. To start with, use the normal input and output routing procedures to route each component through a channel. Then open the
Setup display for the first component, and select Multi at the top, to open the Setup Multi Channels display. Select the format – LCR,
LCRS, 5.1 or multi-input (which allows you up to 11 components) – and then press the LCD buttons for the remaining component
channels, working down the displayed list in order. Channel names will appear against each component. Each channel can then be left
on the worksurface or removed using the buttons towards the base of the display. Finally, touch OK to close the display to link the
channels together.

Note that you can also create Multis on a blank layer by selecting the Create Multi LCD function on the Layer you wish to use, then
pressing the LCD button for the required channel strip.

The included channels are shown in the Multi-channel strip. Touching the Folded Controls button allows you to control which channel
elements are displayed in the folded channel strip – each element affects all linked components.

Folded View
Channel

Link Control

Multi Select Leave or Remove

Button Type Channels
Settings

Unfold

Fold

Link Indicators

If the Unfold button in the Multi or in a multi-channel buss channel strip is pressed, the component channels will be displayed, and more
detailed configuration can be made.

See the SD/Quantum Series Software Reference Manual for more information on Multi Channel formats

33
Quantum 2 - Getting Started – Issue A 1.15 Solo Setup

1.15 Solo Setup

The QUANTUM 2 Solo panel is accessed from a button at the top of the Master Screen. Some of the controls on this panel are duplicated
on the worksurface master section

There are two solo busses and each solo button on the console can be independently assigned to use Solo1, Solo2 or Solo 1+2. Therefore,
if the console was being used for Stage monitors, the first solo buss could feed “In-Ear” monitors, and the second solo buss could feed a
wedge.

pfl / afl solo mode

multi / single solo mode

Clear

Solo Level Meter

Solo Trim

Buss Format Switch

Solo Delay

No solo source select

Insert routing
Floating Meter
activation
Direct Out routing

Headphones On / Off

Direct Out Level True Solo

The following functions are available independently for each solo buss :

- Mono / Stereo Switch

- No Solo source routing: The source for solo buss when no channel is in solo mode.
Note that the No Solo source does not show on Solo meters
- Insert Point with both internal and external routing capability
- Direct Out routing (eg. for feeding a wedge)
- Assignment of Direct Out level control to master fader or speaker volume pot
- afl or pfl mode
- single or multi solo mode
- Delay
- Level Trim
- Auto solo mode: If a channel is set to Auto Solo, it will automatically solo when another channel is soloed. The Auto Solo function of
each solo buss can be enabled and disabled as required.
- Solo meters can be displayed on the Master or Overview screen by pressing the floating meters button below the solo delay area in
either side of the Solo panel.

34
Quantum 2 - Getting Started – Issue A 2.1 Fitting DMI Cards

DMI Cards
The DiGiCo QUANTUM 2 has two option slots on its rear panel for the installation of DMI cards (see below).
These cards come in a variety of I/O types.

DMI Slot 1 DMI Slot 2

2.1 Fitting DMI Cards

NOTE: DMI cards are NOT hot swappable and therefore they should NEVER be fitted or removed from the console while the console
is powered on.

To fit a DMI card:

1) Remove the four screws from the console blanking plate and this will expose a hole in the rear panel with an internal connector
and a white slider on each side of the hole. Keep the four screws safe in order to secure the card in place.

DMI Internal Socket Card fits in slider grooves

NOTE: Before fitting the DMI card, carefully examine the internal connector as in some cases this may have a protective cover that
must be removed before fitting the card. If the cover is present, please remove it before proceeding

NOTE: With the DMI-MADI C there are 2 internal switches that must be set to the A position for use in the console. Please check these
switch positions (as picture below) before fitting the card.

35
Quantum 2 - Getting Started – Issue A 2.1 Fitting DMI Cards

Position A for DMI-MADI C internal

console use switches

2) Carefully slide the DMI card in the hole using the while slider grooves as a guide and then ensure that it pushes into the internal
connector correctly with a click.

3) Replace the 4 fitting screws.

