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Dream II Constellation-XT User Manual 9170KB

1. zog 85 346 65 slay a a a 65 416016 eaa as 442107 63 astalG as 4601 jn amo Track ES sl E 1 Y s ic MA Aux bus tiles Automation Cea aja cone 3 48000 Frame Rate Sample Rate of cae j Sub bus tiles J Sub 4 Z z Return Snap Pan Gate CO Touch Auto Enable Project Name Le E Rce R m SEND hy sE Main wE jH E E 20 2 RETURN alle E i al wE Ls Cnr 100F Rs oe a A E o E J 505 INPUT REC DISK _ INSERT EQ DYN DIRECT AUXES PAN ASSIGN Constellation XT Page 22 Satellite AV User Manual CHAPTER 2 CONSTELLATION XT OVERVIEW Track Feed and Live Feed Channel Tiles Each Track and Live Feed is represented with the track name and fader level plus indicators for EQ dynamics insert solo solo defeat and mute The parameter window within each channel tile provides a condensed display of the current settings of the Channel Panel for EQ dynamics or pan e EQ a graph displays the EQ transfer response J m Track 29 NI 29 E y Ly e Dynamics a simplified transfer function for compressor limiter expander gate and the various combinations of these can be displayed Live 22 D 22 e Pan a minia
2. The Master Key The Master Key allows the Main Bus level control to quickly be called to the Master Fader and Channel Panel Press the Master key again to return to the previous selection Solo Constellation offers two solo systems disk recorder solo and the mixer solo Zero Faders and Pan Pots A fader can be set to exactly zero dB by holding down the BLUE key and touching the fader Similarly a pan pot can be placed exactly in its centre position by holding down the BLUE key and touching the pan pot Mixer Solo Individual feeds may be soloed in the monitoring system There are three solo modes which may be entered by pressing the SOLO key next to any fader These are solo in place or SIP after fader listen or AFL and pre fader listen or PFL SIP mutes or reduces the level of all un soloed feeds leaving the soloed feeds feeding the bus being monitored at the normal level set by their faders SIP supports monitoring in any format determined by the current monitor source AFL and PFL modes replace the current monitor source with the stereo solo bus whenever a feed is soloed All soloed feeds are routed to the solo bus Soloed link groups are automatically upmixed or downmixed to allow all their members to be monitored in the stereo monitor bus normal monitor upmixing or downmixing occurs between the monitor bus and the selected speaker set The AFL solo signal is derived after the feed fader and mute PFL solo is
3. The Bus Format Menu The Bus Format Menu is used to set the format i e the number and type of independent bus elements comprising each bus Step 1 Step 2 Step 3 Press the Bus Format Key Select one or more of the Main or a Sub or Aux Bus by pressing the Main Sub or Aux keys The format of the selected bus is displayed in the LCD and the elements are lit on the speaker mute keys To Select a Multi Track Bus Press the MT Buses key and select using the Live Key Available formats for the selected buses are displayed on the LCD Press a soft key to select the format required The formats available for Main and Sub Buses are Mono Stereo LCR LCRS LCRSS L C R LS RS 5 1 L C R LS RS B 6 1 L C R LS CS RS B 7 1 L LC C RC R LS RS B and OFF and Bus Reduction for Sub Buses only Constellation XT Page 57 Satellite AV User Manual CHAPTER 5 PATCHING AND ASSIGNMENT Note that the Main bus can not be set to off it must have a format of at least Mono The formats available for Multi Track Buses are Mono and OFF The formats available for Aux Buses are Mono Stereo and OFF See Bus Reduction on page 60 for details on using reduction buses Bus elements are assigned automatically from a finite pool of 48 As formats are defined for each bus the number of available bus elements is reduced The number of remaining elements available is displayed on the LCD Assigning Signals t
4. Automation Indicators One blue LED indicating Automation Enabled Two dual color LEDs indicating automation Status Panel Modes The In Line Panel has two modes when controlling parameters for channels Constellation XT Page 108 Constellation User Manual CHAPTER 9 THE IN LINE PANEL Normal Mode In this mode each vertical strip of the In Line Panel controls six parameters for the audio channel whose fader is immediately below The Strip Mode buttons are used to control which group of parameters is displayed see above Fat Mode In Fat Mode the whole In Line Panel is used to display one channel s parameters To enter Fat Mode press the Channel Mode Button Calling a Signal Path to the ILP When the In Line Panel is in Fat Channel mode one signal path uses all the controls Selection of this signal path is the same as that of the Master Fader and the Channel Panel and many other functions in the DREAM II system It is referred to as calling the signal path To call a signal path press the Call button on any fader use the Call Menu described in the next section or left click the channel s tile in the Mixer screen The Call key may be used to select any signal path to the In Line Panel when it is in Fat Mode and also to the Master Fader Press Call then select a signal path from the screen In detail Step1 Pressing and releasing Call causes its function to latch on The system displays the C
5. Dynamics A library of 100 dynamics settings is provided Each dynamics preset stores all the parameter settings of the dynamics section on the signal path currently called to the Master fader Press the pyyn soft key in the Library menu to select dynamics presets Constellation XT Page 158 Constellation User Manual CHAPTER 13 LIBRARY Channel A library of 100 channel settings is provided Each channel preset stores all the parameter settings on the signal path currently called to the Master fader excluding I O patching ALL Constellation A library of 100 Constellation settings is provided Each Constellation preset stores all mixer parameters for all feeds and buses All patching routing and name settings are also stored Default Constellation Template A special Constellation library file named default is used to store the default setup of the Constellation on power up You may overwrite this file with any setup that suits your requirements Saving a Preset Follow these steps to save a preset Step 1 Step 2 Step 3 Step 4 Step 5 Step 6 Call a signal path to the Master fader by pressing the Call key and then pressing one of the feed or bus selection keys or in any of the other ways Adjust the parameters you wish to store Press the Lib key to display the library menu Press the chan EQ chan dyn all chan Or all console soft key to select the type of preset you wish to store Press t
6. Track 23 ER _ SEND E Re R si Main 10 3 gt 15 2 ar gt RETURN 3005 Sl B Cntr 100F Rs 0 0 A C 508 INPUT REC DISK INSERT EQ AUXES PAN ASSIGN Right Click here to display Zoom panels The Equalizer Panel EQUALIZER 2k428 Hz gt Make Up 100 Hz 1 KHz 6 lt Limiter Constellation XT Satellite AV User Manual The Pan Panel Rotate aa Diwerge gt gt Spread Oreo LA Fe Ts 1 Pre Bog i Constellation XT Page 26 Satellite AV User Manual Starting the System Step 1 Start the host computer PC by turning on its power switch The PC will boot the Windows XP operating system and display your PC desktop Both video monitors should be powered up and displaying the Windows desktop Step 2 Power on the audio interface box es SX 20 and one or more SX 48s In most installations they can be left powered on all the time and will wake up when the PC starts up and the CC 1 board initialises Step 3 Power on the Constellation XT mixer surface Step 4 Start the Dream II application by double clicking its desktop icon or by selecting it in the Start Menu under the Fairlight group If the system is correctly configured the FMC mixer application will also start automatically with Dream II System Shutdown Step 1 Exit Dream II by selecting Exit from the File Menu or by the keystroke combination Alt F4 when Dream II is in
7. 0 0 0 0 a we bes s E y i S veil aa bas E 0 0 x a mm oa 0 O te 0 0 E E 0 0 10 0 0 0 El oa a E E HORN a F a Pan 08 FREQ is F8 Pan ion FAP F BPan Es AS 16 Axi m2 Dred mm FaPm pi x z y y A _ OO i is ion a h 3 h A h 0 9 0 9 0 9 0 9 0 0 0 0 E 0 91 00 0 i Ore O 0x his F LORA ne 1 16 LORPm co ne e 0 20 0702 z aa 0 0 0 a a Poe CIRIL ID ILe gt u 2 gt gt 04 L K L L400 00 0 L 0 L4200000M Strip Mode Buttons Channel Mode Button More Super Fine Button Button Enable Button Constellation XT Page 106 Constellation User Manual CHAPTER 9 THE IN LINE PANEL Strip Mode Buttons These buttons are used to choose which parameters are displayed on the In Line Panel They include the following parameter groups Path EQ Filter Comp Dyn 2 Limiter Pan Aux 1 6 Aux 7 12 To put a parameter group on one channel press its button then touch a rotary encoder on the target channel You can have different parameters controlled for each different channel To put a parameter group on all channels double click its button To exit that mode double click the illuminated strip mode button and the system will return to the layout you had before Channel Mode Button This button toggles the In Line Panel between its Normal Mode and its Fat Mode These are explained just below Enable Button
8. Constellation XT Page 180 Constellation User Manual CHAPTER 20 SOLO AND MUTE Soloing Tracks Step 1 Press or hold the Solo key Step 2 Select tracks to soLo The soLo function can be toggled on or off with the first soft key in the LCD menu This will switch between soloing the selected tracks and monitoring all tracks Indicators next to the track numbers show orange for soloed tracks and blue for remaining silent tracks Muting Tracks Step 1 Press or hold the Mute key Step 2 Select tracks to mute The MuTE function can be toggled on or off with the first soft key This will switch between muting the selected tracks and monitoring all tracks Indicators next to the track numbers show blue for muted tracks Constellation XT Page 181 Constellation User Manual CHAPTER 21 Go To Chapter 21 Go To Introduction The Go To Menu is used to locate to timecode locations or named clips After the transport has located to the target you will be returned to the mode you were in before the Go To command Go To a Timecode location Step 1 Press the GO TO key The time soft key is already selected Step 2 Enter the timecode location using the numeric keypad or the QWERTY keyboard Step 3 Press Enter or click OK to move to the new timecode location Locate to 00 00 00 00 Go To Clip Name The Go to Clip function locates the transport to the head of the desired clip It also incorporates an alphanumeric sear
9. Press the Hyst key to select gate hysteresis for the Thresh control The gate hysteresis sets the difference between the level which must be exceeded to open the gate and the level below which the signal must fall to close the gate The control range is O to 12 5dB Gate Depth Press the Depth key to select gate depth for the Ration control This sets the maximum amount of gain reduction that will be applied when the signal falls below the gate threshold When the signal falls below the level determined by the gate threshold minus the gate range no gain reduction is applied The control range is from 0 to 60 2dB Constellation XT Page 94 Constellation User Manual CHAPTER 8 THE CHANNEL PANEL Gate Attack Time The Attack control adjusts the attack rate time constant of the sidechain detector The control range is 0 to 100mS Gate Release Time Press the Hold key to toggle the Release control between Hold and Release The Release control adjusts the release time constant of the sidechain detector The control range is 0 03 to 4 03mS Gate Hold Time Press the Hold key to toggle the Release control between Hold and Release Hold time controls the delay between applying gain reduction and commencing release of gain reduction Limiter Expander Gate Automation Enable Press the blue enable key to add the limiter expander and gate controls to the current automation parameter selection Auxiliary Sends Each feed in Constellat
10. The Mute key toggles the boom ON and OFF The fader control may be automated and will record data for the boom level parameter Use the enable key next to the Master fader to enable this parameter for automation Faders to Bus Reduction While Blue Faders To is active all Sub Buses assigned to Bus Reduction are dimly lit Any of them may be pressed causing the faders to control the levels going to the reduced bus Constellation XT Page 80 Satellite AV User Manual CHAPTER 7 FADERS In this mode faders and rotary controls output offsets from the levels going to the Main Bus By default the levels and pans being sent to the reduced bus are the same as those sent to the Main Bus but the controls allow offsets to be created and recorded to automation If the fader offset is zero the fader is located at O dB so its position always reflects the offset of the level to Bus Reduction against the level to the Main Bus This means there is a limit of 10 dB on the offset If the LR pan offset is zero the pan control is at 12 o clock when LR pan is selected for the channel Similarly for the FB pan control Divergence Spread and Rotation all act to produce offsets to the panning of the signal path selected to the CAP The Mute key on each fader acts in tandem with the Mute control setting of the send to the Main bus Its effect is to toggle the Bus Reduction Mute EQUAL or OPPOSITE the Main Bus Mute For example if the Main Bus Mute
11. 01 10 03 13 Out 00 03 33 02 Double click here to collapse or expand the linked tracks lel ts mie You can collapse the linked tracks down to the width of one track by double clicking any of the linked tracks close to its left side Do the same thing to expand them Destroying a Link Group Link groups are destroyed from the Link Group menu Step 1 Step 2 Step 3 Press the Link Group Key The feeds that currently belong to link groups flash red Press the feed selection key of a feed belonging to a group Select unlink on the LCD soft key menu item Press the Link Group key to complete the operation and return to the previous mode or Constellation XT Page 153 Constellation User Manual CHAPTER 12 GROUPING press another key to continue mixing or editing NOTE You can also create and destroy Link Groups from the Tracks Menu under Link Tracks and UnLink Tracks respectively Note that this method does not offer the flexibility as does using the control surface Fader Groups There are 10 VCA style Fader groups on Constellation Members of a Fader Group have their fader levels controlled by a Master and can also be accessed individually to set relative levels within the group To add remove tracks and lives to from a fader group Step 1 Call the desired feed Step 2 Press amp hold the FADER GROUP key top r
12. 114 Ali css stevia E T 99 Dynamics Library Presets e 155 AMINO ez E E is 119 EII D e diarias 124 Assigning signals to BUSES cooooccccnncnnoos 58 Editing Mix Data eessen 201 Maa 94 95 96 115 116 EQ oa 88 111 AUGIOB ASC ici iia 211 EQUALISER scvccicecsecessstneucecceceues 86 110 111 AUQIION ccicioiinci inaipa 212 Equaliser Library Presets 155 AUTO aia o cloacas 193 Automato Masesa andara 187 Automation Lock Window sses 233 Automation Locked to Video 233 Auxiliary Sends see 96 117 Bass ManaGeMent cceseeeeeseeeeeeeeeeeeee 231 BOtACAM iissa 234 BLUE PIGS uscar 236 BLUE JUMP cmiorosorcconicinininarrinrocoraaricarnes 41 A A 92 114 232 Boom LOVEl ccccccceceeceeeeeseceeeeeneeees 92 114 Boom ON OFF sssr 92 114 Fader Group 0ssssseesessseeeseeeseees 105 Boom Pre POSt cseccsssesesseesenseres 92 114 Fader Setsaas iisa 82 BUS atasca condor Raa Kara 78 Faders TO nsssssesresresresresresrrennsnesreeneen 80 BUS ASSIQM ispanai inean 58 E ici is 136 Bus Elements vencscissnsteadssdinctactcntdaaictablats 50 Fairlight a arucconccirasacrrcarosnacrsnacraracas iv v vi Bus FOrMatS ccccccccecccecceccecececeeceuseueess 57 Flia io ta 130 131 Bus Redcoon 60 Fill Range CliP aaccnncnscsnacronsocanacnsannas 198 Bus Ro ctas 105 Filter Sections sessen 88 112 A das aE 74 Fixed Reference LeVEl tsseeiee 68 Call by SO O ccssscsccccessssssssteeeeeesesseees 75 iii e 88 111 Call FOIOW
13. 18dB for band pass The Frequency control controls the centre or cut off frequency of the filter in the ranges described above The Q control controls the Q of band pass reject filters with a range of 0 3 to 10 The blue enable key at the left of the EQ sections add all the controls in the section to the current automation parameter selection EQ Flat To quickly set an individual band to flat hold down a blue key and press the band IN key to set the gain to OdB To flatten the entire EQ section hold down a BLUE key and press the EQ IN key This will set the entire EQ section to a default flat set up with low shelf low mid and high mid parametric and high shelf filters The Surround Panner The Channel Panel provides controls for a comprehensive surround panning system The panner automatically configures itself for control of signals within all the supported surround formats In addition to simple two dimensional panning of a mono signal the surround panner provides advanced control of multichannel signal paths in contained in link groups Constellation XT Page 87 Constellation User Manual CHAPTER 8 THE CHANNEL PANEL The supported surround formats are Stereo LCRS LCRSS 5 1 6 1 and 7 1 For mono signal paths the pan control is a simple panner moving the signal left to right and front to back around the surround field with the addition of divergence control to increase the size of the sound field For link g
14. 48K bd CO 4 track C 8 track Frame 29 97 fps non drop y 32 track Sample Type 32 bit y 48 track Other 64 Step 3 Fill in the form presented by the system Project Name The name you enter here cannot be changed before saving the file though it is possible to Save As under a different name It is also possible to rename the project as explained below Comment Put any text in here for your convenience Sample rate The system supports sample rates up to 96 kHz The number you enter here can be changed in the Sync display up to the time of your first recording but after that it is fixed for subsequent recordings Constellation XT Page 29 Satellite AV User Manual Frame Sample Type Video Audio Tracks CHAPTER 3 PROJECTS The value you place here can be changed in the Sync display at any time afterwards It should match the incoming timecode format for correct synchronisation The system supports sample depths of 16 or 24 bits You can change this value at any time affecting subsequent recordings All previously recorded audio is played back at its recorded sample depth Add Video Track If this is checked the system will display a video track at the top of the track display Choose the number of tracks you would like in the project Step 3 Click OK to create the project Closing a Project There is no explicit Close command You may load or create a new project at any time or
15. Mix Duration The automation data for a project starts at a timecode location one frame after timecode midnight and finishes one frame before midnight However the system requires a minimum preroll of at least one second and it is advisable to start projects at a location of at least one minute after midnight to provide adequate preroll Static Snapshots Project Snapshot Every project contains a snapshot of the state of the mixer when the project was last closed When a project is opened the mixer state is updated and all parameters are recalled Mix Snapshot Every saved mix contains a snapshot of the state of the mixer when the mix was saved When a mix is loaded the mixer state is updated and all mix items are recalled So it is not necessary to write automation data for non critical items they will be reset to their correct static values when the mix is loaded See Data Storage on page 203 for more details Many complete mixes can be saved within a project How to Use Constellation Automation Here is a set of general methods for using the automation Details will follow Using the Auto Buttons Step 1 Step 2 Step 3 Step 4 Enable parameter s see Enable Parameters below Press Auto on one or more Faders this puts them into WRITE or TRIM see below Press Play to move the transport automation data starts writing Press Stop automation stops writing and Auto buttons are extinguished The mix it
16. Off The Call key must be pressed before selecting a signal path for control by the Master Fader and Channel Panel Solo Call by Solo Pressing the Solo key above a fader calls the path to the Channel Panel Touch Call by Touch Touching a fader calls its signal path to the Channel Panel Channel Panel General Operation The Channel Panel consists of five sets of dedicated user controls When using the Channel Panel a signal path is called from the selection panels or by pressing the Call key on an individual fader The Channel Panel controls are Equalisers 4 band parametric shelving notching equalisers plus 2 bands of switchable hi lo pass filters and shelving EQs Panning Complete surround panning including diverge rotate and spread Dynamics Compressor plus limiter and expander or gate Auxiliary Four aux sends with discrete sets of controls plus two controls Sends shared by eight sends Path Config Overview of complete signal path with dedicated controls for uration gain delay and phase plus configuration keys for inserts direct outs patching and routing The Master Fader The Master Fader provides level control to whichever signal path has been called to the Channel Panel Equaliser The equaliser provides four bands of parametric EQ and two filters Each parametric section can be switched to band pass reject shelving or notch Each parametric section can be switc
17. Press the Patch I O key to return to the previous mode or select another bus to patch by pressing a bus selection key Patching AFL PFL Outputs To select outputs for the AFL PFL bus Step 1 Step 2 Step 3 Press Patch Output key Press the PFL key Now two outputs may be selected in the usual way with the Speaker Mute keys selecting only Left and Right When outputs are selected for the AFL PFL bus it no longer interrupts the Control Room Monitor signal Patching Insert Sends The insert point may be moved within the feed signal path See Moving the Insert Point on page 50 To select physical outputs for insert sends Step 1 Step 2 Step 3 Step 4 Step 5 Step 6 Step 7 Press the Call key to call a feed or bus to the Channel Panel Select the feed or bus to be inserted or press the track key of any member of a link group to select the group or retain the existing selection Enter the Insert Menu by pressing the Insert Config key on the Path Configuration section of the Channel Panel Press the Patch soft key in the LCD menu Press the AES MADI soft key to choose the desired type of digital output if required The track feed keys may now be used to select analog outputs for the insert sends and live feed keys to select digital outputs Outputs of the selected type Analog and AES MADI currently patched to the selected bus element are brightly lit Outputs of the selected type Analog and AES MADI
18. Step 6 Follow the instructions in the sections above to achieve the monitoring configuration you wish to save Press the Setup key in the Studio Monitor section to display the setup screen If necessary press the CR Bank or Studio Bank selection key for the control room or studio monitor set you wish to store Press the monitor set selection for the set you wish to store Choose the attributes of the current monitoring setup to store by pressing one or more of the attribute selection soft keys Press just the Source key to save the current source selection Select any of the other attributes which are Fixed Level for control room Speaker Mutes for control room Speaker Phase for control room Speaker Set Alt Format for control room Press the sTORE soft key to save the monitor set configuration Press any other menu key to continue working Labeling Monitor Sets The monitor set keys are fitted with removable lenses to enable the user to print and fit their own key cap text inserts on clear film Saving Monitor Setups AT OIE FAC The BLUE Utils menu offers the Update Sys File item for storage of system settings System Files are stored in the C Program Files Fairlight FMC Data directory Constellation XT Page 71 Satellite AV User Manual CHAPTER 6 MONITORING Step 1 Hold down the BLUE key and press the Utils key to enter the Utils menu Step 2 Press the Update Sys File s
19. These include the following formats 5 1 6 1 and 7 1 Constellation XT Page 113 Constellation User Manual CHAPTER 9 THE IN LINE PANEL The boom level is independent of the panner position The boom element of a link group is only ever assigned to the boom element of the bus to which the link group is assigned Boom ON OFF The signal sent to the boom element of a bus may be switched on or off using the switch in the Boom section of the In Line Panel Boom Level The Boom Level control adjusts the amount of signal sent to the boom element of the bus to which a feed or link group is assigned The boom level control range is OFF to 10dB This level control may be pre or post the feed fader Boom Pre Post Boom is always sent post Fader in the Constellation system Pan Diverge Spread Rotate Automation Enable The blue enable key adds this group of controls to the current automation parameter selection Dynamics The DREAM II Dynamics comprises three sections a compressor a limiter and an expander or gate The dynamics transfer function and parameter values are displayed in the fat channel at the bottom of the mixer video display The In Line Panel offers one strip for the Compressor called COMP another for the expander or gate called DYN2 and a third called LIMITER Comp Parameters Gain Makeup The Gain control adjusts the gain makeup This gain element is used to compensate for the overall gain reduction ca
20. and or move to another location The ghost shows where the clipboard contents can be pasted Step 5 Press the Enter key to paste the clipboard The clip is pasted Head This time we ll only work with the Head of the clip That is the part before the cursor Step 1 Select a track and move a clip under the cursor Constellation XT Page 126 Constellation User Manual CHAPTER 11 EDITING The clip is red because it is touching the cursor Step 2 Press the Cut key on the Binnacle if not already selected Step 3 Press the Head key Only the head goes on to the clipboard Step 4 Select another track and or move to another location The ghost shows a head shaped clipboard ready to be pasted The original tail 1s now Blue because its track is not selected Step 5 Press the Enter key to paste the clipboard Constellation XT Page 127 Constellation User Manual CHAPTER 11 EDITING f bid A former head is pasted Range You can make a range that specifies exactly which part of the clip is affected The easiest way is like this more about ranges later Step 1 Move the transport where you d like to start the range Step 2 Press the From key Step 3 Move the transport where you d like to end the range Step 4 Press the To key The range is marked in red Now we ll cut and paste the audio in the range Step 1 Choose the track and set the range we ve just done
21. currently patched to other sources flash off to dim Outputs of the selected type Analog and AES MADI currently available are dimly lit Outputs of the selected type Analog and AES MADI that are not fitted are unlit If the selected path is a bus or a link group the outputs can be selected for one bus or link group element at a time The Speaker Mute key of the current bus or link group element is illuminated green Speaker mute keys for bus or link group elements already patched flash off to dim green Speaker mute keys for bus or link group elements not currently patched are illuminated dim green Each insert send may be patched to a single output or multiple outputs Press the SINGLE MULTI soft key to select single or multi mode In SINGLE mode Press a track key to select the output for the current feed insert send Constellation XT Page 54 Satellite AV User Manual CHAPTER 5 PATCHING AND ASSIGNMENT OR If the selected path is a bus or link group in SINGLE mode the current bus or link group element is advanced automatically when an output is selected Press a track key to select the output for the current bus or link group element insert send The bus or link group elements advance in the following order Left Left Centre Centre Right Centre Right Left Surround Centre Surround Right Surround Boom Elements that are not in the current bus or group format are not displayed To skip the current bus or link
22. press Enter to change the Glide Out value Update Sys File Saves the following system settings to the following files Constellation XT Page 200 Constellation User Manual CHAPTER 23 AUTOMATION Monitor_Sources TXT patching and formats of external monitor sources Speaker_Sets TXT patching and formats of all speaker sets Setup_Variables TXT Call Follow state and Constellation brightness Multi Trim Multi Trim can be used to adjust a group of parameters while recording automation Multi Trim groups are temporary groups of feeds which are controlled from a single virtual master Individual members of the temporary Multi Trim group must be enabled for automation while the Mix menu is active prior to entering Multi Trim mode or from the AUTO keys next to each member fader No automation is recorded for the virtual Multi Trim master itself Follow these general steps for using Multi Trim Step 1 Press the Multi Trim key Step 2 Use the Channel Select screen to select signal paths and toggle them in or out of the Multi Trim selection Step 3 Select Absolute or Relative mode by pressing the Abs or Re1 soft keys in the LCD menu In absolute mode the values of the individual member s parameters are set to the position of the virtual master control In relative mode changes made to the virtual master controls are applied as offsets to the values of the member s parameters Step 4 Adjust the Master Fader or any control
23. 111 TRE SULECUN A PAM dd 112 DA A ccd2gacunexsiaddeaes tosadasgedeGangvactzsderetercdgegsdhelaissdddsenes 114 Auxiliary SendS usan desis ctedebeavocenteveededecectticeievtevevevivex sie Aa PAASA NARRAS 116 CHAPTER 10 RECORDING eee ceesceesceeeeeceeeeseeeeeeeeenneeensesnesesssessessaceuaceessseeeesseeeeeees 119 INTO dCi ici AA danas 119 Project Set UPS ii id dida 119 SYNC SETUP isis ici iii iaa iio 119 Patching Inputs to Track Feeds airoso serene na E E EEEE 120 Aa a e iia adi 120 REGON eaa Sv Ava a a a ico cenas 121 CHAPTER 11 lt EDITING 0000 di eb 125 A OCU CUION E P T EEE E A EET 125 cut and Paste a AAE AENA 125 CO T E A T E A AT 131 al f co DEEE ER A O re eEPeeMCEEP TEETER Tee 131 Edit Soft Key Commands iia 131 MO ii ane as 132 Slip Edit MOG R EA E T E A E E E E E E E A A E N 134 Eaa PERE O O 136 Fade Mode israel 137 Gating CliPS i nN E EE eet ws eves di dav A T E othe eae 144 Mouse Based Editind co citada aii 145 CHAPTER 12 GROUPING coi a 150 o COM cere gts See ox A A eeciedcg dec A A E de cecuu vena dase ck ce teacsl scdsaved T 150 SUMMary Of GrOUPS irse 150 LLIN GROUPS sei aaa ras de 150 Fader Groups erisir iaa 154 El KEKEKE A ETA A A T 154 MUG Tie ASE 155 CHAPTER 13 LIBRARY once 158 Miroduch Osasin E e a A E EE whexbieneedauen aes 158 A ETT E T 158 NA ae R A e A AAA AE E co anesd2eaduehlsst cedecevtaccgdsusevetuasatre edeasseensacaecs 159 Loading a Preset arcara niaaa ada 159 Deleting a Preset arerio
24. 9 9 9 9 0 0 lo YSS SISS 3 63 5 S 6 6 SS S 6 e 5 6 aaa w lo Bl You will see the project and you will also see the FUF file NewProject1_001 FUF The MT file contains all the EDL information The FUF file actually contains all the audio data Please note that you can also use the Clip Search function to see exactly the same thing 30 Track 1 30 24 i 00 09 00000001 _ Track2 00 00 09 04 00000001_ Track 3 00 00 33 09 00 00 09 04 00000001 _ Recorded Audio 3 Track4 00 24 1 00 00 33 09 00 00 09 04 00000001_ amp Projects File Edit View Favorites Tools Help a OQ O B JO Search E Folders Fiz Address D FairlightAU Projects FolderInfo128 dsm File and Folder Tasks FolderInfo dsm IE Rename this file EY Move this ile Step 1 Open the View menu and Click on lt Clip Search gt You will see all the clips that belong to the currently open project Now click on lt Reveal File gt This will bring up a Windows pop up window that points to this FUF file Important A FUF file has a size limitation of 4Gb When the audio data contained in an MT project reaches this limit another FUF file is instantly created in the background allowing you to continue recording or entering audio data This new file is attached to the original Constellation XT Page 210 Constellation User Manual CHAPTER 24 PROJECT AND FILE MANAGEMENT This can happen up to 250 times givi
25. A A Ai 43 Patching Using the Selection PaN l oooooooooccncnccnnnnnnnnonononononoronennnnnnnnononnnnnnnnnrrrrrrnnrrnnnnnnnnnnnns 47 Patching QUIPUES a 52 Configuring BUS FOrMatsS oee eirean aaea rA nora nn Erea AVAE PLEMET ETE n nana i ERATE EERTE PARERES ENAN RR 57 Assigning Signals to BUSES Aaditi iai aa dis 58 BUS RECUCUION orenen irinae e ONTEER EEES ANNEE EREA EEEE EEOAE NES 61 CHAPTER 6 MONITORIN Goooooooocccconcccnncconoccnncnonnnnonononononennnnrrnnnnnnnnnnnnnnnnnnannnnnrannrrrnnnnnns 63 Introducir 63 Patching Outputs for Control Room Monitor SetS ccccccccccccnnnnnconcnnnnnnnnnonnnnonnnnnnarerennnnnnnononnnnns 63 Selecting Control Room Monitor SpeakerS occccccccccccononononocanannnonnnnnnnonononnnnnnnnnnnnnrrnrnnonnnrrrananans 65 Selecting a Control Room Monitor SOUFCE cccccccccccnnononononnnnnnononnnnnnnononnnnnnnnnnrnnnnnnrrrrnnnnr ranas 65 Patching External Monitor SQUFCES cccccccccccooconoannnnonnnnnnnnnnnnnananannnnnnnnnnnnnnnnnn aad riia 65 Naming External Monitor Soules arenis ennie aE EAEE AERE KENEEN SEREA 66 MONITO EE moln na I A T A EET 66 Inserts in MONItOriNQ aaa are ee Ea A a E aeaa aaaea aa ean A Aaa aana a aienea aeina 67 Monitoring Controls vital 67 Selecting Studio Speaker Sets oraait na aana EEE ENEE EE EEE EANAN a EEEE EEE AAEE EEA EEEa 68 Patching Studio Speaker OUtpUtS ccccccccccccnnnnnnconenennnnnnnnonononnnnnrrrrrnnnnnnrnnnrnnnnnnnnrrrrrrrrrrrrnnnnnnnnns 69 Naming Studio Speaker Sets osier
26. BRRRRERRRERRARRRRRRRRARRRARRARRRARRARRRARARARRRRRRRRARRARAR 30 FE fF fF Ef E ESSET Bb oe G E EES PRR RRR RRR RR RRR RRR RRR RRR ES 40 P0000 00 00 J on 3 4 6 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 28 2 28 29 3D 31 32 B 34 95 W 37 38 W 4D 41 42 43 44 45 40 47 a8 o Hammies JS e e Video Locators s m DIA A Ema 00 59 58 00 06000 1 16 ojala c md 0 00 06 09 aaa ae E 0 00 0803 01 00 09 101 ae Ex hi PE 0 00 09 29 smtp R pana MXB L plo Lana Ema EN EX oane amp luso a s m FX 1 A a EN z ooo i Te dea nee oana g 01 00 06 02 9pin Master Internal 01 00 11 11 E Top Layers E 244 37 09 01 00 16 20 Video locators are also indicated by yellow pointers on the timescale and are simply marks that reference a specific frame of video Creating a Mark To create a mark locate the transport to the desired point and press the Mark button Marks are shown as yellow indicators on the timescale Constellation XT Page 212 Constellation User Manual CHAPTER 25 MARKS Editing Marks To edit marks select View Locators from the onscreen menu or press BLUE Mark Time 00 05 19 17 00 05 19 27 00 05 21 18 Window crash 00 05 23 02 Lucille 00 05 23 10 Moog D00 05 23 16 Set Time Jump To Rename Remove Remove All Hide Click the appropriate button to set the Mark time rename the Mark or remove it GOTO Mark The GOTO menu allow the tr
27. Constellation XT Page 170 Constellation User Manual CHAPTER 18 CLIP EQUALISATION ma p o n Freq Gain Q 10000 oo f 10 M Cancel Si ma HMF ai 3500 of 1 0 V E mr Pf 3 135 10 W gt old l 7 ME E E ES Range Filter Type Frequency Gain Q Factor Enables Right side of display The value grid shows the parameters of the EQ being applied to the clip or range of clips Band There are four EQ bands that you can apply They are given the names commonly used on mixing consoles but actually they are not in fixed ranges you have the full frequency range available on each of them Filter Type Choices are P Band pass filter gt High pass filter lt Low pass filter Each band can be set to any filter type Mouse click on the button to cycle amongst the choices Frequency The centre frequency of each band Gain The gain of the band Range 99 to 20cB Q This displays the Q of the band or indicates the type of shelf Range 0 99 Enables Used with the Apply command Only the Enabled bands are applied to the selected clips Band Freg ain a HF 1 s0 oo f 10 mr Pf 396 135 10 The Value Grid shows all the current parameters of the EQ being changed Choosing a Parameter There are two ways to choose a parameter in the grid Constellation XT Page 171 Constellation User Manual CHAPTER 18 CLIP EQUALISATION Click with the mouse in the cell you would like
28. In key to drop in to automation Trim on the selected feeds Move the Master Fader to adjust the level of the selected feeds Press the Out key to stop recording automation data and drop the selected feeds back in to Read Press the Multi Trim key to leave Multi Trim mode Automation with Link Groups Link groups are useful for dealing with groups of feeds carrying audio in a multi channel format such as stereo or 5 1 See Grouping on page 150 for an overview of link groups Link groups should be established before any automation is written If members are added to a group when automation data is present on either the master or the members the data on the members is erased If the link group is destroyed or unlinked after automation is recorded for the group the automation data remains on the group master but not the slaves Only the parameters on the link group master can be automated the slave member s parameters follow the master Constellation XT Page 202 Constellation User Manual CHAPTER 23 AUTOMATION Mix Editing Mix Copy Mix Copy allows a selection of automated mix parameters to be copied from one time location to another Step 1 Press the MIX ON key to enable mix automation Step 2 Select the mix items you wish to copy by selecting parameters and signal paths in the usual way Step 3 Use the From and To keys to select the range from which you want to copy or hold down a BLUE key and use the Range automa