36
Quantum 2 - Getting Started – Issue A 2.2 DMI-MADI Cards

2.2 DMI-MADI Cards

There are 2 types of DMI-MADI Card:

MADI B has 2 pairs of BNC connectors

MADI C has 2 bi-directional Cat5e connectors

Both of these cards can be used to connect a Standard MADI stream at 48KHz or 96KHz or an SD-Series DiGiCo Rack with the appropriate
connector (D-Rack, D2-Rack, SD-Rack, SD-MiNiRack).

NOTE: Only one DiGiCo Rack can be connected to a single DMI-MADI card at one time.

NOTE: With QUANTUM 2 software V14.0.1400+, cable redundancy at 48KHz using both the Main and Aux MADI ports on a D2-Rack,
SD-Rack or SD-MINIRack is not implemented

2.2.1 Connecting DMI-MADI

External audio connections can be made using either BNC MADI (AES10) or the DiGiCo Cat5e Connection.

There are 2 types of MADI connection available. A DiGiCo Stage rack can be connected to a console via a bi-directional MADI connection
will have up to 112 channels (56 in, 56 out) of audio plus the control data for the Rack (located on CH57). A bi-directional standard MADI
stream will contain up to 128 channels of Audio (64 in, 64 out) and can be connected to any 3rd party device that has MADI connectivity.

A DiGiCo Cat5e connection is a bi-directional up to 64 Channel interface that uses STP Cat5e Cable with interference suppressors fitted
on each end used to connect D-Racks and D2-Racks.

Please carefully note the following connection requirements:

DMI-MADI C to D-Rack at 48KHz

Connect DMI card Cat5e socket A to D-Rack Cat5e socket.

DMI-MADI C to D-Rack at 96KHz

Connect DMI card Cat5e socket A to D-Rack Cat5e socket.

NOTE: This setup provides one 28 channel 96kHz MADI stream therefore D-Rack input sockets 29-32 will not pass audio.

Single Console to D-Rack with DMI MADI C Card

D-Rack

SINGLE CAT5e
CONNECTION

At 48Khz - all D-Rack I/O available

At 96KHz - only D-Rack inputs 1-28 & outputs 1-16 available

DMI MADI C PORT A
IN/OUT

Console

Audio Sync = MASTER

37
Quantum 2 - Getting Started – Issue A 2.2 DMI-MADI Cards
DMI-MADI C to D2-Rack at 48kHz
Connect DMI card Cat5e socket A to D2-Rack Cat5e Main socket.

Single Console to D-Rack with DMI MADI C Card

D-Rack

SINGLE CAT5e
CONNECTION
At 48Khz - all D-Rack I/O available

At 96KHz - only D-Rack inputs 1-28 & outputs 1-16 available

DMI MADI C PORT A
IN/OUT

Console

Audio Sync = MASTER

DMI-MADI C to D2-Rack at 96kHz

Connect DMI card Cat5e socket A to D2-Rack Cat5e MAIN socket.
Connect DMI card Cat5e socket B to D2-Rack Cat5e AUX socket.

Single Console to D2-Rack with DMI MADI C Card at 96KHz

D2-Rack

CAT5e CAT5e
MAIN MADI AUX MADI
CONNECTION CONNECTION

DMI MADI C PORT A DMI MADI C PORT B

IN/OUT IN/OUT

Audio Sync = MASTER

38
Quantum 2 - Getting Started – Issue A 2.2 DMI-MADI Cards
DMI-MADI B to D2-Rack, SD-Rack or SD-MiNiRack at 48kHz
Connect DMI card BNC IN socket A to D2-Rack BNC OUT MAIN socket.
Connect DMI card BNC OUT socket A to D2-Rack BNC IN MAIN socket.

Single Console to D2-Rack with DMI MADI B Card at 48KHz

D2-Rack

BNC MAIN MADI

IN & OUT
CONNECTIONS

DMI MADI B PORT A

IN/OUT

Console

Audio Sync = MASTER

DMI-MADI B to D2-Rack, SD-Rack or SD-MiNiRack at 96kHz

Connect DMI card BNC IN socket A to D2-Rack BNC OUT MAIN socket.
Connect DMI card BNC OUT socket A to D2-Rack BNC IN MAIN socket.
Connect DMI card BNC IN socket B to D2-Rack BNC OUT AUX socket.
Connect DMI card BNC OUT socket B to D2-Rack BNC IN AUX socket.