29. Inc has contractually obligated Fairlight AU s Software Suppliers to make this disclaimer e No Liability for Certain Damages EXCEPT AS PROHIBITED BY LAW Fairlight AU S SOFTWARE SUPPLIERS SHALL HAVE NO LIABILITY FOR ANY INDIRECT SPECIAL CONSEQUENTIAL OR INCIDENTAL DAMAGES ARISING FROM OR IN CONNECTION WITH THE USE OR PERFORMANCE OF THE SOFTWARE THIS LIMITATION SHALL APPLY EVEN IF ANY REMEDY FAILS OF ITS ESSENTIAL PURPOSE IN NO EVENT SHALL Fairlight AU S SOFTWARE SUPPLIERS BE LIABLE FOR ANY AMOUNT IN EXCESS OF U S TWO HUNDRED FIFTY DOLLARS U S 250 00 e Limitations on Reverse Engineering Decompilation and Disassembly You may not reverse engineer decompile or disassemble the SOFTWARE except and only to the extent that such activity is expressly permitted by applicable law notwithstanding this limitation e SOFTWARE TRANSFER ALLOWED BUT WITH RESTRICTIONS You may permanently transfer rights under this EULA only as part of a permanent sale or transfer of the Device and only if the recipient agrees to this EULA If the SOFTWARE is an upgrade any transfer must also include all prior versions of the SOFTWARE Obtaining Technical Support Users requiring technical support should contact their local distributor Information can also be found on the world wide web at http www fairlightau com Manual Errors and Omission To help ensure that Fairlight provides the most accurate and comprehensive documentation please report any
30. Keep Borrowed gt on previous Fairlight systems Save As lt Save As gt can be used to make multiple versions of the same MT project If lt Save As gt is used the actual audio data will still remain in the original project whose FUF file will be attached to the second one If new recordings are made into the second file they will be written into a new associated FUF file To consolidate all of the audio into the new version use the function lt Stuff Fufs All Clips gt Constellation XT Page 211 Constellation User Manual CHAPTER 25 MARKS Chapter 25 Marks Introduction Marks A mark is a stored time location in a Project indicated by a yellow pointer on the timescale Constellation XT can store 1000 marks with each Project Marks can be given names and can be used as location points Video Locators Video Locators are a special class of Marks that are created by dragging video frames to the Locator thumbnails in the Dream II Pyxis track setup Drea 0 0835 Beta Boao tra Proje Tx Rang na E E EEE SE E ooe TITO i TE eee e eee eCeEE EEE EEE PE BREE REE ERROR RR RRR ROR RRR RRB BREE S 10 In Zia aaa eeeeeeeeeee eee ee eee ee ee ee eee ee ee eee ee ee ee ee 15 F co 00 00 00 ES Pee EEE EEE Re ERE EEE EEE EEE EE EEE eee ee EE EEE EGER 5 FE ER
31. Page 109 Constellation User Manual CHAPTER 9 THE IN LINE PANEL Zoom Screens Each time a control on the In Line Panel is touched the Zoom screen appropriate to that control is displayed on the Mixer screen You can control how long the Zoom screen stays on the screen using the Utils menu Zoom control By setting it to zero you can prevent Zoom screens from being displayed Path Controls The Path strip controls the general behaviour of the audio channel Mic The rotary knob controls the gain of a microphone preamp if any that is connected to the input of the channel The switch toggles Phantom Power on and off Input The rotary knob controls the gain of the Input after any conversion from analog to digital The button toggles the phase of the input Holding down the BLUE key while pressing the Phase button causes the Patch I O menu to be displayed in the Mixer screen Track Arm Can be used to arm a track but only if an input is patched to it This is done using the Patch I O button see Patching and Routing for details Insert Switches the Insert In and Out of the channel Only works if an Insert Return has been defined for the channel This is done using the Patch I O button see Patching and Routing for details Holding down the BLUE key while pressing the Insert In Out button causes the Insert Config menu to be displayed in the LCD Direct Output The rotary knob controls the level of the Direct O
32. Press the Notes key A text window appears on the Mixer screen Step 2 Use the computer keyboard to add text to the window When complete press OK to save your notes or press Notes again Step 3 At any time you may return to the Notes window by pressing the Notes key again and can edit the text in the window Constellation XT Page 167 Constellation User Manual CHAPTER 17 CLIP LEVEL Chapter 17 Clip Level Introduction The Level Menu allows clips to be amplified and attenuated by up to 99dB The gain changes are performed by the system in real time as the audio is played out from the system Applying a level to a clip does not affect the waveform on disk The level function can operate on multiple tracks on clips that lie beneath the cursor and also within a Range TE TE TE TT Bao Applying a Level Change Step 1 Press the Level key Step 2 Select the track or tracks containing the clips you wish to modify Step 3 Locate the cursor over the clip s or define a Range that wholly contains the clips Step 4 Press the clip soft key Step 5 Change the level by typing in a value or using the Jogger Wheel Step 6 Press Enter or click OK to make the change permanent Constellation XT Page 168 Constellation User Manual CHAPTER 17 CLIP LEVEL The output of each track is displayed on the level meters Range A number of clips can be altered at the same time using a Range and track selection A range is
33. Ratio control adjusts expander ratio This sets the gain reduction ratio input to output applied to signals which fall below the threshold level The control range is 1 0 1 to 10 1 Expander Attack Time The Attack control adjusts the attack rate time constant of the sidechain detector The control range is O to 100mS Expander Release Time Press the Hold key to toggle the Release control between Hold and Release The Release control adjusts the release time constant of the sidechain detector The control range is 0 03 to 4 03mS Expander Hold Time The Hold control sets the delay between applying gain reduction and commencing release of gain reduction After the audio signal drops below threshold level the expander is held open for this time before it starts the release curve Gate Parameters Gate Threshold The Thresh control sets the signal level below which gain reduction occurs The control range is from 50 to OcB Gate Hysteresis The Hyst control sets the difference between the level which must be exceeded to open the gate and the level below which the signal must fall to close the gate The control range is O to 12 5dB Constellation XT Page 115 Constellation User Manual CHAPTER 9 THE IN LINE PANEL Gate Range The Range control sets the maximum amount of gain reduction that will be applied when the signal falls below the gate threshold Once the signal has fallen below the level determined by the gate thresho
34. Read Indicator oooooocccccnncnocnnnnnnnncnnnnnnnns 77 Mix Men conncncnnnccnnnnnnnnnnana no sanini 198 Recording cccetcceeseisetecetcizcseseesetiniinceeses 120 MON sasse 187 Reducen 61 Momentary Talkback nsss 234 Reduction BUS cccoooccnccoocononcnonanonccannnos 80 Monitor ForMat ccccccccnncnnncnnnnnnnnnnonanons 66 Reduction BUSES 61 Monitor LeVel ooooccccnnccnnnananannnononnnnnannnno 67 Reference Level eiren 68 Monitor Phase Reversal sser 69 Relative Speaker Levels eerren 64 Monitor POrts cccccncccoccnnnnnnnnonenonenonens 230 Release 94 95 96 115 116 117 Monitor Source Patching 65 Renaming a Project ccmnnnnnnncccncnnnnnnns 164 Monitor Source Selection 65 122 A asthe onaitnticvanteorn davies A 198 Monitor Speakers senn 65 RECULNS cececcccusssseseeceuuaecsseceecereaess 52 101 Monitor_SOUrces TXT sssr 72 236 Rotate Control 91 114 Mono Clips sesiis ienna cta 35 Safe Indicator ccccccccesecececececsececeeeseeseese 77 Multi Track button 19 Saving Monitor SetupS 72 Multi TrM Seed NaMES occonccnocnoncnncnncnnconconcononcinns 164 MURO comccrnnoscncnnoncnnnrncnnonaransnnass Select a range Of tracks oococcocnccncannons 36 RS Select a single traCk oocmmmmmm 36 Speaker Mutes Selecting a Monitor SOurCe 65 122 Naming Selecting Monitor Speakers sssr 65 BUSES osssssssssseeseeeseeeeesesesssnnninnnenetteteetenee 165 Selection Panel cccecesseeeeeesteeeeeee
35. SIP Defeat may also be engaged by holding down a BLUE key and pressing the MUTE key on any channel Solo Defeat is indicated by a grey S on the channel tile on the mixer display If multiple signal paths are selected and Multi Trim is ON the SIP Defeat key will be solidly illuminated if all selected signal paths are SIP Defeated and OFF if none of them are If some of them are SIP Defeated the key will flash then pressing it once will remove SIP Defeat from all selected signal paths double pressing it will assert SIP Defeat for all selected signal paths Bus Routing Bus Routing provides a fast alternative to the Bus Assign menu for assigning feeds and buses to buses Step 1 Call a signal path to the Channel Panel Step 2 Press and hold the Bus Routing key on the Path Configuration Section Buses to which the selected feed is currently assigned are illuminated Step 3 Press a bus selection key to toggle the assignment of the current path Fader Group To assign the current feed to a fader group hold down the Fader Group key in the Path Configuration section and press one of the Fader Set selection keys See Fader Group on page 152 for more information on fader groups Multi Trim The Multi Trim key allows the controls in the Central Assignment Panel to affect multiple signal paths at the same time While Multi Trim is active all controls on the Central Assignment Panel and Master Fader temporarily act as master controls fo
36. Set Up The steps for setting up a new project are described in Chapter 3 Projects Sync Setup The current sync setup can be changed at any time by selecting Smart Pane gt Setup from the View Menu or by pressing the Setup key on the console Clock Sync Source 5x20 Internal a Frame Rate 29 97 fos d y Position Sync Source fu defined y ps drop decades Detected Sample Rate 47999 Bit Depth 16 Pull Up Down Undefined y Detected Video Rate Undefined Sample Rate Sample rate The system supports sample rates up to 192 kHz The number you enter here can be changed in the Sync display up to the time of your first recording but after that it is fixed for subsequent recordings Frame Rate The value you place here can be changed in the Sync display at any time afterwards It should match the incoming timecode format for correct synchronisation Bit Depth The system supports sample depths of 16 or 24 bits You can change this value at any time affecting subsequent recordings All previously recorded audio is played back at its recorded sample depth Note that 20 bit recording which was supported in earlier Fairlight products is no longer a choice Clock Sync Source Choose the clock signal to be the master time reference for the system Choices are SX 20 Internal uses the internal clock of the SX 20 SX 20 Video uses the video input signal coming into the SX 20 SX 20 WCLK uses a WCLK signal coming into the S
37. Step 1 Hold down a BLUE key and press the Source Setup key next to the monitor level control Step 2 Press the define ExtSrc soft key Step 3 Press the Extsrc soft key for the source you wish to name Step 4 Press the Name soft key Step 5 Enter the name using the PC keyboard and press the Enter key to complete the operation Monitor Format In addition to the alternative speaker sets Constellation allows the operator to monitor a source in any format required For instance a stereo source can be monitored in mono to check for compatibility Similarly a 5 1 surround source can be checked in stereo The format heard is always the smaller of the speaker set or monitor format By default the monitor format is the same as the current monitor set selected with the Monitor key If a different monitor format is then selected the monitor source signals are summed attenuated or distributed to be heard in the selected format The Format Alt key in the Monitor section is used to toggle between the default format for the current speaker set and the current i e most recently selected Alternative format The Format Alt key is illuminated when the alternative format is selected Constellation XT Page 66 Satellite AV User Manual CHAPTER 6 MONITORING To change the current alternative format Step 1 Hold down a BLUE key and press the Format Setup key next to the Monitor Level Control Step 2 Select an alternative format by pressing on
38. System ports are defined in the I O Config TXT file as described in The I O Config TXT File on page 229 Use system output ports for patching your control room monitors to avoid accidentally patching other sources direct to the power amplifier inputs Naming Control Room Speaker Sets Alternative speaker sets may be given more meaningful names specific to the current installation Step 1 Hold down a BLUE key and press the Monitor Setup key next to the Monitor Level Control Step 2 Press the Patch Outputs soft key Step 3 Press the soft key for the speaker set you wish to name e g SpkSet1 Step 4 Press the Name soft key Step 5 Type the name on the PC keyboard and press Enter Use a maximum of seven characters Trimming Relative Speaker Levels The level of each speaker in a speaker set can be adjusted independently This is useful for setting surround speaker levels and compensating for different amplifier gains Step 1 Step 2 Step 3 Step 4 Hold down a BLUE key and press the Monitor Setup key next to the Monitor Level Control Press the Patch Outputs soft key Press the soft key for the speaker set you wish to adjust e g SpkSet2 The speaker mute keys are now used to select each speaker The current speaker mute key is brightly lit Other elements included the specified format are dimly lit Press a speaker mute key to select the element to patch Constellation XT Page 64 Satellite AV User Manual CHAPT
39. The Speaker Mute key of the current bus element is illuminated green Speaker mute keys for bus elements already patched flash off to dim green Speaker mute keys for bus elements not currently patched are illuminated dim green Each bus element may be patched to a single output or multiple outputs Press the SINGLE MULTI soft key to select single or multi mode In SINGLE mode the current bus element is advanced automatically when an output is selected Press a track key to select the output for the current bus element The bus elements advance in the following order Left Left Centre Centre Right Centre Right Left Surround Centre Surround Right Surround Boom Elements that are not in the current bus or group format are not displayed To skip the current bus element press the Next soft key To remove patching for the current bus element and leave it with no output press the Blank soft key In MULTI mode outputs for the selected bus element may be toggled ON or OFF by pressing the corresponding Track keys If the key is flashing pressing the key will remove it from its current source and patch it to the current element Press a track key to add it to the outputs for the current bus element To advance to the next bus element press the Next soft key or press another speaker mute key to select that bus element out of sequence Constellation XT Page 53 Satellite AV User Manual CHAPTER 5 PATCHING AND ASSIGNMENT
40. U matic Setting the Automation Punch Preroll21 The automation punch preroll sets the transport preroll time applied when using punch to enter automation record Edit the following line to specify the preroll time in seconds TC_PUNCH_PREROLL 5 Setting Momentary Talkback Time Threshold21 The Momentary Talkback Time Threshold defines the amount of time the talkback key must be held down to prevent the switch from latching The default value is 500 milliseconds Edit the following line in System_Variables txt Change the numerical value at the end of the line to specify the time threshold in milliseconds MOMENTARY TB TIME THRESHOLD 500 Enabling AFL and PFL Modes AFL and PFL solo modes require two of the available buses Disable AFL and PFL to free these buses Edit the following line in System_Variables txt Change the numerical value at the end of the line to 1 for enabled or 0 to disable AFL PFL ENABLED 1 Joystick Snap The joystick snap setting defines the minimum distance in pixels between the joystick bracket and the pan target in the channel display required to capture the current pan position with the joystick To alter the value edit the following line JOYSTICK_SNAP 2 Metering Numeric Peak Level The numeric peak levels displayed on the mixer display bus meters have a variable threshold The level at which these values are displayed can be set in the System_Variables txt fil
41. a complete overview of mixer operation Automation Basics below provides an in depth discussion on the fundamentals of the automation system Example procedures are detailed later in the chapter Automation Basics Write Trim and Read In Automation we use the terms Write Trim and Read e Write means to record absolute values of parameters e Trim means to record changes to stored values of parameters e Read means to play back the parameter values that have been written The word record is used in this chapter to mean Write or Trim The Mix Item A mix item is one parameter for one signal path Examples are Track 47 Main Bus Fader Level Live 11 EQ Band 1 Q factor SubBus2 Mute There are literally thousands of mix items in the Constellation XT console The automation system can write the changing values or states of every mix item over the duration of your project and read it starting at any position These written values and states are called mix automation data Mix ON When the Mix ON key is OFF all mixing and routing functions are manually operated and the mixer will not write or read automation When the Mix ON key is ON all mix items for which automation data is written will read that data and the user has no manual control of them Mix items with no written automation data can be manually controlled by the user Constellation XT Page 189 Constellation User Manual CHAPTER 23 AUTOMATION
42. also possible to delete a file in the Open or Save dialogs as follows Step 1 Select the Open or Save As command from the File Menu in the Editing screen Step 2 The system displays the appropriate dialog Constellation XT Page 31 Satellite AV User Manual CHAPTER 3 PROJECTS Select project file to open Look in o Projects y e e FE Fe AES_Demo_OK MT E ali_48tk MT ME ls Bud_96tk MT A i cadillac_96tk MT E FolderInfo128 dsm FolderInfo dsm SA E MATRIX_48tk MT Matrix_Video MT My Documents mr Send To Cut My Computer ae K Create Shortcut Wideo_EXT a Delete My Network Rename Places Step 3 Right click on the file you wish to rename The system will display a list of commands Step 4 Select rename from the list of commands The system will highlight the current name of the file allowing you to edit it Press the ENTER key after editing to confirm your new name for the project Constellation XT Page 32 Satellite AV User Manual CHAPTER 4 TRACKS amp TRANSPORT Chapter 4 Tracks 8 Transport Introduction DREAM II provides up to 192 disk recorder tracks routed via dedicated track feeds In addition to the track feeds DREAM II supports 96 live feeds which may be used for effects returns or any other real time signal source DREAM II supports up to 256 analog and digital inputs and outputs which may be patched to track feeds or buses as required see Patching and Assignment on
43. and RECORD together Constellation XT Page 121 Constellation User Manual CHAPTER 10 RECORDING Step 2 Press STOP or PLAY to end the recording It is also possible to drop tracks in and out of record using the track keys in the Arm Menu Recording Types Recording is always non destructive creating new data and clips Note that earlier Fairlight products included overwrite recording but this is no longer available ARM Mode The fifth soft key in the Arm Menu sets the operating mode of the arm menu In Ready mode the track keys are used to arm tracks for recording Armed Ready tracks play back existing clips until dropped into record When in record the input signal is passed through to the output of the track feed Armed tracks show the input highlighted in red on the meters display on the video screen and on the track keys In Thru mode the track keys are used to monitor the input of a track Tracks can not be armed in Thru mode Thru tracks show the input highlighted in green on the meters display on the video screen and on the track keys Monitoring Inputs The MONITOR soft key in the Arm Menu determines what is monitored on armed tracks in the various transport modes Press the MonrIToR soft key to toggle between INPUT and one of the four other modes described below To select the alternate mode hold down a BLUE key and use the jog wheel or keys and press Enter to select the alternative input monitor
44. behaviour of the system Selecting a Control Room Monitor Source The monitor source can be selected from one of the following e The Main Bus a Sub Bus or an Aux Bus OR e external source presets 1 to 16 named Extsrc by default on the LCD soft keys which can be patched from any physical input allowing monitoring of CD players surround encoders decoders and other external devices The Source Alt key in the Monitor section is used to toggle between the Main bus and the current i e most recently selected alternative source The Source Alt key is illuminated when the alternative source is selected To change the current alternative source Step 1 Hold down a BLUE key and press the Source Setup key next to the Monitor Level Control Step 2 Select an alternative source by pressing one of the bus selection keys or one of the Ext Src soft keys in the LCD menu The alternative source is immediately switched into the monitoring chain Patching External Monitor Sources To set the format and patch the physical inputs for external monitor sources follow these steps Step 1 Hold down a BLUE key and press the Source Setup key next to the monitor level control Constellation XT Page 65 Satellite AV User Manual CHAPTER 6 MONITORING Step 2 Step 3 Step 4 Step 5 Step 6 Step 7 Step 8 Press the define ExtSrc soft key Press the Extsrcj soft key for the source you wish to patch To determine the
45. ccccccecececcccscccuceceuseeas 85 110 EMCI Ao e 236 Calling a Signal Path o oo o 85 109 Format Channel Library Presets 156 Configuring Bus Formats s 1 111111111 57 Channel Panel 85 107 OS 66 erario coa et aldsaliae tios 20 Frame Rate concanconcnnnonnnnnnnnnnennennennernos 118 O E cease 34 Orcera ricas niriana iana 61 Compression FreqUE Visitaron isa 169 Attack Rate cccccccccccccccccccceccecesececeecece 94 115 FO sess cccecacevsetssasnechassswanceasseacesdacesses 41 Bypass Gait saaa aa a 98 169 Gain Makeup Gain Makeup ooconnncnnnnnnnnnnnnnennnnnnnnns 93 115 Hold Time Gain Reduction Meter ccccccccnnnnncnnnnnss 93 O seattrtons Gales ei ceacehcciea a R ai 95 116 Release Rate Hysteresis ccececseeesceseenseeseeeeeeees 95 116 Threshold cocinar ire 2 o AA CONSOlE sasanidi anana CONSOLE Library Presets s e 156 Glide QU sssri insidanto 198 Copy MiXcoccionnirininiciioraaniicnii sersan 201 GOTO ricino di ai ici 180 Cross FQdesS rssikon nan iaoiai 142 GPIO Enable ss cei cveviesiveniecs cssvesnsedencee s 235 Cross over Cable 239 AAA 34 CUISOM ii ic de cossssitsacceeessseatecensaecasaieeericcees 38 HOU isd ccnadcte euaia snd chetaecibaaacacedartndaiaants 198 Data Storage oooooccconncnnnnanncnnnnnnonananennns 201 Hold Time 94 95 96 115 116 117 Databases iii as 211 Hysteresis coccccccccnnnananancnaninnnananana nos 95 116 Default Console Template oo 156 T O NA
46. commands are available when the Cut Copy or Erase Binnacle modes are current if a Range is present split range fill b f fill overlap Cuts any clips lying across the ends of the range into two pieces at those range ends The fill function is used to automatically repeat a section of audio to fill a Range on a track to create background fills or buzz tracks The audio used for the fill is the clip currently on the clipboard from the last cut or copy function Multiple copies of the source may be needed in which case an overlap is used see below Reverses the audio in every second copy of the clipboard used for filling This can give a smoother effect Controls the length of overlap between pieces of audio used in the fill command To use the 111 function Copy or Cut the desired audio to the clipboard The cursor s sync point will be maintained Create a Range encompassing the area to be filled Press the i11 soft key Razor Soft Key Functions When Razor On is selected the LCD menu changes insert fill insert b f fill overlap split range The filled audio is inserted into the track not written over the original audio in the range The backwards forwards filled audio is inserted into the track not written over the original audio in the range Controls the length of overlap between pieces of audio used in the fill command Silence will be inserted from the start
47. controls the percentage of the fade s duration when it reaches the Crossover Point X Level controls how loud the fade is compared to the full Level of the clip at the Crossover point Duration the total length of the fade in frames Duration is not really part of the shape but its control is close by Example Percentage 30 Attenuation 3 dB Duration 20 This means that the fade will last for 20 frames The crossover point will be 6 frames into the fade at which time the level will be 3 dB compared with full Level Adjusting Fade Shape To adjust the fade shape of the currently selected clip s Step 1 Press the X Leve1 soft key or the x Point soft key Step 2 Press the Binnacle Head Tail or Clip key to choose which end s of the clip you wish to change Step 3 Use the jogger wheel to adjust the X Level or X Point You can see the change in the shape as well as the value you are jogging by looking at the Fade Panel in the upper part of the Editing Screen Constellation XT Page 139 Constellation User Manual CHAPTER 11 EDITING Step 2 Step 3 Duration 50 You can also type values into the X Level or X Point field using the Numeric Keypad or the QWERTY key numbers Always start with a minus when typing X Level values as they are always negative Turn off the 1ength soft key if you do not wish to apply the Smart Panel fade durations to the selected clips Press the Binnacle Ente
48. cursor position while the Tail position is preserved The clip gets shorter or longer and the sync moves by the difference in position between the Head before and after the edit Before After Cursor Tail Same as Head but the tail is slipped to the cursor position Range Ranges cannot be used with Slip Multiple Tracks Works as expected All the red clips will be slipped by the same amount Soft Keys in Slip Mode sync point Pressing the Slip Sync soft key allows the audio within the clip to be slipped without changing the positions of the head and tail To do this press the Slip Sync soft key move the transport and press ENTER The audio within the clip will move by the amount you just moved the transport There are limits to slipping sync Eventually the end of the recorded audio reaches the end of the clip and after that it can go no further Slip Edit Options Trim is usually applied to a single clip or selections across tracks therefore no options are available Range On is not supported in Slip Mode All Layers On is not supported in Slip Mode Razor On is not supported in Slip Mode Constellation XT Page 135 Constellation User Manual CHAPTER 11 EDITING Nudge Although not a Binnacle editing function the Nudge function is closely related to Slip The Nudge function slips clips by a predetermined amount of time Nudge can operate on one or many tracks affecting clips that lie under th
49. dim to bright Pressing a flashing key deassigns all the selected signal paths extinguishing the bus key Double pressing the flashing key assigns all the selected signal paths without first deassigning them Bus Assign from the Mixer Screen Step 1 Right Click a Track or Live Feed on the Mixer screen Step 2 Use the lower right hand section to toggle assignments to buses Step 3 Use the and buttons to move to the next previous channel Step 4 When finished right click anywhere in the Virtual Channel to make it disappear or select an editing mode Click to select next previous channel Click the and buttons to assign Track 11 toa Fader Group Click to assign Track 11 to the main bus MIX and sub busses B1 to B8 Constellation XT Page 59 Satellite AV User Manual CHAPTER 5 PATCHING AND ASSIGNMENT Stem Assign It may be desirable to assign a feed or members of a link group to a restricted set of the bus elements in the Main or Sub Buses This procedure is useful where the element order of an imported mix stem differs from the internal DREAM II bus and link group element order or when the panner alone cannot be used to create the desired assignment or spatial effect To ensure that signals are routed to bus elements at unity gain turn off the panner in the selected feeds by de selecting the Panning IN key on the Channel Panel Feeds for stem ass
50. displayed the Soft Key on each fader strip can be used to add the feed to the enable matrix Automation Mode Selection The AUTO key places the selected signal path in automation record Fader Displays The status of the signal path associated with each fader is indicated with illuminated tally displays TOUCH The fader is being touched LATCH Touch is active and in Latch mode Once a control is touched it will continue to write data after it is released SAFE The selected signal path is in safe mode and will not update automation data READ The selected signal path is in read mode and playing back automation data in mix mode Constellation XT Page 76 Satellite AV User Manual WRITE TRIM INPUT BUS LINK Signal LED Using Groups CHAPTER 7 FADERS The selected signal path is armed to write automation data the Constellation is in write mode and recording automation The WRITE indicator flashes while in Preview or when in Glide Back The selected signal path is set to trim automation data the Constellation is in trim mode and recording automation The TRIM indicator flashes while in trim mode but not re cording The fader controls the input level to a disk recorder track The fader controls a bus level The fader is a member of a link group The Signal present LED monitors the channel audio level For Track Feeds the level is taken before the channel processing or inserts after the disk record
51. feed in timecode at 29 97 If however you change the NTSC field to 29 97 Constellation will play at 44 100 at 29 97 frames per second and will pull up to a sample rate of 44 144 when timecode runs at 30 frames per second It is advisable to choose a sample rate at which you want to make the final transfer of the Project Then record your material at whichever frame rate is going to be used during that final transfer The importance of this choice is that you do not want to compromise the quality of Constellation XT Page 221 Constellation User Manual CHAPTER 29 MACHINE CONTROL your final product by using sample rate conversion at the moment it leaves Constellation XT for the last time You should make these choices at the very beginning of the Project and then you may use any other combination that suits your purposes temporarily during the recording and editing process Chapter 29 Machine Control Introduction Constellation XT can communicate with industry standard Sony 9 pin serial controlled machines with a timecode reader installed providing control over external video or audio machines directly from the Constellation Constellation XT can control up to three machines M1 M2 and M3 ArmEn Video Analog r Digital 00000000 Step 1 Press the BLUE key plus Mi key the BLUE key plus M2 key or click View gt Smart Pane gt Machine Control Step 2 The following dialog is displayed Type Name Enabled Se
52. focus click anywhere on the editing screen to bring it into focus if necessary Step 2 If a project is open the system will prompt you to save any changes that have occurred since it was opened Cs gt The current project has been modified e Would you like to save it now E No Cancel Click Yes if you want to save the changes in the project This may take a minute or so during which a progress bar will grow in size Step 3 You may now power down the Constellation surface and shut down your PC if desired It is recommended that the audio interface boxes remain powered up unless you are dismantling the installation Using the System Follow the instructions in the following chapters to quickly learn all the operating procedures necessary for completing audio production tasks with Constellation Constellation XT Page 27 Satellite AV User Manual CHAPTER 3 PROJECTS Chapter 3 Projects Introduction DREAM II uses Project files to store your work All audio recordings editing and file imports are done within Projects A project contains all the edit information mixing patching and automation data plus DREAM II settings as well as links to the audio and or video files that have been incorporated into the project Edits performed on the audio and video data are non destructive and are represented by clips which refer to pieces of audio or video data As with other standard Windows applications Projec
53. group element press the Next soft key To remove patching for the current bus or link group element and leave it with no output press the Blank soft key In MULTI mode outputs for the selected feed bus or link group element may be toggled ON or OFF by pressing the corresponding Track keys If the key is flashing pressing the key will remove it from its current source and patch it to the current element Press a track key to add it to the outputs for the insert send To advance to the next bus or link group element press the Next soft key or press another speaker mute key to select that bus element out of sequence Press the Insert Config key to return to the previous mode or select another path to patch by pressing a track or bus selection key Inserts may be switched in and out of circuit by pressing the on orF soft key Patching Direct Outputs Any feed or bus may be sent to a Direct Output Direct Outputs may have one or more physical outputs To select physical outputs for Direct Outputs Step 1 Step 2 Step 3 Step 4 Step 5 Press the Call key to call a feed or bus to the Channel Panel Select a feed or link group by pressing a track or live key or select the Main Bus a Sub Bus or an Aux Bus by pressing a bus selection key Press the Direct Config Key on the Path Configuration section of the Channel Panel Press the Patch soft key in the LCD menu Use the ANALOG DIGITAL and AES MADI soft keys to choo
54. has 72 available bus elements Signal Flow Signal paths for feeds and buses comprise both fixed and moveable processing blocks Signal paths may be configured in formats from mono up to 7 1 surround Individual elements may be controlled together as part of a bus or Link Group or unfolded and controlled separately When a track feed is armed for recording the fader may be switched to control the level at the input to the disk recorder as shown below Track and Live Feeds Up to 96 Track Feeds Up to 48 Live Feeds 4 band automated EQ Bell Shelf High amp Low Notch 2 band automated Filters High Pass and Low Pass at 12 pr 24 dB per octave Compressor plus Limiter plus Expander Gate Insert Direct Out Track Metering Aux Sends 12 each in any bus format up to 7 1 Fader and Mute Panning up to 7 1 surround Link Groups Up to 8 members with linked parameter controls and support for advanced surround panning features Main Bus 1 x Main Bus Formats Mono Stereo LCR LCRS LCRSS 5 1 6 1 7 1 Compressor Insert Direct Out Master Fader and Mute Constellation XT Page 15 Satellite AV User Manual CHAPTER 2 CONSTELLATION XT OVERVIEW Sub Buses e 8x Sub Buses e Formats Mono Stereo LCR LCRS LCRSS 5 1 6 1 7 1 e Compressor e Insert e Direct Out e Master Fader and Mute Aux Buses e 12 x Aux Buses e Formats Mono or Stereo LCR LCRS LCRSS 5 1 6 1 7 1 e Insert e Master Fader an
55. into Safe mode Step 1 Press the Safe key Step 2 Use the Selection Panel to set signal paths Safe In addition the Safe menu defines an Active Zone outside of which no automation data can be written for ANY signal path Recording Mix Data The AUTO key next to any fader is illuminated whenever any mix item on that signal path is recording automation data in Write or Trim or if any mix item on the signal path is in Preview Mix Events Mix data is recorded as discrete events Each event occurs at a specific timecode location and relates to a specific mix item When a new mix is started there are no events recorded and all controls will remain static as the project is played Once mix data is recorded it is played back or read when the transport runs past the timecode at which the event is recorded If the Constellation XT Page 194 Constellation User Manual CHAPTER 23 AUTOMATION transport is located to any point in the project the mixer state will reflect the result of all the events that have occurred from the start of the project to the current timecode The static snapshot recorded with every mix preserves the basic setup and balance of the mix Dynamic move events are added to this to create the final complete mix Entering Automation Record There are four methods of entering automation record 1 Press the AUTO key next to any fader Enabled parameters on the channel are put into record irrespective of which signal pat
56. is ON then the signal path will send no level to the Main Bus By default it will send no signal to the Bus Reduction Sub bus either In this situation the Bus Reduction Mute is in EQUAL mode and its light will show ON because the channel is muted If the key is now pressed the Bus Reduction Mute goes to OPPOSITE the Bus Reduction send level is unmuted and the light goes OFF If the Main Bus Mute is turned OFF at this time by the automation for example the Bus Reduction Mute goes ON because it is still in OPPOSITE mode Faders To under Automation While Faders To is active the parameters controlled by the individual control elements Fader Panpot Mute Switch etc are recorded into the automation as usual The Enable buttons associated with those controls which are found on the single fader located in the editing panel are used to enable the currently controlled parameters not the normal ones There are Enable buttons for the Fader panpot and Mute Switch but not for the Solo key When that is being used to control a parameter as in the case of Faders to Aux when it controls the Pre Post switching it can only be separated from the recording of the other controls by using Trim Mode or Touch Write which are described in Chapter 3 Automation on page 189 Channel Faders Constellation may be loaded with up to 48 channel faders Each fader may control a live or track feed a bus a link group master or a fader group The s
57. is not supported in Trim Mode Razor On is not supported in Trim Mode Slip Edit Mode Slip mode moves clips to a new time location Slipping the head moves the head of a clip to the cursor while maintaining the position of the tail Slipping the tail moves the tail of a clip to the cursor while maintaining the position of the head Slip is accessed on the same Binnacle key as Trim Press it once for Trim twice for Slip You can also swap between the two modes using soft keys Slip Clip Step 1 Select a track and move a clip under the cursor Step 2 Press the Trim key on the Binnacle if not already on then press it again so that Slip lights up Step 3 Press the Clip key Step 4 Jog or play the transport Step 5 Press Enter the clip is moved by the amount you just moved the transport Two Handed Slipping This is a more powerful method which is worth learning Step 1 Step 2 Select a track and move a clip under the cursor Press the Trim key on the Binnacle if not already on then press it again so that Slip lights up Constellation XT Page 134 Constellation User Manual CHAPTER 11 EDITING Step 3 Press the Clip key and hold it down Step 4 Jog or play the transport Step 5 Release the Clip key the clip is moved by the amount you just moved the transport Head Can be used one handed or two handed The result when Enter is pressed or the Head key released is that the Head of the clip is slipped to the
58. la x Render FL_7D4J2K8BQD a VocALign Step 4 Adjust VocAlign parameters or use defaults see the VocAlign manual for details When you are ready press the Align button or the align soft key A new clip will be created on the Dream II timeline and the original clip will be muted and preserved in the layer underneath Constellation XT Page 179 Constellation User Manual CHAPTER 20 SOLO AND MUTE Chapter 20 Solo and Mute Introduction DREAM II provides two independent solo and mute systems The solo and mute features described in this chapter are integrated into the disk recorder system These offer a fast method of controlling which track feeds are monitored The solo and mute functions described in this chapter can be used in conjunction with mixer solo and mute features which are described in Mixer Solo on page 74 and Mute on page 76 The onscreen soLo and MUTE functions mirror the solo and mute buttons on the DREAM II controller SoLo mutes all tracks except for soloed tracks MUTE silences only the selected tracks Both the soLo and MUTE functions can be activated by pressing the Solo or Mute key then selecting the desired tracks or by using the Mouse and onscreen M and S buttons There is also a useful feature where you can hold down the Solo or Mute key while selecting the tracks This will automatically return you to the previous menu when you release the keys
59. mic linked input patched to it A display has been added to indicate gain on the Mix Screen Fat Channel Display Level Meter The level meter at the left of the Path Configuration displays the signal level immediately prior to the fader The Meter Source key can be used to switch the meter between the group members or bus elements within the signal path Gain This control applies only to feeds with physical inputs It trims the level in the signal path immediately after the analog to digital converter or the AES or MADI input This is the same parameter that is found in the Patch I O Inputs menu Phase The phase reverse control inverts the signal at the physical input This is the same parameter that is found in the Patch I O Inputs menu Constellation XT Page 97 Constellation User Manual CHAPTER 8 THE CHANNEL PANEL Input To For Track Feeds only Input To allows the input to be routed to the track or directly to buses to provide extra fader controlled inputs to the mix Path The Path Menu is opened by this key It allows the user to determine the order of processing units in the signal path The menu includes five processing blocks whose default order in a signal path is Record EQ Dyn Insert Meter The Record block is only available when the signal path is a track feed All five or four blocks can be moved to any position in relation to each other To move a block Step 1 Select its soft key Step 2
60. name of the Project you wish to open then click the Open button The system will load all of the audio and reconnect to any external files that were used last time in the project Constellation XT Page 28 Satellite AV User Manual CHAPTER 3 PROJECTS Opening a Recent Project DREAM II keeps a list of your most recent projects To open one of these click the File button or press the Project key to display the File Menu Your four most recent projects are shown at the bottom of the menu list Simply click on one of them to open it again Opening Files Across the Network If your DREAM II system is part of a PC network the system will allow you to open a Project located across that network for example on a server In this situation the number of tracks that can be played may be limited depending on network bandwidth and other traffic In addition the response of the system may be slower than usual For best performance it is always best to locate projects on the local hard drive in your DREAM II PC Creating a New Project Step 1 Select the New command from the File Menu in the Editing screen Alternatively you may press the Proj button in the DREAM II console then click the New command from the drop down menu in the Editing screen Step 2 The system displays the New Project dialog Video IV Add Video Track Yew Project Project Name Comment Project Rates Audio Tracks C Stereo Sample rate Hz
61. number of inputs required you must specify the format of the external monitor source Press the Format soft key to cycle through the available formats These are Mono Stereo LCR LCRS LCRSS 5 1 6 1 7 1 Select the type of physical digital input you wish to patch to by pressing the AES MADI soft keys Use soft keys to choose outputs higher than 48 The speaker mute keys are now used to select each element of the external source format The current speaker mute key is brightly lit Other elements included in the specified format are dimly lit Press a speaker mute key to select the element to patch Feed selection keys now represent the physical inputs of the type selected Press a feed selection key to select a physical input for the current source element Only one input can be selected for each element selecting a new input replaces the previous patch The input feed selection key patched to the current source element is brightly lit Input feed selection keys used for other purposes flash but may be selected and automatically shared Input feed selection keys not used elsewhere are dimly lit Unlit keys show inputs that are not fitted Select the source elements to patch one by one by pressing each speaker mute key and following the patching procedure described above Naming External Monitor Sources Alternative monitor sources may be given more meaningful names specific to the current installation
62. ready to be defined Selection keys on the selection panel for signal paths already in the current fader set are illuminated The selection key of the path currently assigned to the current fader will flash Press any feed bus or group selection key on the selection panel to assign that path the current fader The next fader is automatically selected and the path assigned to it flashes Continue to assign faders in order or select a fader out of sequence by pressing its CALL key and making a selection on the selection panel Press the Map key to complete mapping or select another fader set to map Mapping Multiple Faders A range of feeds may be mapped to a range of faders Step 1 Step 2 Step 3 Press the Map key Press the CALL key of the first fader in the range Hold down the first selection key in the range and double press the last selection key Constellation XT Page 82 Satellite AV User Manual CHAPTER 7 FADERS The paths selected will replace the paths previously assigned to the sequence of faders starting with the fader selected Mapping Link Groups If a member of a link group is selected to map to a fader only the link group master is assigned If a link group is included in a range the group takes up only one fader Inserting and Deleting Faders When the Map key is pressed the map menu is displayed in the LCD Press the Insert key to insert a path at the current fader position Press the Delete key
63. selected signal path is feeding a bus whose surround format includes a sub bass or low frequency effects channel These include the following formats 5 1 6 1 and 7 1 The boom level is independent of the panner position The boom element of a link group is only ever assigned to the boom element of the bus to which the link group is assigned Boom ON OFF The signal sent to the boom element of a bus may be switched on or off using the In switch in the Boom section Boom Level The Boom Level control adjusts the amount of signal sent to the boom element of the bus to which a feed or link group is assigned The boom level control range is OFF to 10dB This level control may be pre or post the feed fader Boom Pre Post The BOOM Pre Post button determines whether the boom signal is derived before or after the feed fader This allows the boom level to be controlled by a combination of the feed fader level and the Boom Level control or in pre fader mode just the Boom Level control Dynamics The DREAM II Dynamics comprises three sections the first of which is a compressor the second of which is a limiter and the third an expander or a gate The dynamics transfer function and parameter values are displayed in the fat channel at the bottom of the mixer video display The three sections are controlled as follows For the Compressor use the dedicated controls For the Limiter use the Type switch to select Lim then use the controls at th
64. simply shut down the system Instructions for shutting down the system can be found in the section System Shutdown in Chapter 2 Note that when opening or creating a new project the system will prompt you to save the one that is already open if any This must be done for your recent changes to be saved Deleting Projects A project can be deleted using Windows Explorer like any other file It is also possible to delete a file in the Open or Save dialogs as follows Step 1 Select the Open or Save As command from the File Menu in the Editing screen Step 2 The system displays the appropriate dialog Constellation XT Page 30 Satellite AV User Manual CHAPTER 3 PROJECTS Select project file to open 2 x Look in Projects y e 1 ex Eee Fe AES_Demo_OK MT y E ali_48tk MT ON ls Bud_96tk MT A i cadillac_96tk MT E FolderInfo128 dsm Desktop LA FolderInfo dsm MATRIX _48tk MT Matrix_Video MT i Select Open Send To My Documents er My Computer Cut Copy F Create Shortcut Delete My Network Rename Places Video _EXT Properties Step 3 Right click on the file you wish to delete The system will display a list of commands Step 4 Select delete from the list of commands The system will ask you to confirm that you wish to delete the file Renaming Projects A project can be renamed using Windows Explorer like any other file It is
65. soft keys to select an external source press the MORE soft key to select external sources 9 to 16 Press the Follow C R soft key to make the studio monitor follow any selection made for the control room monitors Patching External Sources External monitor sources are setup and patched in the Source Setup menu in the control room section See Patching External Monitor Sources on page 65 above for complete instructions Monitor Sets Monitor sets provide a useful way to store and recall monitoring configurations 16 monitor sets are available for the control room monitoring system and 8 for the studio monitoring system Monitor sets can store setups as simple as source selection or as complex as a complete monitoring configuration including fixed level speaker mutes speaker set monitor format and source Recalling Monitor Sets Step 1 Press the CR BANK Or STUDIO BANK key in the Monitor Sets section at the top of the selection panel to toggle between the two banks of monitor set keys for the control room or studio In bank 1 the selection keys are illuminated red in bank 2 the keys are green Step 2 Press one of the monitor set selection keys labelled CR1 8 or S1 4 to recall the monitor set configuration The selected monitor set key is brightly lit when pressed Constellation XT Page 70 Satellite AV User Manual CHAPTER 6 MONITORING Setting Up Monitor Sets Step 1 Step 2 Step 3 Step 4 Step 5
66. the Yes or No soft key Constellation XT Page 198 Constellation User Manual CHAPTER 23 AUTOMATION Deleting a Mix Step 1 Hold down a BLUE key and press the Mix File key Step 2 Turn the jog wheel to scroll through the previously saved mixes Step 3 Press the Delete soft key in the LCD menu to delete the selected mix Creating a New Mix Follow these steps to create new empty mix with no automation data Step 1 Hold down a BLUE key and press the Mix File key Step 2 Press the New Mix soft key in the LCD menu This new mix must be saved once new data has been written Copy a Mix Between Projects Mix Carry Over allows the static snapshot and dynamic mix data from a single mix to be copied from one project to another Step 1 Hold down a BLUE key and press the File key and use the Save or Load soft key to save your current mix or load a previously saved mix Step 2 Press the Carry over soft key in the File menu The Carry over key flashes when carry over is active Step 3 Close the current project Step 4 Open the destination project Step 5 Hold down a BLUE key and press File key and use the save soft key to save the mix in the new project Mix Undo The automation system supports one level of mix undo Step 1 Hold down a BLUE key and press the Mix File key Step 2 Press the unpo pass soft key in the LCD menu UNDO PAss deletes all mix automation data written between entering PLAY and STOP during the last mix pass UNDo P
67. the first key and double press the last track in the range The Track Channel Selection Keys are also used to select analog I Os and signal paths for patching The second bank of tracks numbers 49 to 96 are selected using the 49 96 key A track can also be selected or deselected by clicking its number in the left column of the screen with the mouse Double clicking a track s number makes it the only selected track Live Feed Selection Keys The Live Feed Selection Keys are used for selecting live feeds for mixing and patching operations The Live Feed Selection Keys are also used e to select digital I Os for patching e for Multi Track Bus Selection press the Multi Track button and use the first 24 Live Feed keys to select Multi Track buses Speaker Mute Keys These keys are used for muting individual studio monitor speakers The speaker mute keys are also used to select individual bus elements during bus and link group patching operations Menu Keys These menu keys provide access to a range of editing project management and signal processing functions Most keys have two functions the names of which are displayed in colour on the button cap To activate the function displayed in blue press and hold one of the three BLUE keys while pressing the menu key Most functions can also be selected from the screen using the standard Windows menu system Soft Keys Soft keys provide access to the menu options displayed on the LCD Const
68. the signal level prior to the disk recorder in a track feed Direct Output the faders control the direct out level of each feed Boom Level the fader controls the Boom level for each feed OR Select an Aux bus or a reduction Sub Bus to control the feed send level to the selected bus Select a Sub Bus that has been set up for bus reduction to control the independent feed fader for that bus See Bus Reduction on page 60 for details on bus reduction Step 3 Press the Auto Monitor soft key when a bus is selected to automatically switch that bus in to the monitoring chain whenever the Faders To key is pressed Faders to Aux While BLUE Faders To is active any of the Aux bus selection keys may be selected and the Aux key will be illuminated All channel faders now control the level at which their signal path is sent to the selected Auxiliary bus Bus Master faders are excluded The MUTE key now controls the aux send ON OFF control If the selected Aux bus is wider than mono the soft pot allows the panning of the aux send to left and right bus elements The mute pan and fader controls may be automated and will record data for the aux bus send level pan and ON OFF parameters Use the enable keys next to the Master fader to enable these parameters for automation Select a Sub Bus that has been set up for bus reduction to control the independent feed fader for that bus See Bus Reduction on page 60 for details on bus r
69. the speaker The speaker mute keys are also used for bus and link group element selection during patching operations Monitor Phase Reversal The phase of each monitor speaker may be inverted Hold down the phase key above the speaker mute keys and press the speaker mute key of the speaker you wish to modify The mute key will flash to indicate that its phase is currently inverted Hold down the phase key and press the speaker mute key to return to normal phase Selecting Studio Speaker Sets The Studio Monitoring system can select from 9 Studio Speaker Sets Studio Speaker Sets can be either stereo or mono and may be patched to loudspeakers or headphone amplifiers as required Follow these steps to select the current Studio Speaker Set Step 1 Hold down a BLUE key and press the Setup Output key in the Studio Monitor Controls section Step 2 Selects from one of the 9 available speaker sets by pressing a soft key Step 3 Hold down a BLUE key and press the Setup Output key again or press any other Constellation XT Page 68 Satellite AV User Manual CHAPTER 6 MONITORING menu key to continue working Patching Studio Speaker Outputs To set the format and select the physical outputs for any of the monitor sets follow these steps Step 1 Step 2 Step 3 Step 4 Step 5 Step 6 Step 7 Step 8 Step 9 Hold down a BLUE key and press the Setup Output key in the Studio Monitor Controls section Press the patch outp
70. then as the camera moves through the door or window the surround field collapses and pans and fades down to the location of the window As this is occurring a pre mixed surround field for the exterior can be growing from the rear speakers and spread out to the entire speaker system as the exterior shot is established Rotate Control Rotate controls the left right and front back pan controls to rotate a single feed around the centre of the room Adjust the front back pan to reduce the radius of rotation Use rotate on a link group to rotate a pre mixed surround sound field with respect to the listener s position This effect is the audible equivalent of panning a camera where all the elements in the visual field are subject to the same angular movement The rotate control range is from 180 to 180 degrees When rotation is applied the panning of each link group member is offset in the direction of the rotation Rotate can be used in conjunction with spread and link group pan to create more or less audible panning effects for the entire surround soundfield When a link group is created with default pans spread is set to maximum divergence is set to minimum and rotation is set to zero Hold down the Pan key below the trackball and turn the jog wheel to achieve continuous rotation Boom The Boom control is available when the selected signal path is feeding a bus whose surround format includes a sub bass or low frequency effects channel
71. this Step 2 Press the Cut key on the Binnacle if not already selected Step 3 Press the Range key Constellation XT Page 128 Constellation User Manual CHAPTER 11 EDITING The audio in the range is moved to the clipboard We see the ghost Step 4 Select another track and or move to another location The ghost moves to the new track Step 5 Press the Enter key to paste the clipboard The clipboard former range is pasted The range persists after the edit Notes about Cut and Paste Tail Works the same way as Head but cuts the later part of the clip Range and Head When a range is active pressing the Head key cuts the audio from the start of the range to the cursor This will not work if the cursor is not in the range Range and Tail work similarly together Constellation XT Page 129 Constellation User Manual CHAPTER 11 EDITING Multiple Clips and Tracks When there is no range the target for editing is all the clips on selected tracks that are touching the cursor It s easy to tell which because they are always red When there is a range the target is all the clips and parts of clips on selected tracks that are inside the range Again the target clips are always red An exception with a range you can use the mouse to deselect a clip To do this hold down the Ctrl key and click with the mouse The clip will turn blue showing that it is no longer selected You can also
72. to specify the first channel and the range of the I O block PLUGINS IO_START 17 PLUGINS IO RANGE 16 Plug in Name Display The name of the plug in may be displayed in the channel display Edit the following line to turn this feature on or off SHOW PLUGIN NAME 1 Remote Mic amps To configure the Constellation to control a UP4 mic pre add the following statement to the FMC INI file UP4 ip_address x where ip_address is the address of the UP4 unit and x is the number of the first analogue input that it connects to Note that it MUST be connected to 4 consecutive inputs FMC ini and Command Line Options26 FMC is launched automatically when you start DREAM II FMC offers a number of additional command line options as listed below These options may be used in a batch file for special applications All start up options can also be set in the FMC initialisation file located at C Program Files Fairlight FMC FMC ini which overides the commandline options If necessary use the Notepad editor to edit the file Click on the Start menu and select Constellation XT Page 237 Constellation User Manual CHAPTER 31 SYSTEM FILES Programs gt Accessories gt Notepad and open the FMC ini file Note that the DREAM II Start Setup page will overwrite the FMC ini file FMC ini FMC Commandline Options Option C P lt FHF HEE EHED S lt gt BLUE Utils Menu Description Run MSAT on the same machi
73. to change Use the Numeric Keypad on your console the rectangle formed by the 7 8 9 keys at the top and the 0 00 Clear keys at the bottom corresponds with the cells in the Value Grid Freq Gain a 7 8 9 10000 0 0 io 3500 0 0 io 4 5 6 20 0 D Clear 396 13 5 50 0 0 eli BEBE elll In addition the Frequency and Gain values can directly be chosen and changed using the mouse on the graph area Changing a Parameter Value There are several ways to change the value of a parameter once chosen e Use the Jogger Wheel make sure the transport is not in Jog mode at that time e Type in the value using the numbers on the QWERTY keyboard e Use the up and down arrows on the QWERTY keyboard e Use the and buttons in the Numeric Keypad of your console e Press the NUMBER soft key and use the numeric keypad not recommended e With the mouse by dragging the red squares in the EQ graph Applying the Changes To apply your changes click the Apply button or press the apply soft key Only the bands whose Enable checkboxes are selected will be applied To escape without applying your changes click the Cancel button or press the edit soft key to deselect it New or Old Whilst adjusting an EQ parameter it is possible to toggle between the new and old settings using the New oLD soft key or clicking the New Old radio buttons until you apply the changes In or Out Toggle the EQ on and off with the 1n out soft key o
74. to delete the current path from the fader set Press the Blank key to leave the current fader un mapped Holding Faders To temporarily retain a selection of channels in their current fader positions when recalling a new fader set simply touch and hold the faders while pressing a fader set key The existing channels will temporarily replace those in the new fader set Press the fader set key without holding a fader to resume the normal fader set Constellation XT Page 83 Constellation User Manual CHAPTER 8 THE CHANNEL PANEL Chapter 8 The Channel Panel Introduction The Channel Panel provides all the detailed processing control needed for one signal path Signal paths are called to the Channel Panel and the Master Fader one at a time to have their parameters adjusted The currently called signal path is displayed in the channel display on the mixer screen Multi Trim allows multiple paths to be controlled at once see Multi Trim on page 155 for more details Link groups allow groups of faders to be adjusted from a single control see Grouping on page 150 for more details Calling a Signal Path The Call key may be used at any time to select any signal path to the Master Fader Step1 Pressing and releasing Call causes the function to latch on In this mode the Feed or Bus key representing the signal path currently on the Master Fader is illuminated Step 2 Pressing any other selection key brings that signal path
75. to remain in the mixing sweet spot while being in easy reach of all current feeds groups or buses Each strip includes an automated LCD legend panel displaying details of the current feed or bus name any current modifications to fader function and the currently selected parameter under control A user definable soft pot and soft key provides ready access to often used parameters Standard mute and solo button functions are provided A touch sensitive long throw motorised fader provides precise control over signal levels An automation enable and extensive automation indicators keep the operator informed and in control of all mix operations Further status indicators are provided for signal source and path configuration giving the operator a complete overview of each chamnel Constellation XT Page 20 Satellite AV User Manual 02 32 56 11 Out 00 11 31 00 Len imal e s m 2 elisi uk 4j S Lsi 7 9 mi 1M m ejsiimp 8 Mj My 10 11 Recorder Editor Display Features CHAPTER 2 CONSTELLATION XT OVERVIEW The graphical display provides status information clip and waveform display and visual feedback for editing functions CES E ES E E CA E A A PAR 20 12 moi O ed Se ee E A o a e 29 30 31 32 33 34 35 36 37 38 39 O 41 42 B 4 46 4 4 48 Li m aoe ae oleo i 4 24 bit Pe O4 241 0_H2_0
76. to the Master Fader whereupon its key is illuminated fully and all other selection keys are extinguished Only one signal path may be selected at a time in Call mode however this may include multichannel link groups or buses Step 3 Pressing the Call key again exits Call mode and returns the system to the previous mode of operation The selection of elements that existed in that previous mode is restored with the signal path selected in Call mode remaining on the Master Fader The Call key may also be pressed and held while calling a signal path to the Master Fader In this case releasing the Call key returns the system to its previous mode and selection immediately Pressing the Call key on any fader on a fader panel will call that signal path to the Master Fader and Channel Panel Call Follow Call Follow enables the current edit or mix selection always be called to the Master Fader This provides context sensitive control for fast intuitive mixing control The last signal path selected will be the current Master Fader selection Press the Call key to access the Call Follow menu Call Follow has five options Edit When in Edit mode any path selected is called to the Master Fader Mix When in Mix mode any path selected is called to the Master Fader Constellation XT Page 84 Constellation User Manual CHAPTER 8 THE CHANNEL PANEL All Any selection in Mix or Edit mode is called to the Master Fader
77. tools allow the operator to work quickly and efficiently without impeding the creativity of the digital recording editing and mixing process About This Manual The Constellation XT User Manual provides all the information necessary to rapidly become proficient at operating the system in a professional audio environment This manual is designed to familiarize sound editors and engineers with the facilities provided by Constellation XT The terminology and concepts used in this manual assume a reasonable knowledge of audio principles and studio procedures Finding the Information You Need Read through the chapters in the order presented to learn all the features of the system or use the Table of Contents or Index to quickly find the specific information you require The manual is divided into the following chapters each covering a specific topic Operational Instructions Chapters 2 to 35 describe the procedures used to manage workflow and perform recording editing signal processing playback and mixing operations Installation Instructions Complete installation instructions are included in the DREAM II Installation Manual Specifications Chapter 36 includes complete specifications and connection details for the Constellation XT System Constellation XT Page 13 Satellite AV User Manual CHAPTER 2 CONSTELLATION XT OVERVIEW Chapter 2 Constellation XT Overview Introduction Constellation XT is the latest generation dig
78. will only appear if they are relevant to the selected device type Constellation XT Page 222 Constellation User Manual CHAPTER 29 MACHINE CONTROL Machine Control Indicators Name Name of the 9 Pin Device Servo LEDs The left Servo LED is green when the 9 Pin device has servo lock The right Servo LED is green when the 9 Pin device has sync lock For correct operation with 9 Pin devices both LEDs should be green Timecode Displays the current timecode position of the external device Status Displays the device status Asm Indicates the 9 Pin device is in Assembly Edit Mode Inh Indicates the 9 Pin device is in Record Inhibit mode Ref Indicates the 9 Pin device is receiving a valid external sync reference Constellation XT Page 223 Constellation User Manual CHAPTER 29 MACHINE CONTROL Editing with Machine Control All the transport controls and locating methods operate with a 9 pin remote machine online The following procedure is used to place new recordings or previously used clips to picture Press the M1 key to toggle the 9 pin machine on or off Constellation s transport will locate to the timecode from the 9 pin machine The system defaults to M1 controlling 9 pin Port A Placing Sound to Picture Step 1 Step 2 Step 3 Step 4 Step 5 Step 6 With M1 online locate the video at the desired frame Take M1 offline Locate the transport so the cursor lies on the sync po
79. 16 digital OPs and no MADI Constellation XT Page 232 Constellation User Manual CHAPTER 31 SYSTEM FILES These ports are then define one by one using a number of statements like these INPUT type index name attibutes OUTPUT type index name attibutes Note that the index counts from 1 and that the name must be less than 12 characters long The attribute can be omitted a value of 1 specifies the port to be a system port This system has 32 analog IPs 32 analog outputs 32 digital IPs 32 digital OPs and no MADI Digital Inputs 1 amp 2 are named DAT L amp R respectively Analog Outputs 25 amp 26 are named Main Mon L amp R respectively IO CONFIG 1 32 32 IO CONFIG 2 32 32 IO CONFIG 3 0 0 INPUT 2 1 DAT L INPUT 2 2 DAT R OUTPUT 1 25 Main Mon L 1 OUTPUT 1 26 Main Mon R 1 The Monitor_Matrix TXT File The monitor matrix file is a text file which contains a complete set of upmix and downmix matrix coefficients These are used when monitoring a larger format bus on a smaller format speaker set or when selecting a larger or smaller monitoring format than the current monitor source bus Monitor Downmix Matrix Defaults The monitoring downmix matrix allows any source format to be monitored on any format speaker system The elements of the source signal path are distributed or summed and attenuated as necessary to maintain the soundfield image in the target format When moni
80. 2 Step 3 Press the Bus Format Key Select a Sub Bus by pressing a Sub key in the selection panel Select a format by pressing a soft key in the LCD menu Available formats for the selected buses are Mono Stereo LRC LRCS LRCSS L C R LS RS 5 1 L C R LS RS B 6 1 L C R LS CS RS B 7 1 L LC C RC R LS RS B Step 4 Press the REDUCT N MODE soft key in the LCD menu Step 5 Select one of the three reduction modes by pressing one of the soft keys described below Normal Normal mode turns bus reduction off and configures the Sub Bus like an ordinary Sub Bus with no separate reduction fader level Reduce Reduce mode provides all the reduction bus features and causes the Sub Bus to inherit all the feed assignments subsequently made to the Main Bus Free Free mode provides all the reduction bus features but requires feeds to be manually assigned to the reduction Sub Bus using the normal bus assign procedure or using the MUTE key while Faders To is active for the selected bus Note that the REDUCT N MODE soft key is illuminated to indicate the status of the selected Sub Buses If the selected buses are in Normal mode the soft key is dim green If the selected buses are in Reduce mode the key is dim amber If the selected buses are in Free mode the key is dim red If the selected buses are in a mixture of modes the key flashes Step 6 Press the Ena soft key to complete the operation Contro
81. 257 Auto 91 old cutlass from T258 DE CI N Auto 91 old cutlass from T259 JG nN a Auto 91 old cutlass from T260 3608 Auto 91 old cutlass from T261 Ea Auto crash car approac 1183 JE AE Auto crash car approac fr T283 Auto crash car off ram fro T186 ie ts ix Auto crash car off ram fro T2 86 J 5 a Auto crash car skid an fro T1 169 Qda Auto crash car skid an fro T1 170 noo Auto crash car skid an fi T2 169 a Auto crash car skid an f J Auto crash car smashes fr l E Auto crash car smashes fr Done Auto crash crash into fro sn Auto crash crash into Fro Auto crash crash into Fro Auto crash crash into fro T l x Auto crash crash into fro JE Auto crash crash into fro Al Auto crash head on col al Auto crash head on col fro Auto crash head on col fro Ayto crash head nn ral fro s 00 00 46 18 Spin Master Internal 00 03 01 16 Hex Top Layers E 245 49 01 Step 1 After searching the database a list of matching clips is displayed Ensure the transport is in stop then use the jogger wheel and keys or up and down arrow keys to highlight the clip you want Step 2 Click the Preview button in the Smart Pane or the Preview soft key If Preview is lit Constellation XT Page 214 Constellation User Manual CHAPTER 26 AUDIOBASE the highlighted WAV file in the list will loop repeatedly You can use the Jogger wh
82. 4 24 bit 24 bit Ride_04 24 bit 24 bit Kick_04 24 bit 1 p_04 24 bit Snare Top_04 24 bit om 04 2410 4 24 bit Hi Hat_04 24 bi 04 24 bit Bass Pre_04 24 bit 04 24 bit Bass Post_04 24 bit aiaz m 18 s 29 s m 20 a gt Piano Upstage 2 04 24 bit Piano Upstage 1 04 24bit s m1 13 s m 14 Pstage 1_04 24 bit s m a5 Pstage 2_04 24 bit e 16 Elec Gtr_01 24 bit Ronnie Elec Gtr_01 24 bit e 1_04 24 bit Gtr Ronnie 1_u 3_04 24 bit 4_04 24 bit Gt Keith 3_04 24 bit Gt Keith 4_04 24 bit RF1_04 24 bit Vox Mick RF1_04 24 bit 24 bit BG 1_04 24 bit 24 bit BG 2_04 24 bit 24 bit B 3 1_04 24 bit 24 bit B 32_04 24 bit 4 24 bit Tom 1_04 24 bit MEN TEL zoo s m 00 00 03 25 x 041 24 bit Stereo Mix_041 24 bit Smart Pane This area contains a number of different displays at different times It may show Meters Clip EQ parameters Fade parameters and so on Each description of editing functions will include details of the Smart Pane display elements Range Display This area contains three timecode values associated wit
83. 4 Sample Rate COMVErSION cccccssssssssssseeeeeeceeeecessessassssseeeeeeceeeeesesesauaasssseeeeesesenessssssaaagageeeeeees 174 Performing Time Compression EXPANSION cccoooooooococcnnnnnnnnononononononrrnnnnnnnnnnnnnnnnnnnonnrrrnnnnnnnnnnnns 176 Using VocAlign ProcessiNQli ii is 178 CHAPTER 20 SOLO AND MUT E ooooocccccccncccncncccnonononnconnnnnnnnannnnancnnnn aa nnrrnnnrnnrnnnnennnennnos 180 INTO dUCION a A A an es ees 180 a OE e E P E aa Canes A E tes ade E TT 181 Muting Tracka scoica aaa a iee aran a gaina 181 CHAPTER 21 GO TO cui se eee aEA 182 IntrOQu CtiOM it E E N E TE S 182 G To a Timecode location om aek aniisi na kee a E EAA aaa aE a E E 182 GoTo Cip NM EEEO EA dco AEAEE EEEN E a 182 GOTO Mane A PRET A A E AE EEN A T T A teak ET EA 183 CHAPTER 22 ADR oaa ea pa a ek rae a chi nc adage a aE ara apa Tae Aaaa Ek 184 pea aN aa Wii id TE E 184 THE ADR Dist A nd 184 GHAPTER 23 AUTOMATION aaraa aaraa aii dinar 189 Introducir 189 AUtOMAON BASICS oes ores sa he oh ivecncadis ize te weds ees cdaceagecuaua O T 189 How to Use Constellation Automati0N ccoooooooccccnnnnnnnnnnnnnonnnnnnronnnnnnnnnnnnnnnnnnnnnnrrnnrnnnnnnnnennns 190 Enabling Mix HEMS iii aida rss 192 Mix TEMAS a diia 193 Programmed AutoMatiON ooooooccnccnnnnnnnnnnnnnonnnnnrrrnnnnnnnnnnnnrnr none ner SP RRRRRRRRnnrnnnnnnnnrrrrrrrrrrrrrnnnnnss 196 Saving anid Loading MIXES isc 198 Mic Undone sss ewenedeeveusvactucie A eee ei hain 199 System M Save UNCION c
84. ANSPORT Locator functions Rapid navigation through the project is achieved by using the Go To menu functions and by making Marks on the time line For more information see Go To on page 182 and Marks on page 212 Selecting a Range A Range allows a group of clips across one or multiple tracks to be selected Many functions provided by Constellation XT require the use of a Range Use the From and To keys on either side of the Jog wheel to set ranges Range mode may be turned on or off by pressing the Range ON key to the right of the Binnacle Selecting a Range using Cursor Position Step 1 Locate to the time at which you wish to start the range Step 2 Press the From key Some functions start with From automatically Step 3 Locate to the time at which you wish to end the range Step 4 Press the To key The duration of the range is indicated on the screen time display above the track display and the range is high lighted on the track display Many functions start making a range as soon as you enter the function To change the FROM point just press the From key at any time Range Menu To access the Range menu options press and hold either the From or To key and select the desired menu option by pressing the associated soft key The following functions operate the same for both From and To TIME Enter a timecode value using the numeric keypad and press Enter Alternatively use the jog wheel or Jump keys to adjus