Single Console to D2-Rack with DMI MADI B Card at 96KHz

D2-Rack

BNC BNC
MAIN MADI AUX MADI
INPUT & OUTPUT INPUT & OUTPUT
CONNECTIONS CONNECTIONS

DMI MADI B PORT A DMI MADI B PORT B

IN/OUT IN/OUT

Console

Audio Sync = MASTER

DMI-MADI B to a Standard MADI device at 48kHz

Connect DMI card BNC IN socket A to Standard MADI device BNC OUT.
Connect DMI card BNC OUT socket A to Standard MADI device BNC IN.

DMI-MADI B to a Standard MADI device at 96kHz

Connect DMI card BNC IN socket A to Standard MADI device CH 1-32 BNC OUT.
Connect DMI card BNC OUT socket A to Standard MADI device CH 1-32 BNC IN.
Connect DMI card BNC IN socket B to Standard MADI device CH 33-64 BNC OUT.
Connect DMI card BNC OUT socket B to Standard MADI device CH 33-64 BNC IN.

39
Quantum 2 - Getting Started – Issue A 2.2 DMI-MADI Cards

2.2.2 Sharing Racks with DMI-MADI

If the system is running at a sample rate of 48KHz a D2-Rack, SD-Rack or SD-MINIRack can be shared between 2 consoles (Two QUANTUM
2s or an QUANTUM 2 and another S or SD-Series console) with the connection system shown below.

In this setup:
1) All inputs can be shared by the two consoles but only one console controls the rack analogue gains (the "Master" console)
2) The console which is not controlling the gains (the "Slave" console) can automatically adjust its digital trims to compensate for the gain
changes using a system known as "Gain Tracking" (see below)
3) Only the "Master" console can use the outputs of the shared rack

The recommended connection between the Monitor (Slave) console and Stage Rack is a single MADI OUT from the Shared Rack's AUX
MADI connected to the console's MADI A IN
The FOH (Master console) is connected via MADI A IN and OUT to the stage rack.

A similar method can be used if the Monitor console requires gain control and the FOH console will track the gain changes.
MADI OUT from the Shared Rack's AUX MADI connected to the FOH console's MADI A IN.
The Monitor (Master console) is connected via MADI A IN and OUT to the stage rack.

Note: The "Master" console should be set to provide "Master Sync" (Setup>Audio Sync menu - see diagram below) to the Shared rack
The "Slave" console should be set to receive its Audio Sync from the MADI DMI slot that is connected to the Shared Rack.

1) The operators should agree on and set a level of analogue gain that provides enough headroom for the required application.
2) The second console should connect to the Shared rack in Receive Only mode (only MADI Input cable connected)
3) Gain Tracking (the GT ON/OFF button at the top of the Input channel setup view) can be switched on for the console that is in
"Receive Only" mode for all the channels that are being shared.
4) When an analogue gain control is changed on the "Master" console, the "Slave" console's analogue gain should reflect the changes
and the digital trim control should compensate for this change by moving by the same amount in the opposite direction.

IMPORTANT Note: If Gain Tracking is active on a channel, the digital trim control will still respond to the local gain adjustment by
compensating locally for the displayed gain change.
If the "Slave" console loads a session where the Analogue Gain and +48V settings do not match the current state of the racks, the
Master console should then reload its session to update the state of these controls on the "Slave" console

FOH & MONITORS WITH SHARED RACK at 48KHz USING MADI

Uni-Directional Gain Tracking

AUX MADI FOH has control of the Analogue Gains
Shared Rack OUT
and Monitors can track this

MAIN MADI
IN/OUT
Connection can be:
A single Cat5e cable for DMI MADI C
OR
Connection can be: 1 BNC cable for DMI MADI B
A single Cat5e cable for DMI MADI C
OR
2 BNC cables for DMI MADI B

DMI MADI
PORT A IN

Console 2
DMI MADI PORT A
IN/OUT

MONITORS
Console 1 Audio Sync = DMI MADI IN

FOH
Audio Sync = MASTER

40
Quantum 2 - Getting Started – Issue A 2.2 DMI-MADI Cards
If the system is running at a sample rate of 48KHz, a D-Rack can also be shared between 2 consoles (Two QUANTUM 2s or a QUANTUM
2 and another SD-Series console with Cat5e connections eg SD9 or SD11) with the connection system shown below.