85. AU9S127 f ACEL DECL EXT Aircraft carrier genera from T1305 Aircraft carrier genera From Alarm car car alarm go fro Alarm car car alarm go fro Alarm car disarm car a fi Alarm car disarm car a fi Alarm car set car alar from Alarm car set car alar from askd4car from track 1 in askd4car from track 2 in SA askd4car Auto 91 old cutlass from T150 Auto 91 old cutlass from T151 Auto 91 old cutlass from T152 Auto 91 old cutlass from T1 53 Auto 91 old cutlass from T1 54 Auto 91 old cutlass from T155 Auto 91 old cutlass from T156 Auto 91 old cutlass from T157 ajajaja lo 8 88888 8 EEE a al a S8 al G a m Auto 91 old cutlass from T158 Auto 91 old cutlass from T159 l Auto 91 old cutlass fram T160 ite 51 1 Em Auto 91 old cutlass from T1 61 22 Auto 91 old cutlass from T250 Da a Auto 91 old cutlass from T251 7 Auto 91 old cutlass from T252 EN Auto 91 old cutlass from T253 a Auto 91 old cutlass from T254 La Auto 91 old cutlass from T255 Jo m g Stall Auto 91 old cutlass from T256 EA Sag Auto 91 old cutlass from T
86. Ableton Live Bus 13 Bus 14 Bus 15 Bus 16 Bus 17 Bus 18 Ableton Live Ableton Live Ableton Live Ableton Live Ableton Live Ableton Live Bus 19 Bus 20 Bus 21 Bus 22 Bus 23 Bus 24 Ableton Live Ableton Live Ableton Live Ableton Live Ableton Live Ableton Live Bus 25 Bus 26 Bus 27 Bus 28 Bus 29 Bus 30 Ableton Live Ableton Live Ableton Live Ableton Live Ableton Live Ableton Live Bus 31 Bus 32 Bus 33 Bus 34 Bus 35 Bus 36 Ableton Live Ableton Live Ableton Live Ableton Live Ableton Live Ableton Live Bus 37 Bus 38 Bus 39 Bus 40 Bus 41 Bus 42 Ableton Live Ableton Live Ableton Live Ableton Live Ableton Live Ableton Live Bus 43 Bus 44 Bus 45 Bus 46 Bus 47 Bus 48 In this case the Rewire outputs have been selected Destination categories Selecting a category of destinations expands it into the upper right of the screen Constellation XT Page 45 Satellite AV User Manual CHAPTER 5 PATCHING AND ASSIGNMENT In this case the analog outputs are shown Making a Patch Select a source and a destination e g Aux 1 C and Ana 3 then touch the Patch button in the center Afterwards the tiles used in the patch will show the results Source is always shown above destination me AAA 4ux 1C Notes You can select multiple sources and multiple destinations and patch them all with one command For example select Analog Inputs 1 to 8 and Track Inputs 9 16 then click the Patch command once Any source can be patched t
87. All methods can be used at the same time Patching with the I O screen In this method signal paths and physical inputs are shown on the mixer screen and can be selected by touch It has the advantage that the signal path labels such as CD Left or Reverb Ret 2 can be seen and readily chosen It also provides exactly the same method for insert sends and returns as for other signal paths NOTE Most new users will find this patching method easier Patching with the Selection Panel In this method signal paths and physical inputs are selected on the Selection Panel using buttons It has the advantage of speed particularly when patching groups of signal paths Feeds are selected by pressing one or more of the selection keys at the top of Constellation These keys are also used to display and select the associated inputs and outputs during patching operations Buses are selected by pressing one of the bus selection keys Individual bus elements are selected by pressing one or more of the illuminated speaker mute buttons at the left of the selection keys In general patching procedures require the operator to first select the destination then select the source Fast patching with the Path Configuration buttons Fast patching targets a single signal path so it is simple to operate Using the Patch I O Screen The following basic steps are used to patch any signal to any other Step 1 Step 2 Step 3 Step 4 Press th
88. Diverge One dimensional mode is useful for spreading a mono source across left right and centre speakers in a 5 1 bus for example without allowing the signal to move into the surround loudspeakers The divergence control range is 0 to 100 At 0 the panner behaves as if the signal were a single point source When the signal is panned to front centre at 70 divergence the signal is sent at equal level to left centre and right loudspeakers The divergence control approximates an equal loudness contour as it adds signal to more loudspeakers As the control moves beyond 70 signal is removed from the centre loudspeaker or the loudspeaker closest to the pan target and progressively added to the other loudspeakers At 100 divergence there is no signal in the centre loudspeaker and the signal is distributed equally to left and right loudspeakers Constellation XT Page 112 Constellation User Manual CHAPTER 9 THE IN LINE PANEL Two dimensional Diverge Two dimensional mode is useful for quickly spreading a signal to all loudspeakers or for contracting an effect from all loudspeakers down to a single speaker Two dimensional diverge includes front and surround loudspeakers As the divergence is increased towards 70 the signal is distributed to all loudspeakers Beyond 70 the signal is removed from the loudspeaker closest to the pan target For Link Groups divergence is applied to all members individually When a link group is created with def
89. ER 6 MONITORING Step 5 Press the Gain soft key and use the jog wheel or keys to adjust the gain in real time or use the numeric keys and press Enter to complete Step 6 Select the speakers to adjust one by one by pressing each speaker mute key and following the gain procedure described above Selecting Control Room Monitor Speakers The system provides up to nine sets of monitor speakers which are named Main and Alternative Speaker Set 1 to 8 The default speaker set is Main The Monitor Alt key in the Monitor section is used to toggle between the Main speakers and the current i e most recently selected Alternative speaker set The Monitor Alt key is illuminated when the alternative monitors are selected To change the current Alternative speaker set Step 1 Hold down a BLUE key and press the Monitor Setup key next to the Monitor Level Control Step 2 Select one of the alternative speaker sets by pressing the appropriate soft key The alternative speaker set is immediately switched into the monitoring chain Each set of monitors can be set up in any of the available formats which are Mono Stereo LCR LCRS LCRSS 5 1 6 1 or 7 1 Selecting a monitor set of a lower or higher format than the currently selected monitor source will cause the elements of the source to be folded up or down to fit the format of the speaker system See The Monitor_Matrix TXT File on page 230 below for details on modifying the default downmix
90. FAIRLIGHT Constellation XT Operator Reference Manual 5 April 2007 Rev C Issue 003 Important Notice COPYRIGHT The material in this document is copyright to Fairlight AU Pty Ltd and may not be quoted or reproduced in any form without written permission from the company Fairlight is a trademark of Fairlight AU Pty Ltd All other trademarks are the property of their respective owners LIMITED WARRANTY POLICY All the software and hardware provided with or purchased especially for Fairlight products has been tested for functionality Fairlight AU Pty Ltd will make its best efforts to correct reported defects for future releases subject to technical practicalities Fairlight AU will also replace any defective media on which software has been delivered provided that the item to be replaced is returned to the dealer who supported the product within 90 days of purchase Fairlight AU Pty Ltd makes no warranty or representation either expressed or implied with respect to the system s performance or fitness for a particular purpose In no event will Fairlight AU Pty Ltd be liable for direct or indirect damages arising from any defect in the product or its documentation Further Fairlight AU Pty Ltd will not accept any liability for any programs sounds audio recording or sequences stored in or used with Fairlight products including the cost of recovery of such data Product features and specifications are subject to change without no
91. Fader can follow the currently soloed feed Call follows solo is enabled in the Call menu Step 1 Press the Call key to display the Call menu Step 2 Press the Call by Solo soft key to toggle call follows solos on or off Disk Recorder Solo To solo a random selection of tracks use the Solo key located in the upper set of function keys This function is not included in mix automation Indicators next to the track numbers on the track display show red for soloed tracks and blue for muted tracks Step 1 Press the Solo key located in the upper set of function keys Step 2 Select the feeds that are to be soloed by pressing the feed selection keys to toggle feeds in and out of the selection The currently soloed feeds are illuminated Step 3 Press the Solo key again to return to the previous mode While any signal path is soloed the Solo key flashes An alternative way of using the Solo key is to hold it down make a selection of signal paths then release it This causes immediate return to the previous operation mode Solo Menu The disk recorder solo functions are available from the Solo key at the top of the Constellation While the Solo key is held down or while its menu is active the soft key menu offers a number of additional functions Constellation XT Page 75 Satellite AV User Manual CHAPTER 7 FADERS Solo On Off Pressing the Solo ON OFF soft key toggles the currently selected group of signals in and out of solo M
92. HAPTER 4 TRACKS amp TRANSPORT D e e e o tas E we fF FE CE o s EEG oo ae a EEG E ta ae ae oa fe SHMI 9 Click here to deselect Track 4 Click here to select Track 9 e HS Mijj10 es To select a single track double click its number All other tracks will be deselected Another way of selecting a track is to ctrl click on a clip This cannot be used to deselect a track Ctrl clicking will also select the clip and create a range or extend the current one to include that clip Note the mouse can also be used to e Mute or unmute a track click the M e Solo or unsolo a track click the S e Armor disarm a track click the button at left Time Scale and Display Zooming The track display represents a 24 hour continuous loop The timescale can be zoomed from a twelve frame display to an eleven hour display Constellation XT Page 37 Satellite AV User Manual CHAPTER 4 TRACKS amp TRANSPORT At all times the cursor position indicates the current play point Step 1 Hold down the Zoom Binnacle key Step 2 Turn the jogger wheel to zoom in and out The Mouse wheel can also be used to zoom the display Sub frames can be toggled on or off by holding down the BLUE key and pressing the SUBF key on the numeric keypad Track display selection and zooming is possible while playing and recording Transport Controls The PLAY STOP FF and REW controls work in a similar mann
93. IM when the transport moves past the In point if active and return to READ when the transport moves past the Out point if active Constellation XT Page 197 Constellation User Manual CHAPTER 23 AUTOMATION Note The Active In and Out points become inactive once the system has dropped in or out Once the transport has moved over the In or Out point they are made inactive This means you can quickly audition the changes you have just recorded by pressing Play Menu Again key sequence without having to first disable automation To perform another automation pass the In and Out points must be made active again by holding down a BLUE key and pressing the In and Out keys Link Audio and Mix Recording with PRIME The PRIME function links the automation to the audio recording controls This means that whenever you enter normal recording on the transport controls the automation system also enters recording This is particularly useful if your working method is to record your mix progressively as you go through a project because you will automatically be recording the automation moves at the same time It s also useful if you gain some facility with the recording controls including the ADR menu which offers some very sophisticated rehearsal and automatic recording features To use the PRIME function press the Prime key While it is on Press the PLAY and REC transport keys to drop in to record Note that the enabled Mix Items enter
94. MES iissa 230 DIM ese A 67 161 Importing Wave Files 213 DIM in 39 Mia 193 Direct ConfiO omoocnccrncnnnnnonarnnnnonanannnnns 103 Input Indicator momcmnnmmmmmmssmmmm m 78 Direct IN voor tc 103 Input TO occccccccnnnnnccnononnnonananonanonononanans 99 Constellation XT Page 242 Constellation User Manual INPUT Mii ia 50 119 Pan ON OFF esccsccsctccsecsscsesessteseaveccn 90 112 Insert Config cccceeeeeeeessseeeeeeeeeeees 100 Parametric Sections nenns 88 Insert Returns cccccnccccnnnnnnnnnnnnnes 51 101 PaAtChiNG escroooiiiciinic irc 43 Insert SONS eccccseccessseesercnecereereens 100 Patching External Meter Outputs 57 Inserts in Monitoring ccccccccccnnncnnnnns 67 Patching External Monitor Sources 65 LO Config TXTenciconenionininnanicananconnicci n 230 Patching Monitor Outputs 63 VO iia 38 Patching OuUtpUtS oooccccccccconnnnnanancnnnnnnnns 53 Joystick MAP cccconnnnccncnnonononannnanannnnnns 234 A cotsncescets aesan Enas 99 JUMP tia bd 39 40 Path Configuration 98 LAT at eds 77 Path Menu csssssssssssssssssssssesseeees 52 102 Laval acc cati n 166 Peak Hold cooiicria sisi 158 Level Meter imiccconccncoonancarncornnnaconazananad 98 PEL E E ita iia 72 Level Meters cccccccccccceeceeeceeesseeseeeseees 158 PHASE ccs scessevetscesdedivedadsiniewvless 50 99 119 LID Koro 156 Phase Reversal 69 DY coi dara 155 Play MON veiieccctenecegeteedececahetsevenevate
95. Move it to the left or right using the Move Left and Move Right soft keys Step 3 The block moves and is displayed on the soft key to the right or left swapping places with whichever block was previously there EQ and Dynamics cannot be moved while ON Arm Arm is used make a track feed ready to record The track must have an input patched to it before it can be armed furthermore the same input must not be patched to another track that is already armed If the current signal path is a Link Group made up entirely of Track Feeds all the members with unique inputs may be armed The Insert IN key switches the insert in for the selected signal path This only works if the signal path has insert send and return ports defined Each signal path may have inserts except for Auxiliary buses Insert Enable Insert Enable is used to add the Insert IN control to the current automation parameter selection Insert Config Insert Config enters the insert menu Constellation XT Page 98 Constellation User Manual CHAPTER 8 THE CHANNEL PANEL Patching Insert Sends Step 1 Step 2 Step 3 Step 4 Step 5 Step 6 Step 7 OR Press the Call key to call a feed or bus to the Channel Panel Select the feed or bus to be inserted or press the feed selection key of any member of a link group to select the group or retain the existing selection Enter the Insert Menu by pressing the Insert Config key on the Path Configuration sec
96. NS key to quickly enable all signal paths This feature should be used with caution Automation for Reduction Bus Mode in Faders To Channels in Reduction Bus mode while in Faders To can be automated independently Please use the Blue Enable keys to switch mutes and faders in and out of automation as indicated below Constellation XT Page 192 Constellation User Manual CHAPTER 23 AUTOMATION Mix Item Status Mix items can be in one of five states Read Write Trim Isolate and Preview The current state of each parameter is displayed by coloured illumination surrounding all rotary encoders illumination in the bottom half of all switches and text indicators next to each fader Note that the text indicators next to the faders display the status of the fader level parameter not the status of the entire signal path The five parameter states are described below Read When mix items are in Read the automation system takes control of their values and the physical position of their controls Controls are illuminated A mix item can be in Read whenever any automation data has been recorded for it anywhere in the project Write Trim Mix items must be explicitly placed in Write or Trim The Write Trim key is toggled to the Write or Trim position for the whole console WRITE automation is armed for record and absolute values are written for the selected mix items Indicators are illuminated red TRIM automation
97. RC popup appears Media Playback Rate 1 Natural Rate Speed ae 48000 Hz Sample rate 48000 Hz Sample Rate Type SRC Quick live preview Entire Media Good rendered Gin with hendes Best HQ render Hand r Advanced samples 16 Clips Selected Use the keyboard and mouse to adjust parameters e Adjust speed eg 0 8 80 of natural rate slower 1 3 130 of natural rate faster e Click Natural Rate to reset speed e Alternatively select a target sample rate from the popup e Select a Sample Rate Type e Select Entire Media or Clip With Handles to convert the entire source clip or only the visible portion with handles Handles must be specified in samples e Check Resize Clip to match the clip boundaries to the converted length Uncheck Resize Clip to maintain the existing clip boundaries e Click Advanced to open the Advanced Options pane Constellation XT Page 174 Constellation User Manual CHAPTER 19 TIME DOMAIN PROCESSING Project Rate e Order Set FIR order number of taps is 2 order 1 Calculation time is proportional to order e Beta Beta values of 2 to 12 are reasonable For a given order larger beta reduces pass band ripple but widens the rolloff transition band so a lower roll off frequency is required to avoid aliasing e Rolloff Roll off frequency must be less than 1 2 of both sample r
98. Select Panel The over hold time can be set in the C Program Files Fairlight FMC Data System_Variables txt file Edit the following line in the file enter the hold time in ten milliseconds increments Overload display time 1000 Constellation Channel Meter Panel The DMP1 Channel Meter Panel includes twelve 55mm multi segment bargraph LED signal level meters The Channel Meter Panel displays the signal level of the feeds associated with the faders in the current fader set Each meter is associated with a single fader panel Meters display feed levels only If a bus or link group is included in a fader set those meters will show no signal Use the fader set keys to display the feeds you wish to meter Peak Hold The numeric peak levels displayed on the mixer display bus meters have a variable threshold The level at which these values are displayed can be set in the C Program Files Fairlight FMC Data System_Variables txt file Edit the following line in the file PEAK_DISPLAY_LIMIT 950 The value is from 0 to 1000 in 0 1dB steps where 1000 full scale level In the example above the value of 950 will cause the numeric display to first be shown when the signal level reaches 5dB below full scale 970 will set the threshold to 3dB 990 will set the threshold to 1dB and so on Constellation XT Page 161 Constellation User Manual CHAPTER 15 TALKBACK AND OSCILLATOR Chapter 15 Talkback and Oscillator Introduction Conste
99. This button is used to enable parameters for automation To use it press and hold this ENABLE button Now Tap once on any of the touch sensitive encoders to toggle its section s Automation enable Super Fine Button This button is used to give very fine control with the rotary encoders Press it once to gain about ten times the sensitivity on all encoders Press again to release this function More Button This button expands the functionality of a channel over one or two adjacent panels giving more simultaneous controls To operate it press the More button then double tap any control to expand that channel To exit More mode double tap a control on the expanded channel Control Functionality Each control is equipped with a switch and a rotary control Constellation XT Page 107 Constellation User Manual CHAPTER 9 THE IN LINE PANEL Display Functionality E02 Freq ae O The top line normally displays the name of the parameter being controlled by the encoder When touched the top line shows the numeric value of the parameter The middle line shows in bar graph format the value of the parameter controlled by the encoder The bottom line shows the value function of the parameter associated with the switch Main Switch At the Bottom of the channel is a single switch equipped with Automation enable and Automation status indication This switch is typically used for EQ IN COMP IN GATE IN and PLUGIN INS
100. V User Manual CHAPTER 5 PATCHING AND ASSIGNMENT Patch Interrogation While input patching operations are in progress the track and live selection keys are used to represent the physical inputs as described in the procedures below The following convention for feed selection key and bus key illumination provides information on the current status of the patching Inputs not currently patched to the selected feeds Dimly Lit Inputs currently patched to the selected feeds Brightly Lit Inputs currently patched to other feeds Flashing Off to Dim Inputs not installed Unlit Buses not currently patched to any feeds Dimly Lit Buses patched to the currently selected feeds Brightly Lit Buses patched to feeds other than those currently selected Flashing Off to Dim Analog And Digital Inputs Physical inputs are numbered 1 to 64 Analog and 1 to 64 Digital of which the latter can be further extended to includel to 64 AES EBU and 1 to 256 MADI During patching the Digital Inputs are represented by the Live Feed keys and the Analog Inputs by the Track Feed Keys Patching Physical Inputs To Feeds The patching procedure requires the operator to first select the destination s then select the source s To patch physical inputs to Feeds Step 1 Step 2 Step 3 Step 4 Step 5 Step 6 Press the Patch I O key Select the destination feeds using the Track Feed and or Live Feed keys in the Selection Panel or you can use the feeds
101. Write and armed tracks enter record Press STOP or PLAY to drop out of record The enabled tracks return to Read NOTE It is not necessary to have any tracks armed for recording in order to use PRIME Saving and Loading Mixes Up to 256 complete mixes may be saved in each project and recalled later Mixes must be saved before closing a project or any unsaved mix data will be lost The available space left in the project file for new mixes or mix data is displayed in the Mix menu When the space left falls below 2 the Save soft key becomes disabled Saving a Mix Step 1 Hold down a BLUE key and press the Mix File key Step 2 Press the Save soft key in the LCD menu Step 3 Type a unique name for the mix on the PC keyboard and press Enter Alternatively type a name with a numeric suffix 8 9 Demo Mix 1 The next time you press Save a new name will automatically be generated with an incremented suffix e g Demo Mix 2 Press Enter to save the mix with the new name Loading a Mix Step 1 Hold down a BLUE key and press the Mix File key Step 2 Turn the jog wheel to scroll through the previously saved mixes Press the sort soft key to select TIME Or ALPHA ALPHA sorts the saved mixes in alpha numeric order TIME sorts the saved mixes in the order in which they were saved with the most recently saved mix at the end of the list Step 3 Press the Load soft key in the LCD menu to load the selected mix Step 4 Confirm by pressing
102. X 20 Project Frame Rate The frame rate timecode format can be changed at any time but should be set to the local standard or to match the format of the video material or project currently being worked on Step 1 Press the Setup key Step 2 Press the TC FORMAT soft key Step 3 Turn the jogger wheel to select the desired timecode format Select Non Drop or Drop Frame if applicable Constellation XT Page 119 Constellation User Manual CHAPTER 10 RECORDING Step 4 Press Enter Setting Frame Rate using the mouse Step 1 From the View menu select Smart Pane then Sync Setup Step 2 Click in the Frame Rate drop list Step 3 Select the desired frame rate including Non Drop or Drop Frame if applicable NOTE lx 1 he sample rate is also fixed if an import from another Project is performed Refer to Import Export on page 215 2 The sample rate and frame rate jogger wheel selection can also be performed using the and keys on the numeric keypad or the numeric keys 0 to 4 Patching Inputs to Track Feeds This is described in detail in Chapter 5 Patching and Assignments See Patching Physical Inputs to Track Feeds on page 42 Input Gain and Phase This is described in detail in Chapter 5 Patching and Assignments See Input Gain and Phase on page 49 Arming Tracks An input can only be recorded on one track at a time If an input is patched to more than one track arming one of these tracks will disarm a
103. a bus or a link group the outputs can be selected for one bus Constellation XT Page 102 Constellation User Manual CHAPTER 8 THE CHANNEL PANEL element at a time The Speaker Mute key of the current bus element is illuminated green Speaker mute keys for bus elements already patched flash off to dim green Speaker mute keys for bus elements not currently patched are illuminated dim green Step 6 Each direct out may be patched to a single output or multiple physical outputs Press the SINGLE MULTI soft key to select single or multi mode Step 7 In SINGLE mode Press a track key to select the output for the current feed direct out OR If the selected path is a bus or link group in SINGLE mode the current bus or link group element is advanced automatically when an output is selected Press a feed selection key to select the output for the current bus or link group element direct out The bus or link group elements advance in the following order Left Left Centre Centre Right Right Centre Left Surround Centre Surround Right Surround Boom Elements that are not in the current bus or group format are not displayed To skip the current bus or link group element press the Next soft key To remove patching for the current bus or link group element and leave it with no output press the Blank soft key In MuLTI mode outputs for the selected feed bus or link group element may be toggled ON or OFF by pressing the corresponding Tra
104. ain feed fader See Faders To on page 80 The level sent to the Sub Bus is always derived post Channel fader and post channel Mute With the Sub Bus fader set to zero and the Mute button off the Sub bus level is identical to the Main Bus level The Sub Bus fader and Mute are therefore used to offset the level going to the Main Bus to take account of its special purpose to the project Pan Position The position of the feed pan control is shared by both the Main Bus and the reduction Sub Bus LCR panning information for the Main Bus may apply to a reduced set of outputs in a smaller format Reduction Bus The positions of panpots are preserved retaining the signal image position in the reduced bus Front back panning information will be completely ignored if the reduced bus has no rear channel s See The Monitor_Matrix TXT File on page 233 for a discussion on automatic downmix settings Bus Params Menu Options Typically a signal s audio will be sent to Sub Buses exactly the same way as to the Main Bus and will affected by the Main bus fader level pan position and mute status The Bus Params menu allows the user to change that behaviour for any selection of signal paths Pre Post Fader A pre fader send is not affected by the setting of the main feed fader The send s level control sets the absolute level of the send For a Post fader send the send level is added to the main fader level Pre Post Mute A pre mu
105. aker mute keys to mute all speakers except the centre speaker Place the SPL meter at your normal listening position and use the amplifier gain controls to roughly set the sound pressure level to 83dBSPL 85dBSPL or your local standard set the meter to slow response C weighted Repeat this process for all speakers Step 3 Hold down the BLUE and Fixed keys to enter the fixed calibration mode The variable gain setting is displayed on the LCD Step 4 Turn the jog wheel to adjust the level Step 5 Release the Fixed key Press the Fixed key again to re enable the Monitor Level control NOTE Refer to SMPTE RP 200 Proposed SMPTE Recommended Practice Relative and Absolute Sound Pressure Levels for Motion Picture Multichannel Sound Systems or your local standards manual for more details on reference monitoring levels Master Mute Press the MUTE key next to the Monitor Level control to mute the control room monitor outputs The MUTE key is illuminated red when the monitors are muted Press the MUTE key again to unmute the monitors The master mute key flashes when any individual speaker is muted Individual Speaker Mutes The individual Speaker Mutes can be used to mute each individual speaker The speaker mute keys are illuminated dim red for elements available in the selected speaker format or monitoring format Press a speaker mute key to mute the selected speaker The mute key will be lit bright red when muted Press the key again to unmute
106. already selected Press the patch soft key If you want to use digital inputs use the digital input type soft key azs mapt to select the type If you want to use inputs above 48 press a soft key to select the range 49 96 97 144 145 192 Select any number of physical inputs by holding one down then optionally selecting others or double pressing the last in a range before releasing the original The physical inputs are patched to the feeds successively until the feeds are all used If the physical inputs are all used before the feeds are then patching starts again from the first physical input For example selecting only one input will cause it to be patched to all selected Feeds Selecting two inputs will cause them to be alternately patched to the selected feeds If any of the inputs are used elsewhere you will be asked to share remove or replace Fast Patching Inputs From the Path Configuration Panel Step 1 Step 2 Press the Call key to enter call mode Press a feed on the selection panel to call the feed to the Channel Panel Constellation XT Page 48 Satellite AV User Manual CHAPTER 5 PATCHING AND ASSIGNMENT Step 3 Press and hold the Input Patch key on the Path Configuration Section Press the AzS MADT soft keys to select the desired digital input type if using digital inputs Inputs of the selected type already assigned to the selected feed are brightly lit Inputs that are available for pat
107. ample without allowing the signal to move into the surround loudspeakers The divergence control range is 0 to 100 At 0 the panner behaves as if the signal were a single point source When the signal is panned to front centre at 70 divergence the signal is sent at equal level to left centre and right loudspeakers The divergence control approximates an equal loudness contour as it adds signal to more loudspeakers As the control moves beyond 70 signal is removed from the centre loudspeaker or the loudspeaker closest to the pan target and progressively added to the other loudspeakers At 100 divergence there is no signal in the centre loudspeaker and the signal is distributed equally to left and right loudspeakers Two dimensional Diverge Two dimensional mode is useful for quickly spreading a signal to all loudspeakers or for contracting an effect from all loudspeakers down to a single speaker Two dimensional diverge Constellation XT Page 89 Constellation User Manual CHAPTER 8 THE CHANNEL PANEL includes front and surround loudspeakers As the divergence is increased towards 70 the signal is distributed to all loudspeakers Beyond 70 the signal is removed from the loudspeaker closest to the pan target For Link Groups divergence is applied to all members individually When a link group is created with default pans divergence is set to minimum The Spread Control The spread control is only available when a link group is se
108. ampler VSTI s can easily be recorded to tracks or inserted on Lives depending on your needs Constellation XT Page 227 Constellation User Manual CHAPTER 30 PLUGINS AND REWIRE ReWire About ReWire ReWire is a software protocol jointly developed by Propellerhead and Steinberg ReWire enables remote control and data transfer among digital audio editing and related software Originally appearing in the ReBirth software synthesizer in 1998 the protocol has since evolved into an industry standard The ReWire Mixer The ReWire protocol is designed to allow a number of ReWire Clients to communicate with a single ReWire Mixer Only one ReWire mixer can be active at a time Dream II is always the ReWire Mixer The ReWire Mixer can accept up to 256 inputs from each of the connected ReWire clients Dream II currently supports 96 of these ReWire inputs When a ReWire Mixer and ReWire Client are connected together transport controls and position information are automatically transmitted in both directions between the Mixer and Client s Diagram of a running ReWire session ReWire DLL Client Application Reason RT Thread Mixer Application Dream IT RT Thread driven l GUI Thread by CC 1 96 Channel Audio Bridge from Fairlight CC 1 GUI Thread Engine Client Application Ableton RT Thread GUI Thread Using ReWire Devices in Dream Il Setup and installation Step 1 Install your software as outlined by yo
109. anccnnnnnnnarccnnncn ona nano 230 Vma 4 OPEP OO 57 5 0000 P OP 234 System PONES cccccccnnccnncnnnnnnononnnnnnnnnnnns 230 Unpatch iNputS ooooccccccncnnncnnnnnanannnoninanos 52 System_VarlableS ooooocccnnnccnnncnnannnnnnnos 233 Unpatching InmputS cccccccnnnnnccnncnnnnnnos 52 Teall A E A 34 Update Sys_Files ene 72 236 TalKDaCKk cion tai 160 User Selection Of Tracks 33 Talkback Time Threshold ccomoooo 234 Using the Meter Panel 158 TE FORMAT escoria ciendo 118 Utils iiine 72 198 236 TC_LOCK_WINDOW 00ccccsseeeeeseeees 233 VIMOUOM cionado al hada 234 Terminology cccccccccnnnnnnancninnnonananananonons 14 Wave FIGS cccteceessessesecereeeeeenenecceae 213 Threshold cccceceeeeeeeeeeeeeeeeeeeeeeeess 93 115 AAVAT I o n EEE E A A TE T 38 Time Compression Expansion 174 Write Indicator cooonmnnoccnonnnicnnnananannnos 78 Time SCAIO cecceeeseeseeeseeeeeeeeeeneeees 36 37 Zero a Fader concncnnncccononnrnnnnnnnnnnnnnnnos 75 82 T MECOJE esisccied seccessasctacccizssxeesavancaisede 216 LON Ma dere 38 MO cd wa dioweccuecerts at lbndettasteecendsuye ieee ctasangiads 41 Constellation XT Page 244 Constellation User Manual
110. anel The main LCD will now display the list of plugins that you have installed Using the jog wheel scroll through the list of plugins on the main LCD screen main LCD screen is located above the transport keys on the console When the desired plugin is displayed press the Add Plugin soft key The plugin popup will now appear on the Dream II Editor display Its fleximap will now be mapped to faders typically 1 to 12 Press the Plugin key located on the top of the Channel Panel panel to toggle the plugin popup and fleximap on off To remove the plugin press the Remove Plugin soft key located on the main LCD screen L mo A INSERT DIRECT Insert Config key Plugin button hides displays plugin popup and fleximap Constellation XT Page 226 Constellation User Manual CHAPTER 30 PLUGINS AND REWIRE Inserting a Plugin on a Live Feed You can also insert a plugin on a live feed by repeating the steps above Using this approach you can patch an Aux Output to the Live Input using the Patch I O page Now all channels feeding the Aux will be routed through the VST Effect Using VST Instruments in Dream II While Dream II does not include a MIDI sequencer VST Instruments can still be played live through the system This can be useful for Foley using a VSTi sampler Live musical performance Tuning vocals with a VSTi sampler and MIDI controller with pitch wheel Live effects triggering with a VSTi s
111. ange itself is also nudged so it is possible to keep nudging the Range without resetting the From and To points This can be used for example to phase the audio with a guide track using Variable nudge with a small value Fade Mode The Fade key on the Binnacle allows fades to be applied non destructively to the heads and tails of clips The fades are performed by the system in real time as the audio is output from the machine Fades can be created on the fly relative to the playhead or they can be created and or modified on multiple clips at once Fades are applied from the Binnacle Keys Soft keys and from the PC screen 0 10 20 30 40 Lo Lz jis Ls Ls oa 7 2 JLo 10 00 00 00 08 gt Fade Presets 15 Duration 15 20 50 The Editing screen displays fade information in the Smart Pane at the top of the monitor This is used to issue commands as well as illustrate fade shapes curves Using Binnacle Keys Fade Head One of the simplest fades can be achieved as follows Step 1 Select a track and move a clip under the cursor Step 2 Press the Binnacle Fade button if not already on Step 3 Press the Head button Constellation XT Page 137 Presets Constellation User Manual CHAPTER 11 EDITING This creates a fade from the start of the clip to the cursor position The shape of the fade can be seen above this will be described later but the Duration is not u
112. anned to one element of the bus in the following order If 2 Feeds are linked they are panned L R If 3 Feeds are linked they are panned LC R If 4 Feeds are linked they are panned LCR S If 5 Feeds are linked they are panned LC RLS RS If 6 Feeds are linked they are panned LC RLS RS B Constellation XT Page 150 Constellation User Manual CHAPTER 12 GROUPING If 7 Feeds are linked they are panned LC RLS CS RS B If 8 Feeds are linked they are panned LLC CRC RLS RS B Normally each member is panned hard to one Bus Element position spread is set to maximum divergence is set to minimum and rotation is set to zero This fixed pan configuration is optionally chosen when the Link Group is created and cannot be changed afterwards If fixed panning is chosen and the link group format contains a Boom channel the assignment of the corresponding member is achieved by Stem Assignment to the Boom element only of the destination Bus See Stem Assign on page 59 If you are using a link group to control a premixed stem which is delivered in a different channel order it may be necessary to edit the track order on the disk recorder or to change the input patching of the feeds if the stem is played in off an external device Link Group Features Linking feeds in link groups has the following effects 1 Selecting one member selects the entire link group 2 There is only one fader for the group When the group is created the group mast