This setup is similar to the one previously described but requires a DiGiCo Little Red Box.
The Little Red Box has separate Cat5e connections for:
The D-Rack itself
The FULL CONNECT " Master" console
The RECEIVE ONLY "Slave" console

In all other respects the setup is the same as that for the D2-Rack and SD-Rack

SHARING A D-RACK at 48KHz USING MADI

Uni-Directional Gain Tracking

FOH has control of the Analogue Gains
Shared
and Monitors can track this
D-Rack

Cat5e
MADI IN/OUT

D-RACK PORT

DMI MADI C
Little PORT A IN/OUT
Console 2
Red Box RECEIVE
ONLY
PORT
FULL CONNECT MONITORS
PORT
Audio Sync = DMI MADI IN

DMI MADI C - PORT A IN/OUT

Console 1

FOH
Audio Sync = MASTER

41
Quantum 2 - Getting Started – Issue A 2.3 DMI - Dante Cards

2.3 DMI - Dante Cards

A DMI-Dante card in a QUANTUM 2 console provides 64 input and 64 output channels at 48kHz and 32 input and 32 output channels at
96kHz. It is provided with Primary and Secondary (backup) Gigabit Ethernet ports for connection to the Dante network.

A DMI-Dante 64@96 DMI card provides 64 input and 64 output channels at 48kHz or 96kHz, along with support for SRC (Sample Rate
Conversion). This enables the desk to run at a different sample rate to the Dante network.

Sample rate conversion can be enabled in the Audio IO panel by enabling ‘Auto SRC’. This will automatically switch on when necessary
to convert the sample rate of the desk inputs and outputs to match the Dante network’s sample rate e.g. the Dante network at 96kHz
and console structured at 48kHz. SRC will not affect the number of input and output channels that can be routed.

For both Dante cards, all control and configuration of the Dante interface is done externally by the Dante controller software. A separate
control computer must be provided to do this.
In S-Series, the Dante network can be set to use the console as the network system clock (in the Dante Controller software) or the Dante
card can be selected as the console clock source.

In the picture below, the Dante Controller software displays two DiGiCo DMI Dante devices.
The second device in the list is installed in an QUANTUM 2 and has been manually labelled "DiGiCo QUANTUM 2".
In the Dante Device Config tab the QUANTUM 2 DMI-Dante card must be set to match the QUANTUM 3 sample rate at 48KHz or 96KHz

Example 1 - Console is Master clock for Dante Network

In the Dante Clock Status tab, the QUANTUM 2 DMI-Dante card is set to Sync To External and Preferred Master.
This setup enables the DMI-Dante in the QUANTUM 2 to take its Audio Sync Source from the console itself and in turn provide sync to
the rest of the Dante network. The console would typically be set as Audio Master in the Main Menu > Audio Sync panel

Sample Rate Display Preferred Master Set Preferred Master

& &
Sync To External Sync To External

Console Master Audio Sync

42
Quantum 2 - Getting Started – Issue A 2.3 DMI - Dante Cards
Example 2 - Dante Network is Master clock for console
If the console is required to use the Dante network as its sync source the following settings should be applied.
Enable Sync to External = OFF

Sync To External = OFF

Console External DMI Sync

43
Quantum 2 - Getting Started – Issue A 2.4 DMI - ADC - DAC - MIC - AES Cards

2.4 DMI - ADC - DAC - MIC - AES Cards

The DMI-ADC card provides 16 analogue inputs on 2 x 25 way "D" connectors.

The ADC card is a line card only. There is no microphone amplifier or phantom power available.
The S-series consoles have no gain control function for these inputs (only digital trim). Maximum input level +22dBu.