113. ansport to jump to any named mark including the head and tail of the project Press the GOTO key press the marx soft key and turn the jog wheel to select a mark Press Enter to locate to the mark point Constellation XT Page 213 Constellation User Manual CHAPTER 26 AUDIOBASE Chapter 26 AudioBase Introduction AudioBase3 is a library database which allows you to search for WAV files on your Medialink2 server via a standard Windows network Once a WAV file has been found it may be auditioned and then imported into the current open Project Creating and Maintaining Databases Refer to the AudioBase3 User Guide for details on creating and maintaining clip databases Searching for Sounds AudioBase3 uses a simple search interface to find clips Step 1 Press the AudioBase key The search field becomes active Step 2 Enter the text you wish to find All relevant database fields will be searched Use quotes to find matching phrases Placing Sounds In A Project Dream II 0 0a35 Beta ali_48tk le lt 48 tracks gt MFX Project File lx Search For car Clip Name 12 63 Category 6004 Sample Rate 44100 eT Type all 7 User 1 User 2 Clip Type o a Sample Rate All y User 3 User 4 Track o J 00 00 00 00_ Reset 617 review Description Auto crash car approac from trac File Name T2_83 WAY File Type 2 43ACCL DCCL EXT from tra 43ACCL DCCL Ex ACCL IN BY from track 1 in ACCLINBY ACEL DECL EXT
114. any time All subsequent recordings will have this depth Extn Video Rate This is the rate of the external video reference applied to the SX 20 This must be set properly for correct operation Pull Up Down Allows setting of Pull Up and Pull Down often used in NTSC video setups Detailed explanation below Sync Source The system sample rate is synchronised to its clock source There are many choices but normally you will use the SX20 as a sync source and lock it to whichever sync signal your studio is running Constellation XT Page 219 Constellation User Manual CHAPTER 28 TIMECODE SETUP Synchronization Indicators Det Sample Rate Detected Sample Rate indicates the speed that the Dream II is running at This value is determined by the relationship between the External Video Rate the project Frame Rate the Pull Up Down setting and the project Sample Rate Video Detect The Video Clock Detected indicator is green when a valid Video Clock reference is detected and red when Video Clock is missing or invalid Seeking Lock The Seeking Lock indicator is green when seeking lock and red when not in use Sync The Sync indicator is green when a valid Clock Sync Source reference is detected and red when the Clock Sync Source is missing or invalid Progressive Detect SX 20 supports both Progressive and Interlaced clocks If the Progressive Clock Detect indicator is green a Progressive Clock reference has been
115. ass can be used until new automation data is written If unpo pass is pressed during a mix pass the soft key flashes to indicate that all data written during that pass will be ignored System Mix Save function The System Mix function is available from the FILE menu When switched on the current mix pass will automatically be saved when the project is closed and will likewise automatically be loaded when the project is opened Step 1 Hold down a BLUE key and press the Mix File key Step 2 Press the sySTEM MIX ON soft key in the LCD menu Constellation XT Page 199 Constellation User Manual CHAPTER 23 AUTOMATION AutoSave Also from the FILE menu there is an AutoSave feature available with user definable timing from 5 to 60 minutes The Mix Menu Only mix menu items that are dimly lit are available in DREAM II software release 2 0 Press the Mix key to display the Mix menu When the mix menu is active the feed and bus selection keys are used to enable specific paths for automation The From and To keys can be used to set the In and Out points for automation punch In and Out points which are displayed at the left of the LCD The available mix memory is displayed in percent The current mix name is displayed at the right of the LCD all Read All parameters are instantly dropped in to Read On STOP Determines what data is written after leaving automation record by pressing the STOP key or pressing the Mix ON Ho
116. at have surround channels When a link group is created the master pan control for the group defaults to a centre position and applies offsets to the pan positions of the individual members The blue enable key adds the joystick to the current automation parameter selection Trackball The trackball can also be used for two dimensional panning Press and hold the Pan key below the trackball and move the ball to control the front back position of the signal Panning IN OUT The Pan IN OUT key bypasses the level control matrix of the panner and sends the signal path at unity gain to all destination bus elements The connection to individual bus elements may be turned on and off using stem assignment as described in Stem Assign on page 59 If the signal being panned is a Link Group all members of the group are sent to all bus elements Diverge Control The diverge control spreads the signal of an individual feed across more of the adjacent loudspeakers making the perceived size of the sound source larger The diverge control operates in one dimensional or two dimensional mode To switch between modes hold down the BLUE key and press the Panning IN key The fat channel pan display changes from a bar to a circle when divergence is added The boom or LFE channel is not included in diverge One dimensional Diverge One dimensional mode is useful for spreading a mono source across left right and centre speakers in a 5 1 bus for ex
117. ates e Auto Rolloff Means Dream II will calculate the required rolloff for you Constellation XT Page 175 Constellation User Manual CHAPTER 19 TIME DOMAIN PROCESSING Performing Time Compression Expansion Serato Pitch n Time FE provides the industry s finest time compression and expansion Change length without changing pitch or pitch without changing length and hear the result in real time as you jump from clip to clip Pitch n Time FE is fully integrated with Dream II s Binnacle controller allowing for fast intuitive operation Note Pitch N Time FE requires an iLok USB Security Key and a valid license Licenses can be purchased at http www serato com Step 1 To enter the Wave Menu press the WAVE key Step 2 Press the Pitch N Time soft key The Pitch N Time FE popup appears Pitch n Time FE bd Algorithm Polyphonic 0 Tempo T 7 I a 1 Length Input 8437760 samples y Units Output 6328616 I Capture Pitch I rr 100 000 1 g 1 Pitch n Time FE 1 0 2006 Serato Audio Research Preview Process Close Use the keyboard and mouse to adjust parameters e Select an Algorithm o Polyphonic best suited for music o Vocal best suited for voice o Varispeed varispeed mode e Press the preview soft key or Preview button to audition your settings in real time e Tempo changes speed without changing pitch Use the tempo slider to set th
118. ault pans divergence is set to minimum The Spread Control The spread control is only available when a link group is selected The spread control adjusts the perceived size of a surround mix The spread control range is from 0 to 100 At O the display reads POINT meaning point source At 100 the display reads FULL meaning full surround At FULL spread the LR and FB pan controls have no effect as each member of the link group is hard panned to their respective bus elements As the spread is reduced the panning of each link group member is made to converge with the location of the link group master pan control With the spread control less than full the pan control enables the sound field to be moved to favour the location of the pan target As the spread control approaches POINT the panning of each member becomes closer to the pan location of the link group master This has the effect of mixing the signals of each link group member so that they all emerge from the same loudspeakers as determined by the link group master pan When a link group is created with default pans spread is set to maximum divergence is set to minimum and rotation is set to zero The spread control can be used to great effect when it is desired to collapse the surround sound field to a point source This may occur for instance where the camera moves continuously from an interior shot to an exterior or visa versa The surround field can be established for the interior and
119. be events that are nothing more than a block of static information e g nothing more than an in and out point with no dynamic information in between These neutral events can nonetheless add up to a lot of data With Mix Thinning turned on multiple identical events of this nature are only identified once therefore creating less events data in the global mix The feature operates transparently If desired this functionality needs to be turned on Instructions Step 1 Hold down a BLUE key and press the Utils key to enter the Utils menu Step 2 Update your Sys file by pressing the Update Sys File soft key Step 3 Type lt Shift Pause Q Y gt on the keyboard to quit out of the FMC console software program Step 4 Navigate in Windows to Fairlight FMC Data and open the file System_Variables TXT Step 5 There is a line in that file MIX_THINNING_ENABLED 0 Set the 0 to a 1 and save the file Restart the system and Mix Thinning will be operating Constellation XT Page 204 Constellation User Manual CHAPTER 23 AUTOMATION On Screen Mix Controls Fader in WRITE Faders in READ The controls in the lower right of the screen correspond with controls in the menus and on the console surface The Automation Enable checkbox is equivalent to the Mix On button Constellation XT Page 205 Constellation User Manual CHAPTER 24 PROJECT AND FILE MANAGEMENT Chapter 24 Project and File Management Introduction To furth
120. bling installations Connector sex described is the panel mount connector on the rear of the Satellite AV Meter USB Description USB and DC Power connection for external meters Note that Sidecars do not require DC power Cable must be shielded and less than 3 meters in length Connector 5 Pin XLR Female XLR5 SIGNAL PAIR PIN1 USB 1 PIN2 0OVDC PIN3 12VDC PIN4 0VDC PIN5 USB 1 SHELL SHIELD 1 Talkback Description Mic level input and line level output for studio talkback microphone Mic input may be configured to carry 8VDC phantom power for electret and condenser microphones Connector D 9 Female 9 Pin D Type Signal Pair Connector PIN 1 TB Out 1 PIN 2 TB Out GND Shield 1 PIN 3 TB In GND Shield 2 PIN 4 NC PIN 5 TB In 2 PIN 6 TB Out 1 PIN 7 NC PIN 8 NC PIN 9 TB In 2 Constellation XT Page 239 Constellation User Manual CHAPTER 31 SPECIFICATIONS USB Description Standard USB port Cable must be shielded and less than 3 meters in length Connector USB Type A Female USB Type A Signal Connector PIN 1 5VDC PIN 2 USBDO PIN 3 USBDO PIN 4 GND GPIO Description General Purpose I O Connector D 15 Female Input low lt 0 8 volts high gt 3 5volts lt 5 volts Input voltages higher than 5 volts may cause damage to internal circuitry Output low lt 0 8 vo
121. by pressing the Abs or Re1 soft keys in the LCD menu Step 4 Adjust the Master Fader or any controls in the Channel Panel to control the group The mixer display will be updated to show the changes as they occur Step 5 Press the Multi Trim key to return to the previous mode or press another key to exit Multi Trim and continue mixing or editing normally Relative and Absolute Multi Trim may act in relative or absolute mode In relative mode all selected signal paths parameters will be changed by the amount the master control is moved In absolute mode the parameters change to the absolute value of any control that is moved Pressing the apply values soft key will cause all Channel Panel values whether you have moved them or not to be applied to the selected signal paths Using the Mouse Multi Trim can also be operated with the mouse It can be used even after the Multi Trim button has been turned off if channels are still in the group Mouse operations with a MultiTrim group include the following 1 Click and drag any member s fader to move all the group s faders relatively in proportion to their current value 2 Ctrl Click and drag any member s fader to move all the group s faders absolutely they are all set to the same value Constellation XT Page 156 Constellation User Manual CHAPTER 12 GROUPING 3 Click any toggle switch on any member s tile Mute Solo EQ In Out Insert In Out to toggle all members switche
122. can be locked to a Digital Constellation XT Page 220 Constellation User Manual CHAPTER 28 TIMECODE SETUP Word Clock a video signal an AES EBU signal by the internal crystal a timecode source or a digital audio source which is being recorded If the Position Reference and Motion References are not the same it is possible that they will drift apart over time This will be shown by a warning at the top of Constellation s video screen which indicates when an inconsistent timecode frame was encountered How DREAM II Synchronises DREAM II goes through a number of steps in achieving synchronization in play mode 1 Read the position reference and start loading up the corresponding audio on all active tracks 2 When ready start playing but with the outputs muted Use variable speed to reduce the error between the Constellation position and the Position Reference until it is very small 3 Switch to the Motion Reference for continued playback The system is said to be locked once this switch is made and the audio is unmuted 4 Warn of error status if the sync error increases if a reference signal is lost etc Synchronization Conflicts When you are recording a digital source it must be synchronised to the same Master Clock Reference as Constellation or an overflow too many samples or underflow too few samples may occur at the input This causes a characteristic periodic form of digital distortion called a whisper A w
123. can only include track feeds or live feeds not a mixture of both Link groups can only include up to eight members which must have contiguous number e g 3 to 10 Step 4 Select a menu item from the Apply Defaults soft key menu all defaults applies pan settings to each member to set the link group into a surround format as described above under Link Group Format All defaults also applies the feed parameter values of the first member of the group to all the members Parameters modified are fader level pan EQ dynamics aux sends inserts and direct out state default pans applies pan settings to each member to set the link group into a surround Constellation XT Page 152 Constellation User Manual CHAPTER 12 GROUPING format as described above under Link Group Format Default pans affects the pan parameter only feed params applies the feed parameter values of the first member of the group to all the members excluding pan Parameters modified are fader level EQ dynamics aux sends inserts and direct outs no defaults no feed parameters are modified Step 5 Press the Link Group key to return to the previous mode or press another mode key to continue mixing or editing The link group is displayed in the channel display at the bottom of the mixer display If composed of Track Feeds it is also shown in the Editing Screen Range Len In Out 00 03 33 02 Range 01 06 30 11 In
124. ch function to help sort through clips by name Step 1 Select GO TO Step 2 Select clip Step 3 Clip names are listed on the video display Select the desired clip using the mouse You can shorten the list by typing a sequence of characters Only clip names containing that sequence will be shown so as you type more characters the list will get shorter and shorter Step 4 Press Enter Constellation XT Page 182 Constellation User Manual CHAPTER 21 Go To Start Time End Time Duration KING from track 1 in Ali Track 2 23 59 37 27 23 59 42 01 00 00 04 03 KING from track 1 in Ali Track 2 23 59 42 01 23 59 44 03 00 00 02 01 KING From track 1 in Ali Track 2 23 59 44 03 23 59 45 12 00 00 01 08 KING From track 1 in Ali Track 2 23 59 45 12 23 59 46 24 00 00 01 11 KING From track 1 in Ali Track 2 23 59 46 24 23 59 49 10 00 00 02 16 KING From track 1 in Ali Track 2 23 59 49 11 23 59 53 23 00 00 04 12 Punch_Skin_Heavy_Gut_We Track 7 23 51 41 13 23 51 43 23 00 00 02 10 Punch_Skin_Heavy_Gut_We Track 8 23 51 41 13 23 51 43 23 00 00 02 10 Punch_Skin_Heavy_Gut_We Track 9 23 51 56 26 23 51 59 06 00 00 02 10 Punch_Skin_Heayvy_Gut_We Track 9 23 51 57 17 23 51 59 20 00 00 02 02 Punch_Skin_Heawy_Smack_ Track 9 23 52 06 15 23 52 08 17 00 00 02 02 Punch_Skin_Heavy_Gut_We Track 9 23 54 50 16 23 54 52 09 00 00 01 23 Punch_Skin_Heavy_Gut_We Track 9 23 54 52 19 23 54 54 29 00 00 02 10 Punch_Skin_Heavy_Gut_We Track 10 23 51 56 26 23 51 59 06 00 00 02 10 P
125. ching are illuminated dim Inputs assigned to other feeds flash between off and dim illumination Inputs that are not installed are not illuminated and cannot be selected Step 4 Press a live or track selection key to select a new input for the path Input Gain and Phase Analog and Digital inputs can have digital gain or attenuation and phase reversal applied at the input Inputs are selected by first selecting the signal paths that they are patched to There are two ways to set input gain and phase You can use the mixer screen or the feed keys Using the Mixer Screen This method is used one channel at a time Step 1 Right click the signal path whose input gain and or phase is to be set The DREAM II Virtual Channel is displayed 6 0 Y oo Step 2 Click on the Trim control and drag the mouse to change input gain Step 3 Click the Phase control P to toggle input phase Constellation XT Page 49 Satellite AV User Manual CHAPTER 5 PATCHING AND ASSIGNMENT You can also adjust Mic gain and switch 48 V phantom power on and off if using Fairlight mic preamps Using the Feed Keys This method can be used with many Tracks or Live Feeds at the same time Step 1 Step 2 Step 3 Step 4 Press the Patch I O key Select the feeds whose inputs you wish to adjust Press the Gain soft key If all the inputs of the selected signal paths have the same gain value that value is shown in the LCD be
126. choose them quickly in addition to the normal monitoring source the Main Bus A Studio Source Set is the same as a Control Room Source Set but it has only two signals A Monitor Set is a set of speakers or rather the physical outputs connected to a set of speakers The system allows you to create and save up to 16 Control Room Monitor Sets each with up to 8 outputs and 8 Studio Monitor Sets each with up to 2 outputs Monitor Matrix The Monitor Matrix is a built in 8 into 8 mixer It takes the source signals up to 8 and feeds them to the outputs up to 8 Normally this is just passing the audio from input to output but the user may choose a different monitor format like folding a 5 1 signal down to stereo for compatibility checking In this case the mixer will mix the 6 source signals down to two output signals For the Studio setups the Matrix comprises three 8 into 2 mixers corresponding with Cue 1 Cue 2 and Cue 3 Patching Outputs for Control Room Monitor Sets To set the format and select the physical outputs for any of the monitor sets follow the steps below All settings must be saved see Saving Monitor Setups on page 72 Step 1 Step 2 Step 3 Step 4 Step 5 Hold down a BLUE key and press the Monitor Setup key next to the Monitor Level Control Press the Patch Outputs soft key Press the soft key to select the speaker set you wish to patch e g SpkSet1 To determine the number of outputs r
127. ck or Live keys If the key is flashing the system will warn you that the output is used by another signal path Press a feed selection key to add it to the outputs for the direct out To advance to the next bus or link group element press the Next soft key or press another speaker mute key to select that bus element out of sequence To complete patching press the Direct Config key to return to the previous state or select another bus to patch by pressing a bus selection key For a signal path with ports established for Direct Output the Direct ON OFF soft key can be used to turn the direct output on and off Direct Out Pre Post The direct output signal can be derived before or after the feed bus fader Press the Pre Post soft key to toggle the direct output Direct Out Gain The direct output signal can have gain or attenuation applied prior to the output If all the outputs of the selected feeds have the same gain value that value is shown in the LCD below the Gain soft key as an absolute value as otherwise this field has the value 0 dB and is displayed as a relative value REL ABS represents the absolute value of all Outputs REL represents a trim or offset applied to all Outputs Constellation XT Page 103 Constellation User Manual CHAPTER 8 THE CHANNEL PANEL SIP Defeat SIP Defeat otherwise known as Solo Safe prevents the signal path from being muted when another signal path is put into Solo in Place
128. created using the From and To keys as described in Selecting a Range on page 4 12 When using a Range only clips that are entirely within the Range are affected NOTES It is possible when using the Level Menu to push the level of a clip over digital full scale Check the meters to set the level for just part of a clip then use the sPLIT command to break it into the right sized pieces then set the appropriate levels To create a ramp between different levels in one clip first copy the section whose level is to be changed using the Edit Menu then paste it back on top of its source Change its level as desired then use the Fade Menu to create fades at either end of the clip This will cause it to crossfade with the source clip underneath which will be playing at the original level Constellation XT Page 169 Constellation User Manual CHAPTER 18 CLIP EQUALISATION Chapter 18 Clip Equalisation Introduction Constellation XT provides clip based four band parametric Equalisation plus shelving which can be applied to a single clip or range of clips within a Project EQ is performed by the system in real time as the audio is output from Constellation therefore applying an EQ change does not affect the audio data on disk The clip based EQ is independent of the track feed mixer EQ Applying EQ Step 1 Press the EQ key Step 2 Locate the cursor over the clip or define a Range of clips Step 3 Press the edit soft
129. cted signal path when not illuminated Constellation XT Page 86 Constellation User Manual CHAPTER 8 THE CHANNEL PANEL Filter Sections Sections 1 and 6 control hi or lo pass or shelving filters Press the EQ Setup key once to select control over the filter shape Press the IN key on each section to step through the available filter shapes shelving hi pass or lo pass The Gain control controls the gain of shelving filters with a range of 18dB The slope of hi or lo pass filters are fixed at 12dB octave The actual gain and slope values are displayed on the fat channel at the bottom of the mixer video display The Freq control of the filters provides the following ranges of control hi pass 20Hz 1 50kHz lo shelf 10Hz 1 50kHz lo pass 3kHz 18kHz hi shelf 8kHz 22kHz The blue enable key at the left of the filter sections add all the controls in the section to the current automation parameter selection Parametric Sections Sections 2 to 5 control parametric equalisers Press the EQ Setup key once to select control over the filter shape Press the IN key on each section to step through the available filter shapes lo shelf notch band pass or hi shelf Press the EQ Setup key again to select control over the frequency range Press the IN key on each section to step through the available ranges LF 10 250Hz LMF 50Hz 1k50Hz HMF 450 8k00Hz HF 1k40 22k0Hz The Gain control controls filter gain with a range of
130. current name of the group If it is a Link Group it will initially have the name of its first member If it is a fader group it will initially be called for example Gp 3 Step 4 Press the Del key in the QWERTY keyboard This will remove the current name Step 5 Type a new name and press Enter Multi Trim Multi Trim is a convenient method for controlling the parameters of any selection of signal paths In Multi Trim the Channel Panel including fader act as master controls for all the selected signal paths in either relative or absolute mode The values for these controls are initialised to zero or unity on power up after which they remember their last settings The selection of channels can be changed at any time using the Selection Panel It is also possible to have no selection in Multi Trim mode which allows for the virtual master values to be adjusted to suitable positions before making a selection and applying values Using Multi Trim Step 1 Press the Multi Trim key Step 2 Press feed bus or fader group selection keys to toggle them in or out of the selection This can also be done by clicking the mouse on the number of a feed in the Mixer Screen In either case the number goes red Constellation XT Page 155 Constellation User Manual CHAPTER 12 GROUPING VA l MultiTrim group members Track 6 5 ra E m s 1 amp 6 lll E BGA Ejes Eley EA O Bete Sl O ae Step 3 Select Absolute or Relative mode
131. d Mute Multi Track Buses e 24 x Multi Track Buses e Mono Format e Master Fader and Mute User Interface The Constellation XT system offers improved ease of use and operator efficiency achieved through integration and advanced ergonomic design of the user interface Constellation XT is made up of five interconnected hardware devices 1 PC containing CC 1 Engine 2 Audio Interface box es one SX 20 and optional SX 48s 3 Constellation XT console with Mouse 4 Recorder Editor Video Monitor not supplied 5 Mixer Video Monitor not supplied Plus additional optional components e Main Meter e Channel Meters e MADI interface cards Selection and Calling Because Constellation XT supports various recording editing and mixing functions it is useful to refer separately to the way channels are singled out for different functions Selection Selection is used when a signal path is to be acted upon by the Editing Patching or Automation software In Editing and Patching operations selection is done using the Selection Panel or the Mouse Constellation XT Page 16 Satellite AV User Manual CHAPTER 2 CONSTELLATION XT OVERVIEW In Automation operations selection is done as above and also using the Soft buttons on the faders Calling Calling is used when a signal path is to be brought to the Master Fader the Channel Panel the In Line panel when in single Channel mode or any other resourc
132. d in the C Program Files Fairlight FMC Data directory Use Windows explorer or use the trackball to click on My Computer on the desktop to navigate through the file system Use the Notepad text editor to edit files by double clicking on the file name The I O Config TXT File15 The I O Config txt file specifies what I O hardware is fitted with your CC 1 engine This file must be edited to allow the Constellation to properly address the physical I O hardware The I O Config txt file is stored in C Program Files FairlightFMC Data directory Open the file with the Notepad text editor define the physical I O as described in the file You can also name individual I Os which will then bring their names up on the FAT channel when you patch them System Ports System output ports can only be accessed from the Monitor Setup Patch Outputs menu Using system ports for control room monitors prevents the operator from inadvertently patching signals direct to the power amplifier inputs To define a system port enter an attribute value of 1 as described in the I O Config file The file contents are similar to the following I O configuration There are thr types of 1 0 1 is Analog 2 is AES 3 is MADI First define the number of different types of I O IO CONFIG type inputs outputs where IO CONFIG 1 16 8 IO CONFIG 2 32 16 IO CONFIG 3 0 0 would configure the system with 16 analog IPs 8 analog outputs 32 digital IPs
133. d to Write Trim When a parameter is punched in to Write from Preview the mix item ramps to the newly recorded value prior to the drop in point over the Glide In time set in the Utils menu For all other methods of entering automation record the mix item value is always the current Read value so there is no transition Automation Playback The DREAM II automation system ensures that your mix will always play back exactly as recorded There are two main forms of automation data recorded in a project The first is the static snapshot of all parameters which is recorded whenever a mix is saved The second type of data are the dynamic automation events that are recorded every time a parameter is modified while the system is writing or trimming automation Once a dynamic event has been recorded on a feed or bus that parameter will be in READ whenever Mix ON is engaged and the transport is in PLAY When the system detects that a parameter control has changed while in Write or Trim a dynamic event is recorded that stores the previous value and the new value FROM value and TO value of that specific parameter at a specific timecode location When Mix ON is engaged and the transport is located to any position on the time line the automation system looks back and forward in time to find any events previously recorded for the parameter If no dynamic events have been recorded for the parameter the parameter is set to the value recorded in the mix s
134. de button if not already on Step 3 Click the Head button in the screen display it s near the upper right Step 4 Adjust the shape of the Head fade described below Step 5 Click the Apply button The fade described in the shape is applied to the head of the clip Note that the fade duration is set numerically not by the cursor position The opposite is true when using the Binnacle keys Length and Shape The Length and Shape tickboxes allow you to choose what to apply You can untick the Length tickbox if you only want to apply the shape and vice versa Constellation XT Page 141 Constellation User Manual CHAPTER 11 EDITING Fade Shape Using the mouse and screen method allows you to set the fade shape before applying it The shape includes the following parameters Percentage X Point this controls the percentage of the fade s duration when it reaches the Crossover Point Attenuation X Level controls how loud the fade is compared to the full Level of the clip at the Crossover point Duration the total length of the fade in frames Duration is not really part of the shape but its control is close by Example Percentage 30 Attenuation 3 dB Duration 20 This means that the fade will last for 20 frames The crossover point will be 6 frames into the fade at which time the level will be 3 dB compared with full Level Fade Tail Same as Fade Head but the fade is applied to the end of th
135. de of the Patch I O page You see inputs labeled according to the Rewire applications you have installed If you have installed more than one application click Page Down on the patch I O page until you find the input for your Rewire application Step 3 Select the desired instrument input e g If using Reason select the inputs labeled Mix L and Mix R for a stereo mix Step 4 Select Track Live or other patch destinations located on the lower right hand side of the Patch I O page Step 5 Select destinations to patch in the upper right and click the Patch button to complete the patch Click on Patch to complete Select instrument input Select live inputs cery Ela Alca a aza Eon ASS AAA Constellation XT Page 230 Constellation User Manual CHAPTER 30 PLUGINS AND REWIRE You should now be able to hear a stereo signal generated by your Rewire application on Live feeds 1 and 2 Alternatively you can patch instrument inputs to track feeds but make sure the track is record enabled in order to hear your Rewire device see Chapter 10 Recording Constellation XT Page 231 Constellation User Manual CHAPTER 31 SYSTEM FILES Chapter 31 System Files Introduction Constellation XT uses a number of files to store setup information These are normally set to sensible values at the factory but in some cases you may need to change them Working with Constellation System Files System files are store
136. der of signal processing elements within each path Dynamics Section The Channel Panel dynamics section offers a complete set of user controls for the three fully featured dynamics modules on each signal path All control changes may be written as automation data to be played back in real time EQ Section The Channel Panel equaliser section provides dedicated control of the eight band equaliser available on each signal path All control parameters can be fully automated Surround Panner The Panning section on the Channel Panel offers controls for all of the sophisticated panning operations available in the Constellation panning model In addition to a traditional joystick interface for panning mono signals and link groups the panning section allows high level spatial manipulation of complete surround mixes The spread and rotate controls provide the ability to create radical changes in perspective with ease Auxiliary Sends The auxiliary sends section of the Channel Panel provides access to the individual send levels and pre post switching for any feed called to the Master Fader Four discrete send controls are provided for the first four sends while the last eight sends share two sets of controls All auxiliary send controls can be recorded as real time automation data Fader Strip Each DREAM II fader panel provides twelve complete fader strips Faders can be configured to be displayed in any order as required allowing the operator
137. derived before the feed fader and mute To set the solo mode Step 1 Clear any soloed channels by holding down a BLUE key and pressing the main SOLO key Step 2 Hold down a BLUE key and press the Utils key to enter the Utils menu Constellation XT Page 74 Satellite AV User Manual CHAPTER 7 FADERS Step 3 Press the Solo soft key to select the solo mode to be used Soloed feeds are shown with a green indicator on the mixer video display Solo Clear The Solo Clear button clears all currently soloed paths Solo Contrast When a feed is soloed in SIP mode all other feeds are reduced in level by the amount set in the Utils menu To adjust the solo contrast Step 1 Hold down the BLUE key and press the Utils key Step 2 Press the Solo soft key and turn the jog wheel to set the gain reduction level The range is 0 to 100dB 1000B is off SIP Defeat Press the SIP Defeat key in the Path Configuration section of the Channel Panel to prevent the selected feed from being muted when other feeds are put into SIP Alternatively hold down a BLUE key and press the MUTE key above any fader to toggle SIP Defeat for that channel This feature is useful for keeping reverb returns live when channels feeding them are soloed SIP Defeat feeds are shown with a grey solo indicator on the mixer video display SIP Defeat is sometimes referred to as Solo Safe Call Follows Solo The current feed called to the Channel Panel and Master
138. detected and is being used as the primary sync reference Clock In Range The Clock In Range indicator is green when the Clock reference is in range and red when the clock reference is out of range Position Sync When synchronising with an external machine such as a video machine audio recorder or digital audio workstation a positional source allows the machines to tell each other where they are The Position Sync Source indicator is green when a valid Position Sync Source reference is detected and red when the Position Sync Source is missing or invalid Synchronization Details Constellation XT can track the position and motion of external transports such as a video tape recorder timecode striped audio tape or a timecode generator The disk recorder will play in time with the Master Timecode source so that sound and picture coincide Position This is an absolute location reference to a sequence of pictures or audio It is used to determine whether the disk recorder is playing the right part of its Project For video position reference is usually provided by 9 pin Sony protocol from an RS 422 port For audio tapes LTC is normally used though 9 pin is also a possibility Motion The motion of an external machine is a measure of its speed and the disk recorder must move at the same speed to remain in sync This translates into producing the correct number of samples every second which is called the Master Clock rate This
139. dia B Projects Folder Projects Make New Folder Track 20 a AAA a raka pM rs SS Frc ae C E E akar A AAA R maka E N akao A AAA AAA E _ faan A a Step 2 Choose or create a specific folder for your project Step 3 Enter the project name Note Fairlight projects use a 28 character filename limit to ensure compatibility with previous Fairlight systems Step 4 You can add comments choose the sample rate frame rate number of audio tracks required and last but not least choose to add a Pyxis track As an illustration record some tracks into your project please see Recording if this is new Browse to the folder where you have created the project in this example New Project1 MT and have a look Constellation XT Page 209 Constellation User Manual CHAPTER 24 PROJECT AND FILE MANAGEMENT Drea 0 0336 Beta ew Proje g Range 0 E p F 10 J y Jl El pi 15 gt gt gt gt E o 20 J 4 g fi El 30 2 d i i 1 38 E d i i a 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 41 File Edit View Favorites Tools Help ay Q sxx z O y JO search Es Folders E Address D FairlightAU Projects de Go A FolderInfo128 dsm a e a Ea E File and Folder Tasks 2 Make a new Folder E New Projecti_0001 FUF Publish this Folder to E Test4 MT the Web fe fe fed fe tee fe fi fo fe fe
140. e Edit the following line in the file PEAK DISPLAY LIMIT 950 The value is from O to 1000 in 0 1dB steps where 1000 full scale level In the example above the value of 950 will cause the numeric display to first be shown when the signal level reaches 5dB below full scale 970 will set the threshold to 3dB 990 will set the threshold to 1dB and so on Constellation XT Page 236 Constellation User Manual CHAPTER 31 SYSTEM FILES Overload Display Time Signal levels exceeding OdBFS on the main meters are indicated by a overload hold display where all segments of the meter are illuminated orange To clear this display press the Meter Sets key The over hold time can be set by editing the following line in the file enter the hold time in ten millisecond increments Overload display time 1000 Overload Peak Hold The main meters can display digital overloads by holding the entire bar The amount of time this display remains after the overload has passed can be set Edit the following line to enter the hold time in milliseconds Overload display time 1000 GPIO Enable The GPIO port on the rear of the Constellation must be enabled for use by a GPIO macro Replace the 0 with 1 in the following line to enable GPIOs GPIO_ENABLED 0 Plug Ins I O The physical digital I O used by the optional plug ins system must be specified The I O must be a block of 16 or 32 starting at 1 17 or 33 Edit the following lines