The DMI-DAC card provides 16 analogue outputs on 2 x 25 way "D" connectors.

DAC card is line level only. Maximum output level +22dBu (Digital Full Scale).

The DMI-MIC card provides 8 microphone pre-amps on 1 x 25 way “D” connector.

The S-Series consoles have control over phantom power, gain and pad on the card.

The DMI-AES card provides 16 Inputs (8 pairs) and 16 outputs (8 pairs) on 2 x 25 way "D" connectors.
All AES inputs are provided with sample rate conversion (SRC) by default.
All AES outputs are synchronised to the mixer system clock.

Multi-Pin Connector Pinouts

The DMI module range use 25 way “D” connectors, Female on the module (Male required on the connecting cable). The pins connections
are as follows.
Analogue inputs and outputs AES-EBU combined in/out
Sorted by pin Sorted by function Sorted by pin Sorted by function
Function Pin Function Pin Function Pin Function Pin
8+ 1 0 2 4out+ 1 0 2
0 2 0 5 0 2 0 5
7- 3 0 8 3out- 3 0 8
6+ 4 0 11 2out+ 4 0 11
0 5 0 16 0 5 0 16
5- 6 0 19 1out- 6 0 19
4+ 7 0 22 4in+ 7 0 22
0 8 0 25 0 8 0 25
3- 9 1- 12 3in- 9 1in- 12
2+ 10 1+ 24 2in+ 10 1in+ 24
0 11 2- 23 0 11 1out- 6
1- 12 2+ 10 1in- 12 1out+ 18
nc 13 3- 9 nc 13 2in- 23
8- 14 3+ 21 4out- 14 2in+ 10
7+ 15 4- 20 3out+ 15 2out- 17
0 16 4+ 7 0 16 2out+ 4
6- 17 5- 6 2out- 17 3in- 9
5+ 18 5+ 18 1out+ 18 3in+ 21
0 19 6- 17 0 19 3out- 3
4- 20 6+ 4 4in- 20 3out+ 15
3+ 21 7- 3 3in+ 21 4in- 20
0 22 7+ 15 0 22 4in+ 7
2- 23 8- 14 2in- 23 4out- 14
1+ 24 8+ 1 1in+ 24 4out+ 1
0 25 nc 13 0 25 nc 13

Pinout and connection notes:

0 = earth/ground or screen/shield nc = not connected + = phase/hot - = antiphase/cold

Analogue connections for input and output are connected in the same way, as shown.
Analogue connections for channels 1-8 shown, channels 9-16 follow the same pattern (1 = 9, 2 = 10 etc.).

AES connections are shown as 4 stereo (2 channel) connections, equivalent to channels 1-8.
AES connections for stereo connections 1-4 (ch 1-8) shown, connections stereo 5-8 (ch 9-16) follow the same pattern (1 = 5, 2 = 6 etc.).

44
Quantum 2 - Getting Started – Issue A 2.5 DMI - Waves - Hydra Cards

2.5 DMI - Waves - Hydra Cards

DMI-Waves has 64 Inputs and 64 Outputs at both 48kHz and 96kHz - there is no control from the console, just simple routing of audio
inputs and outputs.
Configuration of this card on the Waves network is done with Waves own software and Control Panels - please refer to Waves own
documentation for SoundGrid Studio, Waves MultiRack or Waves SuperRack.

DMI-Hydra has 56 inputs and 56 Outputs and only functions when the console is at a sample rate of 48kHz - there is no control from the
console, just simple routing of audio inputs and outputs.
The ID of the card on the Hydra network can be changed from the console by touching the Set Network ID button, entering a new number
using the on screen keyboard and the power cycling the console.
Configuration of this card on the Hydra network is done with Calrec's own software and Control Panels - please refer to Calrec's own
documentation for details.

IMPORTANT NOTE: If a DMI Hydra card is used in the QUANTUM console, the console MUST be set to Clock Master.
The Hydra DMI cannot be used as a clock source for the console itself.