141. e Patch I O key The system displays the Patch I O screen Select a Source see below Select a destination see below Touch or click the Patch button on the screen The Patch I O Screen All patching operations can be carried out on the Patch I O screen which is used to represent the physical inputs outputs and signal paths being patched together This is automatically shown when the Patch I O button is pressed You can force its display by typing lt SHIFT Pause Break gt and then P Sources are shown on the left of the screen while destinations are shown at the right Constellation XT Page 43 Satellite AV User Manual CHAPTER 5 PATCHING AND ASSIGNMENT ee e pee er ree e en e vo es e te me Track 43 Track 45 Track 46 Track47 Track 48 Source categories Destination categories Signal Path Categories of signal paths are selected in the lower part of the screen Source categories Selecting a category of sources expands the category in the upper left of the screen Constellation XT Page 44 Satellite AV User Manual CHAPTER 5 PATCHING AND ASSIGNMENT Ableton Live Ableton Live Ableton Live Ableton Live Ableton Live Ableton Live Mix L Mix R Bus 03 Bus 04 Bus 05 Bus 06 Ableton Live Ableton Live Ableton Live Ableton Live Ableton Live Ableton Live Bus 07 Bus 08 Bus 09 Bus 10 Bus 11 Bus 12 Ableton Live Ableton Live Ableton Live Ableton Live Ableton Live
142. e clip Fade Clip If both Head and Tail are selected when you click Apply both ends of the clip can be faded at the same time Using a Range If a range is present when the Apply key is clicked all clips that are wholly inside the range will be affected by it Fade Presets The system provides nine convenient fade shapes as presets These can be recalled instantly by clicking on the keypad at the left Having recalled a preset it can be applied to the Head and or Tail of the currently selected clips using the Apply button Saved Custom Presets You can save named shapes in DREAM IIs storage and recall them at will To save the current shape settings as seen in the graphical displays type a new name into the text box above Save and Copy then click Save To recall a custom preset click on the down arrow at the right of the text field and select an item by name from the list This shape can then be applied to any clip s head and or tail using the Apply button Any custom preset can be deleted by clicking the delete button when the shape s name is displayed A custom preset can be updated to the current shape settings by clicking Save while its name is displayed Constellation XT Page 142 Constellation User Manual CHAPTER 11 EDITING Capturing Shapes To capture a fade means to extract all of its parameters making them available to apply to other clips Step 1 Click the capture button This will cause i
143. e cursor or within a Range Nudge can operate in fixed steps of plus or minus one frame or in variable steps from 1 to 99 sub frames a sub frame is 1 80th of a frame The Nudge key is located to the left of the LCD display Using Nudge Step 1 Press the Nudge key to the left of the LCD Step 2 Locate the cursor over the clips and select the appropriate track s Step 3 Press the var var 1 fr Or 1 fr soft keys to slip the clip s by the selected amount When there is no Range only the top layer of clips highlighted under the cursor is nudged The var and var keys move selected clips by an amount controlled by the Variable soft key It is usually set to a small amount e g a few subframes for very fine control of clip position Nudge with A Range Follow these steps to perform a NUDGE with a range selected Step 1 Step 2 Step 3 Press the Nudge key to the left of the LCD Use the From and To keys to select a Range that includes all clips to be nudged Press the var var 1 fr 1 fr soft keys to slip the clip s by the selected amount When a Range is selected all layers of clips within the Range are nudged including those which are completely buried Constellation XT Page 136 Constellation User Manual CHAPTER 11 EDITING E NOTES Nudging is possible while the transport is in play When nudging a Range clips not wholly within the Range are not affected However the R
144. e desired tempo or press the fit range soft key to capture the current range length or press the edit soft key to edit the output duration or type a value in the Output box e Pitch changes pitch without changing tempo Use the pitch slider to set the desired pitch Constellation XT Page 176 Constellation User Manual CHAPTER 19 TIME DOMAIN PROCESSING e Press the process Soft key or Process button to render your changes back to the timeline A new clip will be created and the original clip will be muted and preserved in the layer underneath Constellation XT Page 177 Constellation User Manual CHAPTER 19 TIME DOMAIN PROCESSING Using VocAlign Processing Note Vocalign Project can be purchased at http www synchroarts co uk Dream II systems will recognize Vocalign Project after it has been installed and run at least once Step 1 To enter the Wave Menu press the WAVE key Step 2 Select two tracks for VocAlign Processing The first selected track serves as the guide track VocAlign will attempt to match the second track to the guide track Note that VocAlign cannot process clips longer than 120 seconds Dream II v0 0a35 Deta The_Firm_40tk lt 40 tracks gt MFX Project File eee bzcao Step 3 Press the VocAlign soft key The VocAlign popup will appear Constellation XT Page 178 Constellation User Manual LY VocALign Project Fie Edit View Options Play Help TA IAE
145. e following elements SET_NODE command source format e g Stereo destination format e g Mono source element e g Left destination element e g Centre Gain in dB For example here is the entry for Stereo to Mono downmix Stereo to Mono SET_NODE Stereo Mono Left Centre 3 SET_NODE Stereo Mono Right Centre 3 Source elements that are not passed through to the destination do not appear in the downmix entry Follow these steps to edit the monitor_matrix file Step 1 Step 2 Step 3 Step 4 Step 5 Step 6 Step 7 Step 8 Quit FMC by holding down the Shift key and pressing the Pause Break key on the PC keyboard and typing o then y Use the trackball to double click on the Start button on the task bar at the bottom left of the mixer screen Use the trackball to select Programs gt Accessories gt Notepad Notepad is a basic text editor application In Notepad select Open from the File menu at the top of the screen Navigate to the following file and click Open C Program Files Falrlight FMC Data monitor_matrix txt Select File gt Save As and type monitor matrix bak to save a back up copy then File gt Open C Program Files Fair light FMC Data monitor_matrix txt to re open the original file for editing Use the arrow keys to scroll down the file to the entry you wish to modify Edit the gain value at the end of a line or type a new line to add an element e g Boom When you
146. e jog wheel or use the numeric keys and press Enter to set the gain If a bus or link group is selected all bus elements or link group members are set to the same absolute direct output level To alter the direct out level of a single member of a link group individually select the member by holding down the BLUE key and pressing the selection key Patching External Meter Outputs To select outputs for the External meter sets Step 1 Press the Meters key Step 2 Press the meter outputs soft key Constellation XT Page 56 Satellite AV User Manual CHAPTER 5 PATCHING AND ASSIGNMENT Step 3 Step 4 Use the ANALOG DIGITAL and AES MADI soft keys to choose the desired type of output Select outputs using the Track keys Any number of outputs can be chosen for external meters and this number will determine the maximum size of a meter set Track keys illuminated brightly are part of a Meter Set Press a lit Track key to unlink it from a Meter Set Monitor Outputs Patching monitor outputs is covered in Patching Outputs for Control Room Monitor Sets on page 63 Configuring Bus Formats The Main Bus Sub Buses and Aux Buses may be configured in mono stereo or multi channel surround formats Each bus comprises individual bus element signal paths from one up to a maximum of eight These elements include left right centre etc Bus formats must be configured prior to use BEAR 0000 02805 00509 0000 2055 aoge anona ona
147. e mixer display is updated to show the current path configuration Patching One Input To Multiple Signal Paths It is possible to patch the same physical input to many different signal paths and have it heard on many of them at the same time This includes Live Feeds Track Feeds and Insert Returns The exception is that only one of a group of Track Feeds with the same physical input can be armed or put in Thru mode at one time The user is prompted before sharing of physical inputs takes place So when a physical input is selected as part of the patching operations described above if it is already being used by another signal path the following warning message appears One or more inputs already patched Do you want to share replace or remove Press the Share OF Replace soft key to choose the patching option you require Press the input selection key again to remove it from the selection When Share is selected inputs that are already patched to existing destinations remain patched to those destinations and are also patched to the currently selected destinations When Replace is selected the input is unpatched from its current destinations and patched to the currently selected destination Unpatching Inputs To remove input patching from a set of one or more feeds press the Patch I O key select the feed and press the unpatch inputs Soft key The Remove Patching command on the Patch I O screen can also be used for t
148. e of the format soft keys in the LCD menu The alternative format is immediately applied to the monitoring chain Whenever the signal path or monitor source being monitored is narrower than the current Monitor Format the speakers that are not needed are muted See The Monitor_Matrix TXT File on page 230 to see how the default settings are derived The user can modify these settings to suit any mode of operation or to make Constellation monitoring conform to any surround delivery format requirements Operators should be aware that while Constellation is capable of playing a surround mix on any speaker format when checking for compatibility the appropriate decoding system should be employed for the target audience listening environment See Inserts in Monitoring below for details on employing external decoders in the monitoring path Inserts in Monitoring Inserts in monitoring are not used explicitly but can be chosen by using the Source Setup Menu which allows any physical inputs to be monitored This allows for instance both the LtRt outputs of a Dolby encoder and the individual LCRS outputs of a Dolby decoder to be monitored directly as external monitor source inputs See Selecting a Control Room Monitor Source on page 65 above and Patching External Monitor Sources on page 65 for more details on setting up and using monitor sources Monitoring Controls The Control Room monitoring controls include Monitor Le
149. e right For the third section use the Type switch to select Exp OR Gate then use the controls at the right If you change the setting from Exp to Gate or vice versa the operation of the controls will change Constellation XT Page 91 Constellation User Manual CHAPTER 8 THE CHANNEL PANEL OO eee TD EELE Compressor Parameters Gain Makeup The Gain control adjusts the gain makeup This gain element is used to compensate for the overall gain reduction caused by reducing the dynamic range of the signal Gain Reduction Meter The Gain Reduction Meter displays the amount of gain reduction being applied by the compressor Compression Threshold The Thresh control adjusts the compressor threshold This sets the signal level above which gain reduction occurs The control range is 50 to 0dB Compression Ratio The Ratio control adjusts the compression ratio This sets the gain reduction ratio input to output applied to signals which rise above the threshold level The control range is 1 0 1 to Constellation XT Page 92 Constellation User Manual CHAPTER 8 THE CHANNEL PANEL Compressor Attack Time The Attack control adjusts the attack rate time constant of the sidechain detector The control range is 0 to 100mS Compressor Release Time Press the Hold key to toggle the Release control between Hold and Release The Release control adjusts the release time constant of the sidechain detector The control range
150. e where the mixer is controlling a single channel in real time Calling a channel is done by pressing the CALL button on any fader or by mouse clicking a signal path on the Mix Display Constellation Features below There is also a Call mode where automatic calling features can be set up The Constellation control surface incorporates the various hardware user interface features indicated H EJ O EI ____ O He O 73838853 E E OE o e 3 s i o D ul EY onors uon 4 4 4 4 4 PLAY REC Play gt Menu Monitor Selection Keys Constellation XT s studio and control room monitor sets allow user configurable control over selections of multiformat sources for monitoring in the control room or in the studio Constellation XT Page 17 Satellite AV User Manual CHAPTER 2 CONSTELLATION XT OVERVIEW Bus Selection and Patching Keys The patching and assignment keys provide access to the various patching menus Bus Selection Keys are used for selecting buses for assignment patching and mix control Track Selection Keys The Track Selection Keys are used for selecting tracks and clips for editing and for arming tracks Press a track key to add a track to the current selection Double press a key to select that track only To select a range hold down
151. ecord and playback and mutes when in other modes Note When recording editor macros number pad digits can be used to select mode in Blue Monitor 0 AUTO 1 RECORD 2 MUTE 3 REPRO Assigning Track Feeds to Buses Track feeds must be assigned to a bus to be monitored through the studio monitors This is described in detail in Chapter 5 Patching and Routing See Assigning Feeds to Buses Selecting a Monitor Source This is described in detail in Chapter 6 Monitoring See Selecting a Control Room Monitor Source Punch In Punch Out It is possible to enter record while playing back from disk on Constellation While playing start recording by pressing the RECORD and PLAY buttons together To drop out of Record press the PLAY STOP JOG REW or FF buttons You can drop in or out on individual tracks whilst recording by pressing the track keys whilst the Arm menu is active Constellation XT Page 123 Constellation User Manual CHAPTER 10 RECORDING Each time you enter Record you will create a new clip on each armed track These clips are placed over any other clips that they encounter on the same tracks The monitoring switches from recorded material to live as you enter Record exactly as though you were erasing the existing audio By enabling Display Layering in the View Menu you can see the layers of clips on each track A clip can be lifted in the layer order by clicking on it with the mouse and dragging upward
152. ecordings editing and file imports are administrated within Projects A project can contain all the audio data and edit information or references to such Edits performed on the audio data are non destructive and are represented by clips which refer to pieces of audio data within the project Projects are continually updated and written to an undo file on disk while recording and editing is being performed as a security measure Existing MT projects coming from MFX3 s or QDC engines can all be opened on DREAM II Extensions and attached files will be entirely compatible and easily opened FUF Files Fairlight Universal Format file This is now in DREAM II a unique file type that is used to write store and append data In other words this is now the file type that contains all of the audio data Let us look now at a working and real example to understand how it is used We will create a new project Step 1 Click on the lt File gt menu and you will see a pop up window appear Constellation XT Page 208 Constellation User Manual CHAPTER 24 PROJECT AND FILE MANAGEMENT Folder D FairlightU Projects bl j New Project Project Name me Comment M Add Pyxis Track Project Rates Audio Tracks Sample rate Hz 24 track le 48 track Frame l o6 irak Browse For Folder Select a folder for this project My Documents El 3 My Computer E A 3 Floppy A Se Local Disk C se Audio D E Fairlightau Me
153. ed When it is off you will cut only the top layer Note that All Layers only works with a range Hint if you want to see all the layers press the Blue Takes key Razor Sometimes it is useful to cut the time out of a track not just the audio This is similar to cutting tape To cut time as well as audio turn on the Razor button This will automatically turn on Range and All Layers As soon as you cut something Head Tail or Range the time they occupied is also cut and all the following clips move earlier Constellation XT Page 130 Constellation User Manual CHAPTER 11 EDITING When you paste press Enter with Razor switched ON the clipboard audio is inserted into the track pushing all the following clips later This is true even if Razor was not ON when the clips were cut to the clipboard Cut and Paste are really independent commands each responsive to the Razor setting Track Sel A handy device for moving between tracks is the Track Sel button If you hold it down and turn the Jogger Wheel the whole track selection will move up or down Two Handed Editing Using two hands for cut and paste can save a lot of time The key is to hold down the action key Head Tail Clip or Range then select the destination timecode and tracks then release the action key to paste the clipboard Example 1 Press down the Clip key don t release it yet With your other hand jog the transport forward R
154. ed which has physical output s defined for Direct Output is called to the CAP the Direct key is dimly illuminated if the Direct Output is OFF and brightly lit if ON To switch the Direct Output on and off press the Direct IN key Direct IN Enable Direct IN Enable is used to add the Direct IN control to the current automation parameter selection Direct Config The Direct Config key displays the Direct Menu Patching Direct Outputs Step 1 Step 2 Step 3 Step 4 Step 5 Press the Call key to call a feed or bus to the Channel Panel Select a feed or link group by pressing a track or live key or select the Main Bus a Sub Bus or an Aux Bus by pressing a bus selection key Press the Direct Config Key on the Path Configuration Section of the Channel Panel Press the Patch soft key in the LCD menu Use the ANALOG DIGITAL and AES MADI soft keys to choose the desired type of output The track feed keys may now be used to select analog outputs for the Direct Out and the live feed keys for digital outputs Outputs of the selected type Analog and AES MADI currently patched to the selected feed or bus element are brightly lit Outputs of the selected type Analog and AES MADI currently patched to other sources flash off to dim Outputs of the selected type Analog and AES MADI currently available are dimly lit Outputs of the selected type Analog and AES MADI that are not fitted are unlit If the selected path is
155. eduction Step 4 Press the Auto Monitor soft key when a bus is selected to automatically switch that bus in to the monitoring chain whenever the Faders To key is pressed Faders to Reduction Bus While BLUE Faders To is active Sub buses which are configured for bus reduction may be selected and the bus selection key will be illuminated All channel faders now control the level at which their signal path is sent to the selected Sub Bus Constellation XT Page 79 Satellite AV User Manual CHAPTER 7 FADERS The MUTE key now controls the bus assignment to the selected Sub Bus The mute pan and fader controls may be automated and will record data for the bus send level pan and assignment parameters Use the enable keys next to the Master fader to enable these parameters for automation See Bus Reduction on page 60 for more details If the signal path is a Link Group the rotary control allows the balance of the sends to Elements of the Aux bus Fader To Reduction Sub Bus While BLUE Faders To is active any of the Sub bus selection keys of Sub Buses configured for bus reduction may be selected and the Sub key will be illuminated All channel faders now control the level at which their signal path is sent to the selected Sub bus Bus Master faders are excluded The Mute key now controls the bus assignment to the selected Sub Bus for the feed This has the effect of muting the feed signal in the selected bus The red
156. eee 35 SONS cia 100 Setup_Variables TXT 0 00eeee 72 236 Naming External Monitor Sources 66 nee O TT 39 gnal LED iii 78 Naming Feeds and Buses 78 Signal Path 78 gnal Pathe assioni iia Naming Speaker Sets 64 O 72 Ndg coccion aa aa 135 SIP Defeat oeccccccccccececcescececcesees 73 76 105 OM STOP orindi eonna aE 198 Sna 234 aE A E E a E E E Snap ob ie 155 Pan COntrOlS corri 88 112 a a Constellation XT Page 243 Constellation User Manual Solo Call FollOW coooomooconcconnncrnnnnnns 75 TOUCH circa cc 193 Solo Clea vi gunnii neiaa 73 76 Touch Auto Enable seen 198 Solo ContraSd ooocccccccnncnoncnnnannnnnnnnnnanannn 76 Touch Indicator 77 Solo OO O seire cnica sasanak ineine 77 TRACK BANK wiscccsteececivedsesicetereieesiaetias 36 Solo SARC isinira 73 76 105 Track Display seeen 33 Solo in Place coiairoccnnsniranscicrncrracccnn ns 72 rd AAA 48 SOUIER crecida raciocinio tee ctenworetees 65 Track SelectiON ooooonccconnnnnanncnnnanennnnnos 35 Speaker MuteS ccccesscccsseceesscceeeecsenes 68 Transport Controls 38 Speaker_Sets TXT 72 236 AAA N na NA 131 Speakers ccccscesestecereeeecsseceeasceaneeeee 65 66 Trim Indicator eeen 78 Spread Control 91 113 Trimming Relative Speaker Levels 64 SUDETAMES siipiin naonnana 38 AAPP 33 SYNC POI eee tcscteacdertccecsscneetectenecns 133 134 A tows seal sed inn ecaeiss 33 Sn 72 236 Uleila 33 System FICS ooooccionn
157. eel the and keys in the Step 3 Double Click the selected WAV file to paste it at the playhead on the active track or drag and drop a clip to any track at any point on the timeline Notes e The AudioBase3 results pane can be displayed underneath the Pyxis Track allowing easy placement of sounds to picture e To hide the AudioBase3 results list simply enter another mode e g Cut e Set up your AudioBase3 Server in Setup General Preferences Example http 192 168 1 100 AudioBase MFX search php Where 192 168 2 100 is the IP Address of your MediaLink2 Server Constellation XT Page 215 Constellation User Manual CHAPTER 27 IMPORT EXPORT Chapter 27 Import Export Introduction Constellation XT has a number of features to allow the import and export of audio clips and Projects Importing Files DREAM II can import the following file types Video Files these can be displayed on the Pyxis track OMF Files these are files from other manufacturers ML Files these are files from older Fairlight products Importing a Video File Step 1 Make sure that a Pyxis track is displayed If it is not displayed click the Tracks menu above the track display then click Add Pyxis track Step 2 Click the File menu above the track display and select Import then select Video File Step 3 The following dialog box is displayed Click here to search for the file you want to import J Giir daga pario jz G
158. effect is a type of VST plug in that is used to process audio A VST effect might be a Reverb Compressor Flanger or EQ A VST Instrument is typically used to synthesize sound or play back sampled audio VSTi s have rapidly replaced hardware synthesizers and dedicated samplers due to their flexibility repeatability and low cost Using VST Effects in Dream Il Setup and installation Step 1 Install your plugins as outlined by your plugin manufacturer The plugin will generate a file with extension DLL in the folder that your plugin has been installed most commonly located in C Program Files VSTPlugins Step 2 Copy the DLL file and paste into C Program Files Fairlight Dream IT Effects VSTPlugins Step 3 Restart the Dream II PC Constellation XT Page 225 Constellation User Manual Fleximaps CHAPTER 30 PLUGINS AND REWIRE Dream II supports Fleximap files which map VST plugin controls to the Dream II surface providing real time automated control over plugin parameters Dream II ships with several Fleximaps for popular plugins and Dream II can also generate Fleximaps automatically You can even edit your own Fleximaps Refer to the Fleximap Developers Guide for more information Inserting a Plugin on a Track Feed Step 1 Step 2 Step 3 Step 4 Step 5 Step 6 Call the track using the Call key located on the Track fader Press the Insert Config key located on the top of the Channel Panel p
159. elease the Clip key the clip you cut is now pasted where you jogged Example 2 Press down the Clip key With the same hand press down the Track Sel key With your other hand turn the jogger wheel to change the track selection Release the Clip key the clip you cut is now pasted on a different track With practice two handed editing can substantially increase your efficiency at repetitive editing tasks Copy Copy works exactly the same way as Cut except that the audio is not removed to place it on the clipboard only copied Pasting after copy is the same as after cut Erase Erase works exactly the same way as Cut except that the audio is not placed on the clipboard The clipboard remains unchanged so its previous contents are ready to paste at any time Edit Soft Key Commands The following soft keys are available when the Cut Copy or Erase Binnacle modes are current split clip Cuts the clip into two pieces at the cursor position reverse Makes a new piece of media that is the reverse of the clip under the cursor reverse Creates a reversed version of the audio in the selected clip s and replaces the original with this reversed version Constellation XT Page 131 Constellation User Manual CHAPTER 11 EDITING Step 1 Step 2 Step 3 Trim Ghost On Toggles the ghost image on and off Some people prefer working without it Range On Soft Key Functions The following additional
160. ellation display There are two rows of soft keys upper and lower The soft keys are illuminated to show available menu options and flash when an operator response is required LCD Menu Display The LCD display provides status information and displays the menu options associated with the Menu Soft Keys Menu options are displayed immediately above or below the Soft Key used to select the option Project and Machine Control Keys These Menu Keys provide access to the main project navigation functions machine control and autolocation menus To activate the function displayed in blue press and hold one of the three BLUE keys while pressing the menu key Automation Keys These keys provide access to all automation functions Constellation XT Page 18 Satellite AV User Manual CHAPTER 2 CONSTELLATION XT OVERVIEW Edit Target Keys These keys modify the effect of each edit For instance a Cut may be performed on a Range a Clip the Head of a clip or the Tail of a clip Transport Keys The transport keys provide standard tape transport functions plus Jog Shuttle selection and a range of play options under the Play Menu To enter Record press the Play and Record keys together Hold down the Jog Shuttle key for a menu of Jog Shuttle settings Hold down the Record key for a menu of record options The QWERTY keyboard space bar can also be used to Play and Stop the transport Macro Keys Macro keys can be programmed to play back se
161. ems that will be recorded are those for the enabled parameters signal paths Notes You can press Auto before or after pressing Play You can take a signal path out of record by pressing Auto again while play continues or take everything out of record by pressing the a11 reaa soft key See Leaving Automation Record below for other ways to exit record Using the In Button Step 1 Step 2 t Step 3 Step 4 Step 5 Enable parameter s see Enable Parameters below Enable signal paths see Enable Signal Paths below Press Play to move transport Press In automation enters record and starts writing Press Out automation stops writing The mix items that will be recorded are those for the enabled parameters signal paths Notes Constellation XT Page 190 Constellation User Manual CHAPTER 23 AUTOMATION You can press In before or after pressing play You can take a signal path out of record by pressing Auto again while play continues or take everything out of record by pressing the a11 read soft key The enabled signal paths and parameters remain enabled so you can enter automation record again at any time by pressing the In key Using Touch Snap Step 1 Step 2 Step 3 Step 4 Step 5 Step 6 Press the Touch button until Snap is illuminated Enable parameter s see Enable Parameters below Enable signal paths see Enable Signal Paths below Press Play to move transport Touch and mo
162. ent direct out The bus or link group elements advance in the following order Left Left Centre Centre Right Centre Right Left Surround Centre Surround Right Surround Boom Elements that are not in the current bus or group format are not displayed To skip the current bus or link group element press the Next soft key To remove patching for the current bus or link group element and leave it with no output press the Blank soft key In MuLTI mode outputs for the selected feed bus or link group element may be toggled ON or OFF by pressing the corresponding Track or Live keys If the key is flashing the system will warn you that the output is used by another signal path Press a track key to add it to the outputs for the direct out To advance to the next bus or link group element press the Next soft key or press another speaker mute key to select that bus element out of sequence Press the Direct Config key to return to the previous mode or select another bus to patch by pressing a bus selection key For a signal path with ports established for Direct Output the Direct ON OFF soft key is used to turn the direct output on and off Direct Out Pre Post The direct output signal can be derived before or after the feed bus fader Press the Pre Post soft key to toggle the direct output Direct Out Gain The direct output signal can have gain or attenuation applied prior to the output Press the Gain soft key and turn th
163. ent layout of the mode will be shown above the Mode key you pressed One of the tiles in that layout will be flashing indicating that it can be swapped to a different function To choose a new target tile in the channel you are changing touch any control in that tile The rest of the In Line Panel will display all the possible tiles that you can use To copy a tile into the target tile touch any control on the desired tile Once you have made all the changes you need press the Setup key to exit Example Step 1 Press the Setup button Step 2 Press the EQ Mode key The channel above the EQ mode key will show the current layout of your alternative EQ mode Step 3 Touch a control in the EQ channel This makes its tile the target for changing function and causes it to flash Step 4 Touch a control somewhere else in the In Line Panel This will copy its function into the flashing target tile Step 5 Repeat for the other tiles you want to change Step 6 Press the Setup button again to exit To use your new mode hold down the BLUE key and double press the EQ Mode key Note that simple pressing of the EQ Mode key will cause display of the normal EQ mode Constellation XT Page 118 Constellation User Manual CHAPTER 10 RECORDING Chapter 10 Recording Introduction Constellation XT can record up to 64 simultaneous tracks to disk The following chapter describes how to configure and then record audio into the system Project
164. equired you must specify the format of the speaker set Press the Format soft key to cycle through the available formats These are None Mono Stereo LCR LCRS LCRSS 5 1 6 1 7 1 Select the type of digital physical output you wish to patch to by pressing the Constellation XT Page 63 Satellite AV User Manual CHAPTER 6 MONITORING Step 6 Step 7 Step 8 AES MADI soft keys The speaker mute keys are now used to select each speaker The current speaker mute key is brightly lit Other elements included in the specified format are dimly lit Press a speaker mute key to select the element to patch Live feed keys now represent digital outputs and track feed keys represent analog outputs Press a feed selection key to select a physical output for the current speaker Only one output can be selected for each speaker selecting a new output replaces the previous patch The output feed selection key patched to the current Monitor Element is brightly lit Output track keys used for other purposes flash Output track keys available for patching are dimly lit Use soft keys to choose outputs higher than 48 Select the speakers to patch one by one by pressing each speaker mute key and following the patching procedure described above System Outputs Specific outputs may be defined for use with control room monitors only System output ports are only available for patching in the Monitor Setup Patching page
165. er For Live Feeds the level is taken before the channel processing The default signal present thresholds are as follows 50dBFS green 20dBFS amber OdBFS red Elements of these settings can be customized using the System_Variable File See Metering Numeric Peak Level on page 235 for more details Fader Groups provide an efficient means of controlling more than one signal from a single fader The inherent bus structure associated with multiformat work is handled seamlessly through the use of Link Groups These aspects of the DREAM II system are discussed fully in Grouping on page 150 Naming Feeds and Buses Feeds link groups and buses can be named from the Call menu Step 1 Press the Call key to access the Call menu Step 2 Press a track live or bus selection key to call a path to the master fader Step 3 Press the name soft key and type a name on the PC keyboard Step 4 Press Enter to store the name The name will now appear on the fader LCD and on the mixer display Press the Tab key to enter the name and step to the next feed Hold the Shift key and press Tab to move to the previous feed Controlling the Signal Path Channel Panel Once a feed or bus has been called to the Master Fader all the elements of the signal path may be controlled from the dedicated controls on the Channel Panel See The Channel Panel on page 84 for complete details on using the EQ Pan Dynamics and Auxiliary sends Co
166. er enhance Project Management within Constellation XT the following features within the Project Menu are available Save As In DREAM TI all the audio is stored in large container files while projects contain references to those files So a clip in a project has instructions to access portions of audio recordings in a container file Saving a Project under another name creates a new Project with all the same clips as the original It also inherits all the track names and marks mix and setup information Step 1 Click the File menu button above the Track display Step 2 Choose Save As Step 3 Select the desired destination and type the new name Step 4 Click Save File Management File management is always a necessary evil associated with all computers and is always a topic for discussion We have done our best to make DREAM II file administration flexible and intuitive Audio and Video Devices g My Computer DER File Edit view Favorites Tools Help Q sax amp Dd ya Search gt Folders EEE Address Y My Computer System Tasks Se Audio D View system S Video E information shared D A TH Add or remove ri programs Dream s Documents G Change a setting Other Places My Network Places E My Documents Shared Documents G Control Panel Constellation XT Page 206 Constellation User Manual CHAPTER 24 PROJECT AND FILE MANAGEMENT These are nothing more than 2 separate logica
167. er fader adopts the level of the first fader in the group When the fader is adjusted the member s fader levels are offset by the amount the master fader is moved in dBs 3 It is possible to control the individual members independently This is done in the Mixer Screen channel tile and applies only to the controls shown there i e Fader Mute Solo EQ In Out button and Insert In Out But whatever these settings are they will be overridden by any change to the Master tile 4 When a group is created the master pan control is centred The Spread and Rotate controls become active when the link group master is called to the Master Fader These pan parameters offer unique and flexible panning controls to multichannel link groups See The Surround Panner on page 87 for a complete description of these functions 5 When the group is created the In Line Panel and Channel Panel controls adopt the position of the first feed in the group When a rotary control is adjusted the controls of the members are offset by the amount the master control is moved Switch controlled parameters display the current setting of the first member in the group Pressing a switch with a toggled value will set all members off Double pressing will set all member parameters on For switches which cycle through a number of values pressing the switch will set all members to the next value of the Group Master 6 The MUTE and SOLO keys on the Master Fader section indica
168. er to a tape machine An additional feature is increasing the fast forward and rewind speeds by pressing the respective keys multiple times This accelerates through 8 24 60 150 and 360 times play speed To enter record press the REC and PLAY keys together The play command can be accessed also by pressing the PLAY key on the Binnacle See the chapter on Editing on page 124 for more details The Space bar on the QWERTY keyboard can also be used to toggle the transport between Play and Stop More Jog Commands Pressing the JOG key when stopped enters the Jog mode Jog mode can also be accessed by pressing the Play Jog key on the Binnacle Holding the BLUE key while jogging increases the jog speed by four times Mouse Jogging The mouse can also be used to move the transport Simply right click anywhere and drag horizontally to move the transport Audio is not heard while this takes place Shuttle To shuttle the transport hold down the BLUE key and press JOG SHUT The jogger wheel will then increase and decrease the transport velocity in forward and reverse Press the FF or REW keys to reverse the shuttle direction To play at normal speed in reverse press PLAY hold down the BLUE key and press JOG SHUT then press REW Jump The Jump keys provide a fast method of locating forwards and backwards through a Project The Jump keys are located on the Binnacle left and right of the Play Jo
169. errors or omissions to documentation fairlightau com Table of Contents CHAPTER 1 INTRODUCTION cnoccccccconnnnnnncnonnnnnononenonenonnronanennnnnnnnnnnnnnnnrnnnrrnnrrrrnerrnrnnnrs 13 INTO UCI cid feted tects A A whan ventric eE NEAN E 13 About This Manual ecesna LER EEE aa 13 CHAPTER 2 CONSTELLATION XT OVER VlEWononcnicininnncccccccooccancccnnccnnnnnnnconnnononnnnos 14 o 14 TerminologY iii creed Glee etna lee 14 User Interaga iii id 16 ZOOM Panels iii a 24 SS E 27 System ShutdoWN asisten iii cdi 27 USING the System ds 27 CHAPTER 3 PROJECTS lt a A A A a 28 INtFOdUCION dar a A A A ie ee 28 CHAPTER 4 TRACKS 8 TRANSPORT cccccccceeeeeeeeeeeeseeeseessesssseesaseeeaeeseeseeeneaeees 33 o CON si 0 nits ccactscsek TIT TTT TE EE A E AEA A TATT 33 Dis TTA TE 33 Selecting Tracks cia daa ai 35 Time Scale and Display Zoomi g iecerei ieee Taaa eieaa EE i EEES EA EREA A 37 Transport Controls seser aias aE TERN E E LRR AEE ONNEA ait ER i 38 More Jog COMM ad Se aeaea ana EEEE ra ELESE AAEE EAEE E IRAKANA APA AAE AAPEEE ANA EE ERASER ARREKO PETAS E SAE LERAREN 38 Shut AE E A E EEE A EEEE ATSE 38 a a a Aaa a a ONE 38 Locator Naran aN aida ada 40 Selecting A Range siii daa alar tics 40 Play Mena A EA A ith ti 0 41 CHAPTER 5 PATCHING AND ASSIGNMENT cccceeceeeeeeeseeesseeeeaeeeaeeeeeeseeeeeseeeeees 42 roduc UON eeir sores ss E EA Soop A E ROKEN TEREE A ERR 42 ea a ai di T 42 Patching MES acabo 43 Using the Patch I O SEA
170. extend the selection using Ctrl mouse click This will cause the range to expand so that it includes the newly selected clip and it will preserve the existing selection as well Pasting Pasting the clipboard use the Enter key means putting a copy of it at the current position on whatever tracks are selected You can paste the clipboard contents at any time not just after a cut operation and as often as you like If there are already clips at the place where you paste the clipboard is placed on top of the existing clips Only the top layer is heard unless there is a crossfade between layers more about that later The shape of the clipboard s track selection is preserved when pasting regardless of track selection at that time For example if you copy clips on tracks 1 and 3 then select only track 8 and press Enter the clipboard will be pasted on tracks 8 and 10 The first track on the clipboard is always pasted on the lowest numbered track in the selection Variations There are a few extra keys which change the functions of Cut and Paste All Layers Sometimes clips are stacked in layers Of course we only hear the top layer or crossfades between the top and second layers more about crossfades later You have the choice of cutting only the top layer or all the layers The All Layers key controls this choice When it is on you will cut all the layers and they ll be placed on the clipboard ready to be past
171. eys on the Selection Panel or you can use the ones already selected Step 3 Press the Patch soft key Step 4 Press the Main an Aux or a Sub Bus key or press the Multi Track key and some of the Live Feed keys The Main or Sub Bus Elements will be patched to the feeds in the following order Left Left Centre Centre Right Centre Right Left Surround Centre Surround Right Surround Boom Elements that are not in the current bus or group format are not displayed or patched If a stereo Aux Bus is selected the left channel is patched first then the right Multi track buses are patched in numerical order The bus elements are patched to the feeds successively until the feeds are all used If the bus elements are all used before the feeds are then patching starts again from the first bus element Patching to Insert Returns Patching procedures for feed and bus insert returns are similar to the procedures just discussed Insert patching is achieved by first calling a feed to the Channel Panel and pressing the Insert Config Key in the Path Configuration Section For more information on calling feeds to the Channel Panel see Calling a Signal Path to the Master Fader on page 74 The insert point may be moved within the feed signal path See Moving the Insert Point below Patching Insert Returns To patch a physical input to any signal path Insert Return Step 1 Select a signal path Track Feed Live Feed Link Group or bus by a pre
172. ference to the audio data stored on disk Clips can be cut copied or moved without affecting the original audio data When new clips are recorded or pasted above existing clips the clips become layered one above the other Normally only the top clip is seen and heard during play back DREAM II now allows all layers to be seen and heard simultaneously To do this use the BLUE Takes key to toggle Display layering on or off or select deselect Display Layering in the onscreen View menu Display Layering Smart Pane Pyxis Locators Tracks Video Track Clip Search Statistics Performance Background Tasks While Display Layering is on you can drag clips from one layer to another using the mouse This is described in more detail in Chapter 11 Editing The left end of the clip is known as the head The right end is the tail Clips also contain information about the original timecode location of the audio data when recorded and the current timecode location of the displayed clip If a clip shows only a portion of the associated audio data on disk it may be trimmed to show more Constellation XT Page 34 Satellite AV User Manual CHAPTER 4 TRACKS amp TRANSPORT Je 1 Master 23 54 40 08 Top Layers Multichannel Clips DREAM II adds the concept of Multichannel Clips Currently Multichannel clips are limited to Stereo for legacy compatibility Multichannel clips are displayed with a lin
173. file created by Fairlight software containing the stored audio and its editing and mixing instructions Physical An analog or digital audio input or output Input Output Track Feed A signal path channel feeding to or from the disk recorder which can be processed and routed to mix buses and monitoring Live Feed A signal path channel fed from a live real time signal that has been brought from a physical input and can be processed and routed to mix buses and monitoring Bus Destination of a mixing operation Feeds are usually routed to buses via a multiformat surround panner Buses may be configured with various multichannel formats such as stereo LCRS 5 1 or 7 1 Multitrack buses provide bus paths for summing feeds to be recorded to disk or other I O Constellation XT Page 14 Satellite AV User Manual CHAPTER 2 CONSTELLATION XT OVERVIEW Bus Element One component signal of a bus e g left right centre or surround Bus elements are automatically allocated to individual buses as they are created Each system has a finite number of bus elements which will limit the format of buses as they are created For example a Mocha Espresso sized Constellation XT has 48 available bus elements allowing 1 X 5 1 main bus 4 x 5 1 sub buses 2 X 5 1 auxes and 2 X stereo auxes or 1 X 7 1 main bus 3 X 5 1 buses 4 X stereo aux buses and 4 X mono aux buses and 8 X Multitrack buses On the other hand a Grande Latte size
174. g key Constellation XT Page 38 Satellite AV User Manual CHAPTER 4 TRACKS amp TRANSPORT Jump Methods Holding down one of the Jump keys displays the Jump menu in the lower Constellation display POINT The transport will locate to the head tail sync point or fade point s of a clip on the selected track or tracks MARK The transport will locate to the next mark Selecting one or both of these menu items will take effect when the Jump key is released and will remain as the jump method until a different method is selected If both Point and Mark are selected the transport will stop at all the places mentioned above NOTES 1 The sync point of a clip defaults to the head of a clip unless changed with the Edit menu using the Set Sync Point command or using the sync point soft key in the Binnacle Trim mode 2 Jump to point will only work on selected tracks 3 Holding down the Shift key and pressing a Jump key will override the Jump Menu and jump to point Holding down the Ctrl key and pressing a Jump key will override the Jump Menu and jump to mark 4 Holding down the BLUE key and pressing either Jump key will locate the transport to the start or end of the Range Keyboard Jumps Pressing the Left Arrow and Right Arrow keys on the QWERTY keyboard has the same effect as pressing the left and right Jump keys Constellation XT Page 39 Satellite AV User Manual CHAPTER 4 TRACKS amp TR
175. h Editing Ranges They are respectively the Range In time Range Out time and Range duration When Range is switched off these numbers show the last range that was created which can be restored by pressing the Range On key or selecting the Range On command from the Edit Menu Track and Clip Area Beets i illi 40 Smart Pane Range display Track and clip area Track Selection Panel Timecode display Status View This area shows a selection of the available tracks and the audio clips on them A complete description of all its functions is contained in the chapter on Editing Timecode Display This line shows the timecode at the left and right of the screen and also at the centre line or Play Cursor position Constellation XT Page 21 Satellite AV User Manual CHAPTER 2 CONSTELLATION XT OVERVIEW To the right of the timecode display are two lights which change colour as follows Sync shows green if the system has a viable sync signal otherwise red Position shows green if the system sees a viable position signal such as timecode or 9 pin otherwise red Status View This area shows information such as the Project name and status and alert messages from the system Mixer Display Features The mixer display shows real time status of fader levels for all track feeds live feeds and buses plus signal levels for the Main bus and the currently called signal path Also shown i
176. h the talkback signal is assigned Select a Talkback Source To select the physical input for a talkback microphone Step 1 Hold down a BLUE key and press the Talk key Step 2 Press the Patch Source soft key in the LCD menu The track feed keys are now used to select analog inputs The input if any that is currently patched to the talkback channel is brightly lit Inputs that are patched to other paths are flashing Inputs that available to patch to this talkback channel are dimly illuminated Step 3 Press a feed selection key to patch a physical input to the talkback channel This replaces the previously selected patch Setting the Talkback Level Follow these steps to set the level of the talkback mic Constellation XT Page 162 Constellation User Manual CHAPTER 15 TALKBACK AND OSCILLATOR Step 1 Step 2 Step 3 Step 4 Dim Hold down a BLUE key and press the Talk key Press the Gain soft key in the LCD menu to adjust the input gain Turn the jog wheel or use the numeric keys to set the gain Press Enter to complete the operation The level of the monitor speakers is dimmed automatically when Talkback is engaged To set the dim attenuation hold down the DIM key and turn the jog wheel to set the amount of attenuation Auto Cue The Auto Cue feature enables automatic dimming of the control room monitors when the transport is stopped or not locked to timecode This is achieved by automatically turning on one of the
177. hannel Select display Step 2 Pressing any selection in the Channel Select display calls that signal path to the Master Fader and to the In Line Panel while it is in Fat Channel mode Only one signal path may be selected at a time in Call mode but this may include multichannel link groups or buses While the Call key is latched its light will be on and the Call Menu is displayed on the LCD panel See below for more details Call Follow Call Follow enables the current edit or mix selection to be always called to the In Line Panel when in Fat Mode and the Master Fader This provides context sensitive control for fast intuitive mixing control The last signal path selected will be the current ILP and Master Fader selection Press the Call key to access the Call Follow menu Call Follow has several options Edit When in Edit mode any path selected is called to the Master Fader Mix When in Mix mode any path selected is called to the Master Fader All Any selection in Mix or Edit mode is called to the Master Fader Off The Call key must be pressed before selecting a signal path for control by the Master Fader and Channel Panel Solo Call by Solo Pressing the Solo key above a fader calls the path to the Master Fader Touch Call by Touch Touching a fader calls its signal path to the In Line Panel ILP Call by ILP Whenever a control on the ILP is touched the corresponding signal path is called to the Master Fader Constellation XT
178. have finished making changes click File gt Save then File gt Exit to save the file and exit Notepad Click on the DREAM II Start Icon on the desktop to restart FMC and the disk recorder Your modified monitor matrix settings are now active Removing Boom from a Monitor Downmix The following setting sends the boom channel from a 5 1 bus to left and right speakers of a stereo monitor set 5 1 to Stereo Constellation XT Page 234 Constellation User Manual CHAPTER 31 SYSTEM FILES SET_NODE 5 1 Stereo Left Left 0 SET_NODE 5 1 Stereo Right Right 0 SET_NODE 5 1 Stereo Centre Left 3 SET_NODE 5 1 Stereo Centre Right 3 SET_NODE 5 1 Stereo S left Left 0 SET_NODE 5 1 Stereo S Right Right 0 SET_NODE 5 1 Stereo Boom Left 3 SET_NODE 5 1 Stereo Boom Right 3 Remove the last two lines to eliminate the boom element from the monitors as shown below 5 1 to Stereo SET_NODE 5 1 Stereo Left Left 0 SET_NODE 5 1 Stereo Right Right 0 SET_NODE 5 1 Stereo Centre Left 3 SET_NODE 5 1 Stereo Centre Right 3 SET_NODE 5 1 Stereo S left Left 0 SET_NODE 5 1 Stereo S Right Right 0 The DPC_Pan File The DPC_Pan file contains a table of pan gain values that is applied by the surround panner The file contains three pan tables LR LCR and 7 1 The LR table contains two columns and is used when panning between two speakers left to right or front to back The LCR table contains three columns and is used for panning across the fro
179. he Save soft key and type a new name for the library preset The previously entered name is displayed by default and will be overwritten if you do not change it Press Enter to save the preset or press the Cance1 soft key to cancel the operation Loading a Preset Follow these steps to load a preset Step 1 Step 2 Step 3 Step 4 Step 5 Call the destination signal path to the Master fader Press the Lib key to display the library menu Press the chan EQ chan dyn all chan Or all console soft key to select the type of preset you wish to load Turn the jog wheel to scroll through the list of available library presets for the selected type Press the Load soft key then press the Yes soft key to confirm the operation If you choose an all console preset it doesn t matter which signal path is selected because the whole console will be loaded Deleting a Preset Unwanted library presets can be deleted by following these steps Step 6 Step 7 Press the Lib key to display the library menu Press the chan EQ chan dyn all chan Or all console soft key to select the type of preset you wish to delete Constellation XT Page 159 Constellation User Manual CHAPTER 13 LIBRARY Step 8 Turn the jog wheel to scroll through the list of available library presets for the selected type Step 9 Press the Delete soft key then press the Yes soft key to confirm the operation Constellatio
180. hed to one of four ranges e LF 10 250Hz e LMF 50Hz 1k50Hz e HMF 450 8k00Hz e HF 1k40 22k0Hz Constellation XT Page 85 Constellation User Manual CHAPTER 8 THE CHANNEL PANEL Each parametric section provides 18dB of gain Q has a range of 0 3 to 10 When notch is selected the filter has a gain of O to 99dB The equaliser can be bypassed and also provides a gain makeup control with a range of 18dB m 20 FREQUENCY Using the Equaliser The equaliser controls are organised into six equaliser sections plus the lower section containing gain make up and EQ Setup and EQ bypass controls As the EQ parameters are modified their values are displayed in the fat channel display at the bottom of the mixer video display Starting with the lower section the Level control provides gain make up with a range of 16dB The Level control can be included in the current automation parameter selection by pressing the blue enable key The EQ Setup key is used to toggle the function of the key in each section between Shape Range and Bypass Press the key once and shape displays will flash allowing selection of the shape of each filter by using the IN key on each section Press the EQ Setup key again and the band displays on each section flash Press the EQ Setup key again and the IN keys on each section adopt their normal bypass function The EQ IN OUT bypass key bypasses the entire equaliser on the sele
181. higher than your high frequency if you want 7 When you are using a Range it is possible to change one or more bands for the entire Range while leaving other bands as they were So for example the clips might have different settings for LOW EQ but the same setting for HIGH EQ Saving EQ Settings The system allows you to save the current EQ settings and later retrieve and apply them To save an EQ setting do the following Step 1 Type a new name into the Presets field or use an old name if you want to change its settings Step 2 Set the EQ values to the ones you want to save by editing or simply by picking up the values by touching an existing clip Click the Save button or press the save soft key To retrieve an EQ setting select it from the Preset drop list It can then be applied immediately to the currently selected clip or range of clips A saved EQ setting can be deleted by first selecting it from the drop list then clicking the Delete button Constellation XT Page 173 Constellation User Manual CHAPTER 19 TIME DOMAIN PROCESSING Chapter 19 Time Domain Processing Introduction Constellation XT provides Sample Rate Conversion Powerful Time Compression and Expansion via Serato s Pitch N Time FE Fairlight Edition and automated dialog alignment via Synchro Arts Vocalign Project Sample Rate Conversion Step 1 To enter the Wave Menu press the WAVE key Step 2 Press the src soft key The S
182. his EULA grants you the following license e You may use the SOFTWARE only on the DEVICE e NOT FAULT TOLERANT THE SOFTWARE IS NOT FAULT TOLERANT Fairlight AU HAS INDEPENDENTLY DETERMINED HOW TO USE THE SOFTWARE IN THE DEVICE AND Fairlight AU S SOFTWARE SUPPLIERS HAVE RELIED UPON Fairlight AU TO CONDUCT SUFFICIENT TESTING TO DETERMINE THAT THE SOFTWARE IS SUITABLE FOR SUCH USE e NO WARRANTIES FOR THE SOFTWARE THE SOFTWARE is provided AS IS and with all faults THE ENTIRE RISK AS TO SATISFACTORY QUALITY PERFORMANCE ACCURACY AND EFFORT INCLUDING LACK OF NEGLIGENCE IS WITH YOU ALSO THERE IS NO WARRANTY AGAINST INTERFERENCE WITH YOUR ENJOYMENT OF THE SOFTWARE OR AGAINST INFRINGEMENT IF YOU HAVE RECEIVED ANY WARRANTIES REGARDING THE DEVICE OR THE SOFTWARE THOSE WARRANTIES DO NOT ORIGINATE FROM AND ARE NOT BINDING ON Fairlight AU S SOFTWARE SUPPLIERS e Note on Java Support The SOFTWARE may contain support for programs written in Java Java technology is not fault tolerant and is not designed manufactured or intended for use or resale as online control equipment in hazardous environments requiring fail safe performance such as in the operation of nuclear facilities aircraft navigation or communication systems air traffic control direct life support machines or weapons systems in which the failure of Java technology could lead directly to death personal injury or severe physical or environmental damage Sun Microsystems
183. his function Patching Outputs Physical outputs can be patched from buses insert sends direct outs and monitor outs Constellation XT Page 52 Satellite AV User Manual CHAPTER 5 PATCHING AND ASSIGNMENT Using the Patch I O screen is the same as for inputs with appropriate selections The method for using the Selection Panel is explained below Patching Bus Outputs To select physical outputs for the buses Step 1 Step 2 Step 3 Step 4 Step 5 Step 6 Step 7 Press the Patch I O key to enter the Patch I O menu Press the Inputs Outputs soft key to select outputs Select the Main Bus a Sub Bus or an Aux Bus by pressing a bus selection key Or select a Multi Track bus by pressing the Multi Track key and then a Live Feed key Press the Patch soft key Press the AESs MADI soft key to choose the desired type of digital output if desired The track feed keys may now be used to select analog outputs for the bus and the live feed keys to select digital outputs Outputs of the selected type Analog and AES MADI currently patched to the selected bus element are brightly lit Outputs of the selected type Analog and AES MADI currently patched to other sources flash off to dim Outputs of the selected type Analog and AES MADI currently available are dimly lit Outputs of the selected type Analog and AES MADI that are not fitted are unlit The outputs can be selected for one bus element at a time
184. hisper sounds like a brief glassy or metallic buzz and occurs about once every few seconds depending how fast the samples are overflowing or underflowing The best solution to digital sync conflicts is to drive all digital devices from a single studio wide word clock signal Then all devices will have identical word rates so whispers never occur and digital interconnections may made with ease In this instance the sync HOUSE option is always used Pull Up and Pull Down The normal sample rates used by the digital audio industry are 32 000 44 056 44 100 48 000 and 96 000 samples per second The normal frame rates are 24 25 29 97 and 30 These last two may cause confusion when used together Constellation XT can alter its sample rates far enough to accommodate the small speed change caused by going from 30 to 29 97 frames per second and back again In other words if you slow down the frame rate from 30 to 29 97 Constellation can slow its internal sample rate to match This is called Pull up or Pull down depending in which direction you are taking the speed When you choose a frame rate you are telling Constellation XT what frame rate to expect To put it more accurately you are telling it the frame rate at which the chosen sample rate will be accurately reproduced For example if you tell Constellation that the NTSC frame rate is 30 in the Setup Menu and the sample rate is 44 100 it will pull down the sample rate to 44 056 if you
185. hs are enabled 2 Use Touch mode and move any fader pot or switch The mix item it controls is put into Write or Trim if it is enabled If Touch Auto Enable is OFF the signal path and parameter must both be enabled for mix items to enter record If Touch Auto Enable is ON the signal path need not be enabled but the parameter must be 3 Punch in manually on enabled tracks with the IN key or punch in automatically at the Active In point using PUNCH or the PLAY key Details in Programmed Automation below All enabled mix items are put into record 4 Use Prime mode and the transport Recording or ADR functions to record automation on selected signal paths Details in Programmed Automation below All enabled mix items are put into record Leaving Automation Record There are seven methods of leaving automation record 1 Press any illuminated AUTO key to take its signal path out of record 2 Cause the transport to leave PLAY or REC using any transport command 3 When in Touch Snap mode release any fader pot or switch 4 Punch out manually with the Out key or punch out automatically at the Active Out point after pressing PUNCH or the PLAY key see Programmed Automation This works for enabled signal paths but not for ones where the AUTO key was used to put it in record 5 In Prime mode use ADR or the PLAY key to punch out 6 Press the All Read soft key in the Mix menu to instantly place all mix items in Read 7 Press the M
186. ight corner of the Channel Panel panel Step 3 Toggle the feed in out of a group using the fader set keys 1 9 Faders in a group can be controlled by the Group Master fader To do this you must either CALL the Group Master to the Channel Panel or add to a fader set To CALL a group master Step 1 Press the CALL key on the editor panel Step 2 Press amp hold FADER GROUP in the fader set section and select the group master using the fader set keys 1 9 To add a group master to a fader set Step 1 Press the MAP key Step 2 Select the fader where you want the group master by hitting its CALL key Step 3 Press amp hold FADER GROUP in the fader set section and select the group master using the fader set keys 1 9 Members of a Fader Group are indicated on the Main Screen graphics with the inclusion of fader group indicator located immediately below the Track Live channel number A Fader Grouping indicator is displayed in the fader strip LCDs Link Groups can now be included in a Fader Group Naming a Group Fader groups and link groups are named using the Call Menu Step 1 Press the Call key Step 2 Select the group you wish to name as follows For a Link Group select any member of the group For a Fader Group hold down the Fader Group button and press a Fader Set key Constellation XT Page 154 Constellation User Manual CHAPTER 12 GROUPING Step 3 Press the name soft key in the Call menu The LCD will show the
187. ign to turn assignment to individual bus elements on or off see Stem Assign on page 59 for more details Constellation XT Page 96 Constellation User Manual CHAPTER 8 THE CHANNEL PANEL Pre Post Press the Pre Post key to derive the auxiliary bus send level from before or after the feed fader Setting Aux Pan Post Feed Pan This is done in the Bus Parameters Menu Path Configuration Not all path configuration features are available in DREAM II Software release 2 0 The available features are described below The Path Configuration section of the Channel Panel provides fast access to many patching and configuration functions for the selected signal path Signal paths called to the Channel Panel may be mono feeds or link groups or buses with a number of bus elements Path configuration operations may vary depending on the type of signal path being modified Changes made in the Path Configuration Section are displayed in the fat channel display at the bottom of the mixer video display e ENN HO O TEACA CEB EA EARRA an sr meant fuss es LOLO DOWN al DIRECT Gain The Gain controls the input level 20 to 20 to the desired feed UP4 Mic Amp Control It is possible to control the UP4 preamplifier using Ethernet remote control by Fairlight s DREAM II integrated mixing editing systems The Soft knob the handles input level and the Input switch handles Phantom power for the called channel if it has a
188. ignal path associated with each fader is determined by the current fader set The name of the signal path is displayed in the LCD window above each fader The default fader sets display feeds and buses in ascending numerical order from left to right See Fader Sets below for more information on using fader sets The Call Key Press the CALL key on any fader to call the signal path assigned to that fader to the Channel Panel Zero Faders and Pan Pots A fader can be set to exactly zero dB by holding down the BLUE key and touching the fader Similarly a pan pot can be placed exactly in its centre position by holding down the BLUE key and touching the pan pot Fader Sets Channel Faders are assigned to signal paths using the Map key in the Fader Set Section Constellation XT Page 81 Satellite AV User Manual CHAPTER 7 FADERS E DOT a ER SETS Fader sets define the function of each channel fader on the Constellation Fader sets are stored along with the preset snapshot in each project In addition separate fader set setups are stored in each automated mix that is saved There are 10 fader sets available at any time Press any fader set key to instantly recall that fader configuration Mapping Fader Sets Step 1 Step 2 Step 3 Step 4 Step 5 Press the Map key in the Fader Set section Press a fader set number key to select the fader set to map The CALL key on the first fader will flash to indicate that it is
189. ignment must first be assigned to the desired bus using bus assign see Assigning Signals to Buses on page 57 above Step 1 Hold down a BLUE key and press the Stem Assign key Step 2 Press the bus selection key of the destination bus to which you want to assign signal paths This can be the Main Bus or any Sub Bus to which the feed is currently assigned The Speaker Mute keys now show which elements of the destination bus the signal path is assigned to Elements currently assigned are brightly lit unassigned elements are dimly lit and elements unavailable in the destination bus are off Only bus elements that are available in the destination bus format can be selected Step 3 Press any Track Live Feed or Link Group key to toggle its selection on or off Step 4 Use the Speaker Mute keys to toggle destination bus elements on and off Multiple signal paths may be selected at the same time If any bus elements are enabled in all of them their Speaker Mute keys are solidly illuminated and may be toggled off If any bus elements are enabled in some but not all the selected signal paths their Speaker Mute keys flash Pressing any flashing key enables that bus element in all the selected signal paths Press again to remove the bus element Bus elements that are not enabled in any of the selected signal paths are dimly lit and may be toggled on for all selected signal paths Stem Assign Soft Key Options Press connect all to connect the
190. int of the clip CUT or copy the clip to the clipboard Place M1 online the transport will relocate to the video at the desired frame Press lt Enter gt to paste the clip It is also possible to cur or copy the clip before locating to the desired frame Constellation XT Page 224 Constellation User Manual CHAPTER 30 PLUGINS AND REWIRE Chapter 30 Plugins and ReWire Introduction Dream II provides powerful support for 3 party hardware and software plugins via the industry standard VST VSTi and ReWire protocols Dream II s open architecture provides access to a vast array of 3 party products giving users incredible freedom of choice VST and VSTi About VST VST Virtual Studio Technology is an audio plug in standard created by Steinberg The VST standard allows third party developers to create VST plug ins for use within VST host applications or to create VST host applications themselves The VSTplug in standard is the most widespread plug in standard in use today with thousands of available plug ins The VST Host A VST host is a software application or hardware device that allows VST plug ins to be used in a logical context interacting with digital audio and MIDI elements Dream II is a VST host enabling VST plug ins to interact with the Dream II mix environment As of this writing Dream II uses version 2 4 of the VST SDK Software Development Kit VST Effects versus VST Instruments VSTi A VST
191. io eainiie ae AEO NNN EREA EEA EEE EE AAA E AES EEEE EEEE 159 CHAPTER 14 METERS ui da 161 Trt OCU CLIO 2d 161 Constellation Main Meter Panel oooooooncnnnncnnnnnnnnnnnonnnnnnnnnnnnnnnnnnnnnnnnnnnr rn nnnnnn rn nr nn rrrrr rn r nr rra 161 Constellation Channel Meter Panel cccccccsssssssssssseeseeceeeeesssseessesssseeeseeceeeesssssssaaaaageeseeenees 161 Peak HON iii a dia 161 CHAPTER 15 TALKBACK AND OSCILLATOR ccccccccccconconnccnnnnnancnannnannnennnnnnnnnnnenonos 162 Trt OCU CLIO curtidos 162 Usina Talkback i 162 Setting up the Talkback PathS ooooooncnnnnnnnnnnnnncnononononnnnnnnnnnnnnnnnnnnnnnnornnnnnnnnnnnnrnrrrrrnrrrrrnnnnnna 162 Dna EE A a A ad 163 Ol A ee Ae as 163 GHAPTER 16 NAM EB ei 0 casio ci AE E T 165 INT oo 8 e 1 o pE AEn E E E E ON 165 NAMING TACKS soniad iiia iiaa a aA Aa Anada aiaiai a AARAA RANAR 166 Naming CDS ima 166 Alternative Naming from the PC Edit Screen ooooocncnnnnnnnnnnnnnonnnonononnnnnnnnnnnnnnnnnnnononrranannnnnns 166 SEN ME rn aii estas 166 Naming Feeds and Buses iii nadal cis 167 INOUGS aii T E E A ci di 167 CHAPTER 17 CUP LEVEL soii A steasentscsceneccs cc cccectetecececacteasem 168 Introduccion 168 A A OR 169 CHAPTER 18 CLIP EQUALISATION occcccccccccccconcononconnnnnnnnnancannnannnnrnnnnnnnnnnnnnnnernnnenens 170 Introducir 170 EQ display iioiia 170 CHAPTER 19 TIME DOMAIN PROCESSING ccccseceeesesssssessseessceeesseeeeeeeeeeeeeennes 174 Introducido 17
192. ion XT Page 201 Constellation User Manual CHAPTER 23 AUTOMATION REL TRIM Multi Trim in relative mode with automation in Trim mode is the most useful combination This combination allows the level of an existing dynamic mix to be trimmed across a whole section of the mix Changes in the virtual Multi Trim master apply relative offsets to all the members while retaining the dynamic changes in the existing mix automation Trimming a Mix with Multi Trim Follow these steps to change the level of a section of a previously recorded mix Step 1 Step 2 Step 3 Step 4 Step 5 Step 6 Step 7 Step 8 Step 9 Step 10 Step 11 Step 12 Step 13 Step 14 Press the Mix ON key to enable automation Press the blue Fader Enable key in the Master Enables section Press the Mix key to display the Mix menu Use the Channel Select screen to select the signal paths you wish to adjust or press the soft switch keys next to the faders Press the Write Trim key to select Trim Press the Multi Trim key to enter Multi Trim mode Press the Rel soft key in the Multi Trim menu to enter relative mode Make sure that no signal paths are selected in the Channel Select screen and move the Master Fader to the OdB mark Use the Channel Select screen to select the signal paths you wish to adjust to place them under control of the Multi Trim master Move the transport to a location prior to the section you wish to adjust and press PLAY Press the
193. ion includes twelve auxiliary bus sends The auxiliary send signals are derived immediately before or after the feed fader Each auxiliary bus may be configured in any of the supported surround formats Press the Bus Format key and an Aux bus selection key to set an auxiliary bus format See The Bus Format Menu on page 57 for more details To control the auxiliary bus master level CALL the bus to the Master Fader by selecting it from the bus selection keys Constellation XT Page 95 Constellation User Manual CHAPTER 8 THE CHANNEL PANEL S E E CJ Bo o uno BC BO 4 S 7 C EJ E EJ O i Auxiliary Send Controls The first four auxiliary sends have discrete controls while the last eight share two sets of controls Each auxiliary send has the following controls Level The level control adjusts the amount of signal sent from the selected feed to the auxiliary bus The control range is OFF to 10dB Send ON OFF The send IN OUT key toggles the feed to auxiliary bus assignment on or off This control has the same effect as bus assignment via the bus assign menu Pan If the selected bus is configured stereo the pan control adjusts the amount of signal sent to each element of the auxiliary bus If the bus is mono the pan control has no effect Press the Pan key to turn the pan control on or off When the pan control is off the auxiliary send signal is sent to all auxiliary bus elements at equal level Use Stem Ass
194. ips All clips in a Project can be given an individual name A clip can be copied and given a different name to the original Different clips can also be given the same name To name a clip locate the transport so the cursor lies over the clip selecting the appropriate track if necessary then press the c11P soft key in the Name Menu Enter the new name using the PC keyboard Alternative Naming from the PC Edit Screen To rename a clip select the Rename command in the onscreen Edit menu then type the new name for the clip and press Enter on the QWERTY keyboard or click OK To rename a track select the Rename Track command in the Track menu on the PC screen then type the new name for the track and press Enter on the QWERTY keyboard or click OK Seed Names Names are given to all new recordings in a Project You will notice that recordings are given an incrementing number for each new clip Seed names allow you to enter a name prefix that will be given to each new recording to which an incrementing number will be appended Each track has its own Seed Name but you may apply the same one to many tracks To set the seed name for one or more tracks do the following Step 1 Select one or more tracks Step 2 Select the Tracks Menu above the Editing screen and select Set Record Seed Name Enter the seed name you would like use For the selected tracks Gunshot Seed Index 13l The system displays a dialog box Step 3 En
195. is 0 03 to 4 03mS Compressor Hold Time Press the Hold key to toggle the Release control between Hold and Release Hold time controls the delay between applying gain reduction and commencing release of gain reduction Compressor Automation Enable The blue enable key adds the compressor controls to the current automation parameter selection Compressor IN OUT The Compressor IN OUT key bypasses the compressor section Limiter Parameters Press the TYPE Lim Exp Gate key to select the Limiter controls Limiter Threshold The Thresh control adjusts the limiter threshold This sets the maximum output level of the limiter section Control range is from 50 to OdB Limiter Attack Time The Attack control adjusts the attack rate time constant of the sidechain detector The control range is 0 to 100mS Limiter Release Time Press the Hold key to toggle the Release control between Hold and Release The Release control adjusts the release time constant of the sidechain detector The control range is 0 03 to 4 03mS Limiter Hold Time Press the Hold key to toggle the Release control between Hold and Release Hold time controls the delay between applying gain reduction and commencing release of gain reduction Limiter IN OUT The Lim EXP IN OUT key bypasses the limiter section Constellation XT Page 93 Constellation User Manual CHAPTER 8 THE CHANNEL PANEL Expander Parameters Expander Threshold The Thrsh controls adju