Select Hydra DMI

Set Hydra ID

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Quantum 2 - Getting Started – Issue A 2.6 DMI - ME - A3232 Cards

2.6 DMI - ME - A3232 Cards

The DMI-ME provides 40 outputs at 48kHz and 96kHz to Allen & Heath ME-1 or ME-500 Personal Mixers. There are no controls on the
card.

The DMI-A3232 (NOT COMPATIBLE WITH Q2) allows connection to A168 STAGE Racks. Each Cat5 port supports up to 32 I/O, for a
total channel count of 64 I/O. The rack can be run in two different modes. In Cascade Mode, up to two A168 racks can be connected to
each port. In redundant mode, one A168 rack can be connected with redundant cabling to both ports on the card. When a DMI-A3232
is connected, each rack connected will be shown in a different view. The mode is changed by touching the desired mode in the Port
Control Mode section.
QUANTUM consoles have control over gain, phantom power and pads of the rack.

NOTE: When changing the Port Control Mode, there is a physical switch on the A168 STAGE racks that must also be changed.

NOTE: The primary and secondary ports on the racks are not interchangeable. The primary port must be used as the main connection.

2.7 DMI – AMM

Quantum 338, Quantum 225, Quantum 7 and SD12 are compatible with the DMI-AMM card. The DMI-AMM card automatically manages
live microphones in unpredictable dialogue situations. When one person speaks, that microphone’s gain level fades up instantly, while
the other microphone gains are reduced. When the speaker pauses, all microphone levels will adjust to medium gain to collectively match
the level of one microphone at full gain. The resulting effect will be as if all speakers are sharing one microphone. When several people
talk at once, the gain is shared. The AMM Controls (Figure 1) can be found in the Audio I/O window after conforming the DMI card (Figure
2 & 3).

Figure 1: AMM Control Window

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Quantum 2 - Getting Started – Issue A 2.7 DMI – AMM
Each of the 64 slots within the AMM control panel include a group assign (Group A & Group B) and a weight control. The Floor control of
each group imposes a lower limit on the level detector for all microphones assigned to that group, this prevents a noisy microphone from
receiving a disproportionate share of gain. The Floor should be left at the default value of -130dB for normal operation.

Figure 2: Conform AMM

Figure 3: Open AMM Control

There are two ways to route channels to the AMM. The first is from within the AMM Control window itself. Touch the white box below
each of the slots, this will open the AMM Routing window (Figure 4). Here you can ripple route channels to the AMM, using touch turn
to select the desired number of channels. The AMM is automatically assigned a post-fader Insert B. Therefore, AMM can also be assigned
in a way that DiGiCo users will be more familiar with, via the Insert B routing window at the bottom of a channel strip (Figure 5).

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Quantum 2 - Getting Started – Issue A 2.7 DMI – AMM

Figure 4: Routing Within AMM Control

Figure 5: Routing via Insert B Routing Menu

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Quantum 2 - Getting Started – Issue A 2.7 DMI – AMM
When channels are routed to the AMM and assigned to a group, a Share % bar is seen in yellow on the right side of an AMM slot. This
represents the gain Share that the channel is getting when the AMM is active. This meter is shown in terms of percentage, meaning that
if 2 speakers stop talking at the same time then they will both get 50% of the gain share. The Weight control allows adjustment of the
relative sensitivity on a per channel basis. When weighting controls are balanced (equal), each microphone has an equal opportunity to
“take over” the system. Changing the weight will not have an effect on the overall level of the channel, just how easily it can take a share
of the gain. Adding weight to one primary microphone ensure that the particular microphone (e.g. a chairperson) will get more of the
share of gain (Figure 6).

Figure 6: AMM Share Percentage and Weights

There are a set of master controls available at the bottom of the AMM Control window. These include a Floor control for each AMM
group within the card and a safe control. The Floor control imposes a lower limit on the level detector for all microphones assigned to
the relevant AMM group. This prevents a noisy microphone from receiving a disproportionate share of gain. The Floor should be left at
the default value of -130dB for normal operation. The safe option excludes these floor controls from snapshots.

Figure 7: AMM Master Controls

All AMM parameters (both master and channel specific) are saved on a per snapshot basis and can be safed or removed from the global
scope. Only input channels can be added to the AMM. It can be saved globally via the Input Devices option in the Global Scope menu on
the Snapshots window. This is NOT enabled by default.

Figure 8: Global Scope > Input Devices

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Quantum 2 - Getting Started – Issue A 2.8 DMI-KLANG

2.8 DMI-KLANG
With the DMI-KLANG card, 64 signals can be routed to the card and up to 16 immersive monitor mixes plus solo routed back to the
console. The DMI card can be configured in the KLANG Control panel, found under the Cards & Sockets tab of the card’s port in Audio
I/O.

Set the Device Name Configure the IP Address and Subnet Mask

Set the Control

Ports

Open the KLANG Control panel Apply the changes to the DMI Card

The DMI-KLANG card can be controlled from the console after being connected to the consoles network and setup in the External Control
panel.

2.9 DMI-Dante 64@96 & Dante IO Control

PLEASE NOTE that for the connection and use of the A168D & A164D Dante IO boxes, there is a requirement for the following firmware
updates to the Dante 64@96 DMI card:
1. DMI Dante 64@96 firmware update (v103) which is included in the update package.
2. A Dante firmware update (4.0.19) for the DMI card which can be updated using Dante Updater in Dante Controller.

Socket parameters on A168D and A164D IO racks can be controlled in the same way as other DiGiCo I/O racks when connected to a Dante
64@96 DMI card and routed in Audinate’s “Dante Controller” software.

With a DMI Dante 64@96 card installed in a console, access to 64 channels of IO to/from the Dante network is provided.
A Dante IO box can provide a specific number of IO on the Dante network according to the rack’s capability.
168D = 16 analogue In and 8 Analogue Out

Any Dante network may have many more devices on it than just a single console and rack.
There might be multiple Dante equipped consoles, multiple racks and other Dante devices.
When a console has a DMI Dante fitted, it “sees” that DMI as a 64 channel interface device to/from the Dante network.
The source device of the audio signals it is receiving across that interface and the destination device of any signals that it is sending out
across that interface are generally “unknown” to the console.

50
Quantum 2 - Getting Started – Issue A 2.9 DMI-Dante 64@96 & Dante IO Control
The critical component in determining where the audio is going to/from is the Dante network controller which is responsible for setting
up audio paths (routing) on the network.

As an example, using just a single console and a single rack, the console could use its DMI Dante channel 1 as an input signal to its own
console Input Channel 1 but the audio signal which appeared on that DMI Dante channel could be any signal from the Dante IO rack and
is determined by the routing in the Dante Controller.
With the following routing in place, a console that selects any of the DMI card channels 1-16 as an input source will receive the signal
from the same numbered Rack Input socket – this is a logical setup.

Dante Rack Inputs

A168D Rack is a Transmitter in this case.

Each of the 16 Rack input sockets are routed to the same numbered DMI 64@96
channel

Dante Controller & Routing

Network Switch

Console 1 DMI 64@96 is a Receiver in this case.

Each channel receives the same numbered input socket
from the rack.

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Quantum 2 - Getting Started – Issue A 2.9 DMI-Dante 64@96 & Dante IO Control
In this example, a console that routes signal to DMI card output channels 1-8 will be sending them to the same numbered Rack Output
socket.

Console 1 DMI is a Transmitter in this case.

Each of the DMI 64@96 outputs 1-8 are routed to same numbered Rack output sockets

Network Switch Console 1 – DMI Outputs

Dante Controller & Routing

Dante Rack Outputs

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Quantum 2 - Getting Started – Issue A 3.1 Main Shortcuts

Quantum Home
When the Master screen > System > Quit To Windows button is pressed, the console application is closed and the Quantum Home
interface can be used to adjust various system settings.

When the system is locked, Quantum Home automatically launches the Quantum 2 application on start-up. When unlocked, the system
can be configured.

3.1 Main Shortcuts

• Quantum 2: launches the Quantum 2 application.
• Quantum Upgrade: launches the Quantum Upgrade application.
• Network Settings: see section on network settings.
• Quantum Test: launches the Quantum Test application.

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Quantum 2 - Getting Started – Issue A 3.2 Settings Pane

3.2 Settings Pane

Click the bottom Settings pane to expand it.
• File Browser: opens a standard File Explorer
• Delete Startup Sessions: deletes the following start-up files:
o “D:\Quantum2\startup.ses"
o "D:\Quantum2\_session.ses"
• Show All Windows: restores all open windows that have been minimised.
System Information: see section on system information.
• Advanced Settings: see section on advanced settings.
• Power: opens a window with three buttons:
o Power Off: turns the console PC off.
o Restart: reboots the console PC (does not reboot the engine or work-surfaces).
o Cancel: closes the Power windows and returns to the main Quantum Home view.

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Quantum 2 - Getting Started – Issue A 3.3 System Information

3.3 System Information

Opens a window displaying general information about the system:
• General:
o PC Name: name of the console PC – the factory default name should contain the serial number of the console.
o IP Address: static IP address of the console PC.
o App Version: version number of the Quantum 2 application.
o Home Version: version number of Quantum Home.
o System Version: version number of the overall system.
• Disks:
o C Drive: amount of free disk space on the C:\ drive.
o D Drive: amount of free disk space on the D:\ drive.
o Memory: amount of RAM on the console PC.
• BIOS:
o BIOS: version number of the console PC’s BIOS.
o Firmware: version number of the console PC’s board controller firmware.
• Save to File: click to save the system information to a text file. The saved file also contains the “locked/unlocked” state of the
PC and a timestamp.

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Quantum 2 - Getting Started – Issue A 3.4 Advanced Settings

3.4 Advanced Settings

• Lock System Settings/Unlock System Settings: locks/unlocks the system and triggers a console PC reboot.
o Locked state: this is the “console mode” in which Quantum Home automatically launches the Quantum 2
application at start-up.
o Unlocked state: “configuration mode” in which advanced settings and network settings are enabled.
• Display Settings:
o External Screen: settings for the external monitor.
▪ Resolution: drop-down list of available screen resolutions for the external screen.
▪ Orientation: drop-down list of screen orientations:
• Landscape.
• Portrait.
• Landscape (inverted).
• Portrait (inverted).
• Disconnected: disables the external screen.
▪ Position: drop-down list of available positions for external screen
• Left screen (acts as a channel view for the left fader bank, the screen follows bank selection).
• Overview (acts as an external overview screen).
o Configure All: applies the external screen settings and reconfigures the master, left and right screens. Once
configured, Quantum Home identifies the screens, allowing for a visual confirmation of the new display
configuration.
Note that Quantum Home will require a restart after displays configuration, either by locking and rebooting the
console or by a forced restart of Quantum Home when exiting the Advanced Settings menu.

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Quantum 2 - Getting Started – Issue A 3.4 Advanced Settings
o Identify Displays: pops up the display identification view on each screen highlighting the current screen position.

Note: To switch between left and Overview screen as selections for the external screen, first unlock the system settings, and wait for
the console to reboot, then switch the position in: display settings> external screen> position and then press configure all, this should
display the new position of the screens relative to the master screen and lock and restart the console.

• Quantum Home Update:

o Select File: opens a file dialog window to browse and open a new QuantumHome.exe file.
o Update: applies the update by replacing the current Quantum Home with the selected file. Triggers a restart of
Quantum Home.

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Quantum 2 - Getting Started – Issue A 3.5 Network Settings

3.5 Network Settings

Requires the system to be unlocked to apply new setting. If the system is locked, the current settings are displayed but cannot be changed.

• Console IP Address: shows the current IP address of the console, can be edited to apply a new console IP address.
• Engine IP Address: queries and shows the current engine IP address. When the console IP address is edited, the displayed
engine IP address changes accordingly. This is because the console and engine IP addresses are required to be consecutive.
• Subnet Mask: shows the current subnet mask of the console, can be edited to apply a new console subnet mask.
• Apply: applies the network settings (console and engine IP addresses and subnet mask).
• Lock & Restart: is enabled after network settings have been applied. Causes the console PC to restart and locks the system.

3.6 Keyboard Shortcuts

• Hold “Space” at start-up: boots to Quantum Home without launching the Quantum 2 application.

58