196. is armed for record and relative values are written for the selected mix items Indicators are illuminated amber In trim mode moving a control applies an offset to the values already recorded for that mix item For example in trim mode increasing a fader level by 10dB will add 10dB to the previously recorded fader levels retaining all the relative changes in the previously recorded data In Trim mode the control continues to move as it follows the previously recorded data As soon as the control is touched it becomes stationary and any changes made to the control s position are written as offsets to the underlying data If the control is touched but not moved no changes are made If the control is moved then released when not in Touch Snap the system continues to playback the original moves at the offset or trimmed level If the system is in Touch Snap the system drops back into Read Constellation XT Page 193 Constellation User Manual CHAPTER 23 AUTOMATION Isolate When mix items are Isolated the user can manually control them and the automation system does not affect them The controls have no illumination All mix items are effectively isolated until data is written for them To isolate Signal paths Step 1 Press the Isolate key Step 2 Use the Selection Panel to choose signal paths for isolation Note that all parameters on the isolated signal paths become isolated There is no way to pick specific parameters for is
197. ital audio system from Fairlight offering exceptional power and speed for recording editing and mixing Configurable with up to 96 disk recorder tracks and up 212 physical inputs and outputs Constellation integrates full recording and editing capability with a fully featured fully automated mixing engine capable of delivering final mixes in any format up to 7 1 surround A highly intuitive work surface enables fast ergonomic access to all of Constellation XT s many features These include 8 band EQ three stage dynamics processing and comprehensive grouping of faders and buses Constellation XT is also equipped with Fairlight s well known Binnacle editor The Binnacle presents the key editing functions in a highly optimised layout centred around the jog wheel A new set of mouse based editing functions adds even more convenience and familiarity to Dream II s editing interface While Constellation XT is a complete solution for a studio undertaking full production and mixing of the majority of long form commercials film and radio work it is also part of the Dream II Family of products and is the ideal partner to the Satellite a digital audio workstation and Station an integrated editor and mixer Terminology Mixing Section The portion of the Constellation XT control surface that provides mixing control Editing Section The portion of the Constellation XT control surface that provides editing control Project The
198. ix ON key to disable the mix automation system desperate measure but it works Transitions Using Glide When the automation system makes a transition from Write or Trim to Read Glide out data will be written to smooth the parameter transition as described below The Glide Out transition starts at the point where the system leaves record and finishes at the Out point plus the Glide Out time When a transition is made from Preview to Write Glide In data will be written The Glide In transition starts before the point that the system entered record In point minus Glide In time and finishes at the point where the system entered record Glide times are set in the Utils menu Constellation XT Page 195 Constellation User Manual CHAPTER 23 AUTOMATION On Stop Mix items currently in Write or Trim return to Read when the system leaves automation record The data that is written after the mix item returns to Read is determined by the on Stop menu item in the Mix menu If On Stop Hola is selected all the following mix events are deleted so the last written value remains in force for the rest of the project If On Stop Return is selected the parameter ramps to the previously recorded value over the Glide Out time If on Stop Event is selected the last written value remains in force until a previously recorded event is encountered At this point the parameter value ramps to the new value over the Glide Out time Rea
199. k chain icon You can create multichannel clips in the onscreen Edit menu Once a clip has been defined as multichannel operations on one channel of the clip eg EQ affect all other channels Multichannel status can be toggled on or off allowing for independent control of each clip channel Selecting Tracks DREAM IT s Selection Panel has 48 dedicated Track Feed selection keys The feed selection keys perform different functions depending on the current mode of operation The selection keys are used for selecting tracks for editing or mixing creating groups arming tracks and enabling automation Feeds may be grouped and linked in various formats Selecting the Group Master or a member of a Link Group will select all members of the group See Grouping on page 150 for more details on group behaviour In FOLLOW mode the master fader selection follows the most recent edit track selection FOLLOW is selected from the CALL menu by pressing the Call key This is described in detail in Faders on page 73 In the edit modes selected tracks are highlighted on the video display and the track keys are illuminated Constellation XT Page 35 Satellite AV User Manual CHAPTER 4 TRACKS amp TRANSPORT Using Track Keys Any DREAM II hardware controller provides quick and easy tactile track selection Press a dark track selection key to add that track to the selection Press a lit track selection to remove that track from the se
200. key Step 4 Select the appropriate EQ parameter This can be done using the Numeric keypad as shown in Choosing a Parameter below or by clicking in the appropriate field in the EQ display above Step 5 Adjust the parameter using the Jogger Wheel or by typing a value on the QWERTY keyboard and pressing its Enter key Changes are heard in real time Step 6 Repeat steps 4 and 5 as often as needed Step 7 Apply the changes by pressing the Console Enter key or by clicking the Apply button Each equalisation band has three parameters you can change They are centre frequency of the band gain cut or boost at that frequency and Q factor sharpness of the band or whether it is a high or low shelf EQ display 20 50 100 200 500 1K 2K 5K 10K Band Freq Gain Q ne Presets 20 20 H f 10000 oof 10 43 gt a i Cancel o C Andrew 2 M e A E Hue 350 oo 10 m 0 0 Copy e imr p 3 135 10 P EA Save wje sof oof 20 P L Apply ae Delete 10 10 20 20 Left side of display When a clip s EQ is being edited the dots change from black to red as shown here They can be moved with the mouse changing frequency and gain values These values are updated in the value grid as you move the mouse You can also hear the changes in the audio if it is playing after a short delay 20 50 100 200 500 1K 2K SK 10K 20 10 10 20
201. key to select the output for the current bus or link group element insert send The bus or link group elements advance in the following order Left Left Centre Centre Right Right Centre Left Surround Centre Surround Right Surround Boom Elements that are not in the current bus or group format are not displayed To skip the current bus or link group element press the Next soft key To remove patching for the current bus or link group element and leave it with no output press the Blank soft key Constellation XT Page 99 Constellation User Manual CHAPTER 8 THE CHANNEL PANEL In MuLTI mode outputs for the selected feed bus or link group element may be toggled ON or OFF by pressing the corresponding feed selection keys If the key is flashing the system will warn you that the output is used by another signal path Press a track key to add it to the outputs for the insert send To advance to the next bus or link group element press the Next soft key or press another speaker mute key to select that bus element out of sequence To complete patching press the Insert Config key to return to the previous state or select another path to patch by pressing a track or bus selection key Patching Feed Insert Returns Step 1 Step 2 Step 3 Step 4 Step 5 Step 6 Step 7 Enter Call mode by pressing the Call key Press the feed selection key of the feed you into which you want to patch an insert or keep the current selec
202. kiri eeeeee creer eee eee a aaa a ane eee rnrrnrrrnrnnnrnnnnnnnrrrrrrrrrrrenrnnnnns 69 Selecting Studio Monitor SOUICES sorserion arrien ainin naaa RA A Aiandi aen 70 MONO oi a a aa a a a AEE a Ea aaa aaa E a 70 Saving Monitor SetU S aaea a aa a aed c 71 A RN 72 CHAPTER 7 FADERS iu ei dink ees 73 INtTTOdUCION iii i 73 Opera iia toldo aiii ico 73 Mixer Sol iia dada 74 O O aes Seas E E TE 75 Solo Contrast A 75 USING GrOUPS ori A dat 77 Naming Feeds and BUSGG ccccccccccccesscsssssssseeeeesceeeceeseeeessssseeeeeeeeeeeeeeeeeeesssssseeneeesesesensgggggs 77 Controlling the Signal Path cocccoonococnnonnnnnnnnnnnnnonononononnnnncnnnonnnnnnnnnnnnnnnnn PANATER RERNA PE nr nana 77 Faders OD ota ea redactora o dali 79 Channel Fad ers visa A EA NEN RAR 81 Fader Sets A a 81 CHAPTER 8 THE CHANNEL PANEL coooncccccccccccnnonononenonononnnnannnannnnnnnnnnnnnannnrnnrrrnrrnnnnennos 84 o a a a PAPAE O 84 Channel Panel General Operation cccccccccccecccsssssssseeeseeeceeeeeseeeeaaassaseeeseeseeeessssssauasseeeseeess 85 The Surround PAM aa 87 Datla ea ETE E T A A 91 Auxiliary SendS cccccccccssssscssssseeeeeeceeeeeseeeeesausasaeeeeeeeeeeeseeeeeeauaaaaeeeeeeeceeesaeeeesauaaaaseeeeeesennnenegs 95 CHAPTER 9 THE IN LINE PANEL occccccccccccccccnonconnnconancnnncnnnnnnnncnnn na nnnrnnnnnrnnnnnrnnnennnos 106 Introduciendo ii 106 Panel Controls 106 Panel Mods ii 108 LO edicto ocasi n 110 Path Controlar 110 Equaliser asc A A decia
203. l devices and could be one or more physical drives that DREAM II uses independently for Audio and Video Audio and video have different data transaction requirements and therefore each have their own storage needs Because of the relatively small size and large number of files used in audio processing becomes very transaction intensive By comparison video applications usually require extremely high bandwidth due to the constant demand for a smaller number of larger files Therefore we use these 2 dedicated devices in order to optimize disk bandwidth and performance for each application These devices are simply NTFS formatted Media and Projects DREAM II uses separate directories to store projects and media for each device Audio amp Video DREAM II may also store data on a mapped network drive fe FairlightaU DEK a Fie Edit View Favorites Tools Help Q P Osea Es Folders E ss E Fairightau File and Folder Tasks G Make a new folder 3 Publish this Folder to the Web EZ Share this Folder Other Places lt Video E Q My Documents C Shared Documents Default Media Device When DREAM II is first started it displays a dialogue box requesting that a default project device be selected Select the devices Audio and Video you wish to use from the list of available drives To prepare the drive for use with DREAM II select Setup gt Media and Project Management from the DREAM II main menu Selec
204. ld erases all events from the current position to the end of the project Return returns to the previously recorded value at the current location Event holds the current value until the next event is encountered Touch Auto Enable ON When a Touch mode is engaged SNAP or LATCH any enabled parameters that are touched are automatically put into Write or Trim It is not necessary to first enable the feed or bus oFF When a Touch mode is engaged SNAP or LATCH only feeds or buses that have been enabled in the mix menu will be put into Write or Trim when their enabled parameters are touched Fill Range Used in conjunction with Preview Causes the current values of previewed parameters to be written through the range The Blue Utils Menu Glide In When a parameter transitions from one READ value to a new RECORD value discontinuously as when dropping in from PREVIEW to RECORD or when merging one mix into another this value is used to define a ramp from the previous data to the new data Press the Glide In soft key and use the jog wheel numeric keys or keys and press Enter to change the Glide In value Glide Out When a parameter transitions from one RECORD value to a new READ value discontinuously as when dropping out of RECORD or when merging one mix into another this value is used to define a ramp from the previous data to the new data Press the Glide Out soft key and use the jog wheel numeric keys or keys and
205. ld minus the gate range no gain reduction is applied The control range is from 0 to 60 2dB Gate Attack Time The Attack control adjusts the attack rate time constant of the sidechain detector The control range is O to 100mS Gate Hold Time The Hold control sets the delay between applying gain reduction and commencing release of gain reduction After the audio signal drops below threshold level the gate is held open for this time before it starts the release curve Gate Release Time The Release control adjusts the release time constant of the sidechain detector The control range is 0 03 to 4 03mS Limiter Expander Gate Automation Enable Press the blue enable key to add the limiter expander and gate controls to the current automation parameter selection Limiter Controls Limiter Threshold The Thresh control adjusts the limiter threshold This sets the maximum output level of the limiter section Control range is from 50 to OdB Limiter Attack Time The Attack control adjusts the attack rate time constant of the sidechain detector The control range is O to 100mS Limiter Release Time Press the Hold key to toggle the Release control between Hold and Release The Release control adjusts the release time constant of the sidechain detector The control range is 0 03 to 4 03mS Limiter Hold Time Press the Hold key to toggle the Release control between Hold and Release Hold time controls the delay between applying gai
206. le The Cycle command is used to initiate ADR actions It will execute rehearsal recording and playback depending on the mode of the ADR system See below for details Preroll and Postroll It s usually necessary to set a preroll for recording This allows the recording artist to get ready for the start Postroll is useful for hearing how the new recording fits into the track Set preroll and postroll using the appropriate fields in the ADR List Rehearsing a cue You may rehearse cues before recording them Is this needed in a system where all recording is non destructive Your call Step 1 Click the Rehearse button or press the REHEARSE soft key This puts the ADR system Constellation XT Page 186 Constellation User Manual CHAPTER 22 ADR in Rehearse mode Step 2 Select a cue The transport will locate to its In Time Step 3 Click Cycle or press the cycle soft key This will cause the transport to drive through the In and Out points once switching the track from repro to input simulating the record experience Click the Stop button at any time to stop the take or use the Stop button in the transport controls Note When the ADR is in Rehearse mode double clicking a cue will select it and initiate a rehearsal Cycle Recording a cue Step 1 Click the Rec Playback button or press the RECORD PLAYBACK soft key until its label is RECORD This puts the ADR system in Record mode Step 2 Se
207. le if not already on Press the Head key and hold it down the head is extended to show the full extent of the original recording Jog or play the transport you can listen to the audio and choose the right position Release the Head key the head is placed at your current position Limit to Trim When extending a clip the end of the recorded audio will be reached eventually After that it is not possible to extend the clip further Tail Same as Head but the later part of the clip is trimmed Clip Trim clip changes both ends of the clip at once Its purpose is to preserve the length of the clip but access an earlier part of the recorded audio Not commonly used Range Ranges cannot be used with Trim Constellation XT Page 133 Constellation User Manual CHAPTER 11 EDITING Multiple Tracks Works as expected All the red clips will be trimmed to the same point in time Soft Keys in Trim Mode sync point Pressing the sync point soft key creates a sync marker within the selected clip s at the cursor position This is shown as a yellow mark in the clip and can be used to visually locate an important moment To change the sync point press sync point at the new location There is only one sync point per clip Trim Edit Options Trim is usually applied to a single clip or selections across tracks therefore no options are available Range On is not supported in Trim Mode All Layers On
208. lect a cue The transport will locate to its In Time Step 3 Click Cycle This will cause the transport to drive through the In and Out points recording a take then cycle through again for playback Click the Stop button at any time to stop the take or use the Stop button in the transport controls Note When the ADR is in Record mode double clicking a cue will select it and initiate a recording Cycle Playing Back a cue Step 1 Turn off the Rec Playback or Rehearse button if on or press the RECORD PLAYBACK soft key until its label is PLAYBACK This puts the ADR system in Playback mode Step 2 Select a cue The transport will locate to its In Time Step 3 Click Cycle This will cause the transport to drive through the In and Out points once playing back the audio Note When the ADR is in Playback mode double clicking a cue will select it and initiate a playback Cycle Pre Record Pre Record allows you to enter record a little earlier than the time of the cue This is useful when recording artists that tend to anticipate the entrance The streamer will still indicate the cue in time but you are able to capture the audio a little earlier Early In Early In can be clicked during the preroll of a record cycle It causes recording to start immediately There is also an early in soft key Rec Out If desired the system can ignore the Out time of the cue and just keep recording until you exit manually using St
209. lected The spread control adjusts the perceived size of a surround mix The spread control range is from 0 to 100 At O the display reads POINT meaning point source At 100 the display reads FULL meaning full surround At FULL spread the LR and FB pan controls have no effect as each member of the link group is hard panned to their respective bus elements As the spread is reduced the panning of each link group member is made to converge with the location of the link group master pan control With the spread control less than full the pan control enables the sound field to be moved to favour the location of the pan target As the spread control approaches POINT the panning of each member becomes closer to the pan location of the link group master This has the effect of mixing the signals of each link group member so that they all emerge from the same loudspeakers as determined by the link group master pan When a link group is created with default pans spread is set to maximum divergence is set to minimum and rotation is set to zero The spread control can be used to great effect when it is desired to collapse the surround sound field to a point source This may occur for instance where the camera moves continuously from an interior shot to an exterior or visa versa The surround field can be established for the interior and then as the camera moves through the door or window the surround field collapses and pans and fades down to the location
210. lection To select a range of tracks press and hold down the first track select key and double click the last track selection key you wish to be active All other selections will be deselected To select a single track double click on the desired track selection key All other selections will be deselected Selecting a track which is a member of a link group will select all tracks in the link group To select an individual member of a link group hold down the BLUE key and press the track selection key The track selection may also be changed by holding the Track Sel key to the left of the jog wheel and turning the jog wheel or pressing the or keys This is useful for moving selections from one track to another The most recently selected track is always displayed TRACKS TRACKSO KSC TRACK TRACKS A ANALOGUE YO TRACK BANK Key The TRACK BANK key is used to switch between two banks of 48 tracks making up the maximum total of 96 It affects both the track selection keys and the tracks displayed on the Edit Screen To use it hold down the TRACK BANK key then press one of the LCD Soft Keys Using the Mouse Press a dark onscreen track selection key to add that track to the selection Press a lit onscreen track selection to remove that track from the selection Click and drag your mouse in the onscreen track selection pane to select deselect multiple tracks Constellation XT Page 36 Satellite AV User Manual C
211. licked The newly created range does not however select any clips that were not previously selected other than the one just clicked Put more simply Ctrl clicking a clip adds to the selection without selecting any other clips Similarly a clip that was already selected can be deselected by Ctrl clicking as long as it is within a range Combining the Mouse and DREAM II Controller It is often useful to combine the DREAM II controller and Mouse for fast complex operations For example a range may be selected using the Transport Controls and From and To keys Then individual clips within the selected range can be deselected using the mouse Many useful combinations are possible limited only by your imagination and personal preference Play Menu The Play Menu enables soft key selection of various transport selections Step 1 Press the Play Menu transport key Step 2 Press the desired soft key function All the Play Menu functions except again preroll the transport by one second again Plays from the same place the transport last went into play No additional preroll is applied Constellation XT Page 41 Satellite AV User Manual CHAPTER 5 PATCHING AND ASSIGNMENT Chapter 5 Patching and Assignment Introduction Before any recording editing or mixing can be performed on Constellation XT the system must be configured and input signals patched to feeds feeds to buses and buses to outputs Setting up Yo
212. llation XT provides two talkback paths and one physical microphone preamplifier An external microphone preamplifier must be used for the second talkback circuit Alternatively use the same microphone and input and use the two talkback paths to feed separate buses for example for talkback and slate Each talkback path uses a physical input and can be routed via a dedicated Live Feed The talkback signals can be sent to one or more buses for slate or communications purposes The talkback microphone can be connected to the XLR socket on the assignment panel Once physically connected it can be assigned to an analog input See below for details Using Talkback Press the Talk 1 and Talk 2 keys to unmute the talkback microphones The talkback keys provides momentary or latching operation Press the key briefly to latch talkback on Press again to toggle it off Press and hold the key for momentary operation then release the key to switch it off Setting up the Talkback Paths To control the talkback configuration hold down a BLUE key and press a Talk key An LCD menu will appear with options for configuring talkback Selecting a Talkback Destination The talkback signals can be routed to any bus or combination of buses Step 1 Hold down a BLUE key and press a Talk key Buses currently selected for the talkback signal are illuminated other buses are dimly lit Step 2 Press any bus selection key to toggle it in or out of the selection to whic
213. lling the Bus Reduction Mix Bus Assignment If the reduction Sub Bus is set to Reduce mode it inherits all the feed assignments made to the Main bus The feed s send to the bus faders defaults to post main feed fader therefore the reduction bus mix is identical to the main mix If the reduction Sub Bus is set to Free mode feeds must be explicitly assigned to the Sub Bus This may be done using the normal bus assign procedure or through the Faders To menu Constellation XT Page 61 Satellite AV User Manual CHAPTER 5 PATCHING AND ASSIGNMENT Step 1 Hold down a BLUE key and press the Faders To key Step 2 Select the Sub Bus you wish to assign to Only Sub Buses which are configured as reduction buses will be illuminated and available for selection The channel faders now control the send levels for the selected Sub Bus The faders snap to OdB which is an offset to the main feed fader See Faders To on page 80 for more details Step 3 The channel MUTE keys may be used to control the bus assignment to the selected bus Press a MUTE key to un mute the feed and assign it to the selected bus Fader Levels When a Sub Bus is configured for bus reduction a separate fader is provided in each feed signal path to control the mix to that bus To access this fader hold down a BLUE key and press the Faders To key then select the reduction Sub Bus from the selection panel The faders snap to OdB which is an offset to the m
214. low the Gain soft key as an absolute value aps otherwise this field is initialised to 0 as and is displayed as a relative value REL ABS represents the absolute value of all Inputs REL represents a trim or relative offset value applied to all inputs Use the Jog wheel or keys to adjust the relative gain in real time or use the numeric keys to enter an absolute value and press Enter to complete To set input phase Step 1 Step 2 Step 3 Press the Patch I O key Select the signal paths whose inputs you wish to adjust Press the Phase soft key to toggle the phase of the selected inputs If the inputs to all selected signal paths are in phase the phase soft key is illuminated green If the inputs to all selected signal paths are out of phase the phase soft key is illuminated amber If the inputs to the selected signal paths do not all have the same phase status the phase soft key flashes red Press the soft key to set all inputs in phase Patching Bus Elements to Feeds The individual elements of a bus may be patched to feeds for recording or other processing Constellation XT Page 50 Satellite AV User Manual CHAPTER 5 PATCHING AND ASSIGNMENT Buu fe Le Le Le Lx Bus Elements may be patched to a number of feeds or to a link group as follows Step 1 First enter the Patch I O Menu by pressing the Patch I O key Step 2 Select the destination feed or link group using the Track or Live Feed k
215. lts high gt 3 5 volts 15 Pin D Type Signal 15 Pin D Type Signal Connector Connector PIN 1 GP In 1 PIN 9 GND PIN 2 GP In 2 PIN 10 GND PIN 3 GP In 3 PIN 11 GND PIN 4 GP In 4 PIN 12 GND PIN 5 GP Out 1 PIN 13 GND PIN 6 GP Out 2 PIN 14 GND PIN 7 GP Out 3 PIN 15 GND PIN 8 GP Out 4 Constellation XT Page 240 Constellation User Manual CHAPTER 31 SPECIFICATIONS Ethernet23 Description 100BaseT ethernet interface to Satellite AV or network Use CAT5 shielded twisted pair cable and shielded RJ45 connectors Connector RJ45 PIN 1 Rx PIN 2 Rx PIN 3 TX PIN 6 Tx Cross over Cable Required for direct connection between Satellite AV and engine Not required if hub is present RJ45 1 Signal RJ45 2 PIN 1 Rx PIN 3 PIN 2 Rx PIN 6 PIN 3 Tx PIN 1 PIN 6 TX PIN 2 Constellation XT Page 241 Constellation User Manual INDEX Index 49 96 key ccoo coco roo rn 19 Direct Out Gain seses 56 105 Active A cee 195 Direct Out Pre Post commmmmmm 56 104 Active Dl caciones 195 Direct OUtpUtS eee 55 Aaa 72 Diverge Control Lessee 90 113 After Fader Listen oooocccccccnnnnncnccnnnnnnnns 72 Dolby Process Monitoring oomom 67 all Readiness 198 Dynamic Range Control 92 114 Alternative Speaker Sets 006 65 66 DYNAMICS ee iciccicino cidad 92
216. ment The ADR List The ADR List allows you to set up a list of recordings cues that you want to take Each one has a controlled In and Out point and text that can be displayed on the screen To open the ADR List press the ADR button recommended or click the ADR Menu above the Track display and select ADR List End f Dialogue o Hide TF Language I Show Streamer Countdown Loop Pre Rec 00 00 00 00 Preroll 00 00 01 00 Postroll 00 00 01 00 Delete Delete All PreRoll Rehearse Add Cue When it is first opened the list is empty of cues Early In Prey Cue CYCLE STOP Rec Playback Keep Playing 0000064 Next Cue Adding a Cue Step 0 Optionally create a range covering the cue you want to add This is probably the quickest way to set the In and Out times for your cue If there is no range the cue will be created with the transport position as its In time and 5 seconds duration Step 1 Click Add or press the add cue soft key A dialog appears for writing the text of your cue Enter the text for the ADR Constellation XT Page 184 Constellation User Manual CHAPTER 22 ADR Step 2 Enter the text and click OK Step 3 If necessary set the In Point of the cue locate the transport to that point and click From Your current position will be shown in a dialog You may accept this by clicking OK OR Click From type the timecode you want and click OK Step 4 If necessary se
217. mode The comprehensive input monitoring options cover all recording requirements The are five monitor modes for armed tracks are summarised below weur frput Input Input Input input Input foro mput Input Input Track input Track ps Mute Mute cl a Track mume Mute Mute Mute Track Mute Track po pa we pe These settings support the following example applications e INPUT The track feed always monitors input Use rnput when the studio monitoring is fed through headphones or when recording from tape and the desire is to punch in cued from source material rather than playback material e auTO The track feed monitors the input on record and track on playback Use auto when the studio monitoring is fed through cans for voice over recording or over dubs Constellation XT Page 122 Constellation User Manual CHAPTER 10 RECORDING Choose auto to allow cueing from the track then switching to the microphone during a record drop in e RECORD The track feed monitors input on record only The track is monitored on playback and mutes when stopped Use RECORD when the monitor system must be muted when system is in stop to avoid feedback e MUTE The track feed only monitors the track on play back and is muted in all other states Use muTE when the studio monitoring is fed through speakers This can be useful for foley stages e REPRO In REPRO mode the track feed monitors the track on r
218. n XT Page 160 Constellation User Manual CHAPTER 14 METERS Chapter 14 Meters Introduction Signal level metering is available within the mixer video display and with optional external hardware meters A meter set is an assignment of signal paths across the meters which may or may not be the same as the signal paths controlled by the faders just below Up to 15 meter sets may be defined and called up using the Number keys in the Fader Sets section Constellation Main Meter Panel The DMP2 Main Meter Panel includes eight 79mm multi segment bargraph LED signal level meters plus eight LED meter legend windows The DMP2 also includes two high quality analogue VU level meters which may be connected to external analogue sources The Main Meter Panel displays the signal level of each element of the Main bus The name of each element is displayed in the LCD window below each bargraph The number of active bargraphs is determined by the user defined format of the Main bus For example if the Main bus format is stereo only LEFT and RIGHT bus element meters are displayed If the Main bus format is 7 1 all eight elements are displayed These are LEFT INNER LEFT CENTRE INNER RIGHT RIGHT LEFT SURROUND RIGHT SURROUND BOOM Peak Hold Reset Signal levels in excess of 0dB full scale are indicated by a fixed orange peak hold display To reset the peak hold display press the Meter Sets key in the Fader Sets section of the DREAM II Channel
219. n reduction and commencing release of gain reduction Limiter IN OUT The Lim EXP IN OUT key bypasses the limiter section Auxiliary Sends Each full channel in Constellation system includes twelve auxiliary bus sends The auxiliary send signals are derived immediately before or after the feed fader Each auxiliary bus may be configured in any of the supported surround formats Press the Bus Format key and an Aux bus selection key to set an Constellation XT Page 116 Constellation User Manual CHAPTER 9 THE IN LINE PANEL auxiliary bus format See The Bus Format Menu on page 57 for more details To control the auxiliary bus master level CALL the bus to the Master Fader by selecting it from the Channel Select screen Auxiliary Send Controls The aux controls are arranged in two columns of six controls each The columns are accessed separately using the Aux 1 6 button and the Aux 7 12 button Each auxiliary send has the following controls Level The level control adjusts the amount of signal sent from the selected feed to the auxiliary bus The control range is OFF to 10dB Send ON OFF The send IN OUT key toggles the feed to auxiliary bus assignment on or off This control has the same effect as bus assignment via the bus assign menu Pan Panning between stereo aux sends is done by selecting Faders To and using it to control sends to an Aux bus See Faders To in Chapter 8 Faders on page 80 Pre Post The P
220. napshot The current value for any parameter is determined in the following order 1 The parameter is set to the TO value of the most recent previous event 2 If no previous event exists the parameter is set to the FROM value of the next future event 3 If no future or previous event exists the parameter is set to the value recorded in the mix snapshot Programmed Automation The entire automation system can be punched into record at which time all enabled mix items will start to write automation data This can be done manually or automatically Constellation XT Page 196 Constellation User Manual CHAPTER 23 AUTOMATION Manual Punch In The In and Out keys can be used to enter and leave automation record The keys can be pressed while the transport is in STOP or PLAY to manually drop in or out of Write or Trim if selected on the enabled mix items Automatic Punch In You can punch in and out of automation record at pre defined In and Out points The basic steps are Step 1 Set the In and Out points Step 2 Make them active Step 3 Perform the punch explicitly using Punch or implicitly by playing over the active points To set In and Out points Step 1 Step 2 Step 3 Press the Mix key to enter the mix menu Move the transport to the required In point and press the From key to capture the In point The In point timecode location is displayed in the Mix menu Move the transport to the required Out poin
221. nce control to increase the size of the sound field For link groups the pan control pans all members of the link group at once and adds spread and rotate functions which can imitate the effect of a camera pan with the entire surround sound field or collapse the entire sound field into a single point Link groups can be created with default pan settings for each member see Link Group Format on page 150 The surround panner provides automated control of a level control matrix between the feeds and the individual bus elements of the buses to which the feed is currently assigned Panning IN OUT The Pan IN OUT key bypasses the level control matrix of the panner and sends the signal path at unity gain to all destination bus elements The connection to individual bus elements may be turned on and off using stem assignment as described in Stem Assign on page 59 If the signal being panned is a Link Group all members of the group are sent to all bus elements Diverge Control The diverge control spreads the signal of an individual feed across more of the adjacent loudspeakers making the perceived size of the sound source larger The diverge control operates in one dimensional or two dimensional mode To switch between modes hold down the BLUE key and press the Panning IN key The fat channel pan display changes from a bar to a circle when divergence is added The boom or LFE channel is not included in diverge One dimensional
222. ncludes gain reduction signal meters for all three sections The numeric values of the parameters currently being modified are displayed below the graph If the dynamics are switched IN the graph is highlighted if switched OUT the graph is dimmed The insert send and receive I O patching is displayed If the insert is switched IN the insert display is highlighted if switched OUT the display is dimmed The main fader level for the signal path is displayed with a numeric display of the fader gain The direct out level pre post status and output patching is displayed If the direct out is switched ON the direct out display is highlighted if switched OFF the display is dimmed The direct out level is shown with a horizontal bar If the direct out is switched ON the bar is yellow if switched OFF the bar is violet The section of the bar above 0dB of gain is shown in red The Auxiliary bus display shows the status of each aux send The send level is shown with a horizontal bar If the send is switched ON the bar is yellow if switched OFF the bar is violet The section of the bar above OdB of gain is shown in red The pan display offers a sophisticated representation of the signal path panner The display always shows a 7 1 sound field as the panning information for any path can be applied to any format bus to which it is assigned The red circle indicates the current pan position The white brackets show the current position of the joystick which mus
223. ne as FMC ignoring the p setting Run without graphics Hi res mode 1600 x 1200 otherwise runs 1280 x 1024 Lo res mode 1024 x 768 Enable mix automation Specify the IP address for a network connected machine running MSAT for testing Specify mixer type where 0 for satellite 1 for station48 2 for Constellation 3 for station24 Disables stop on wrong USB driver message FMC will still check the drivers still report out of date drivers and will still say that it can t continue but it will continue anyway The BLUE Utils menu offers the Update Sys File item for storage of system settings System Files are stored in the C Program Files Fairlight FMC Data directory Step 1 Hold down the BLUE key and press the Utils key to enter the Utils menu Step 2 Press the Update Sys File soft key to store the system settings This information is stored in the following files Monitor_Sources TXT patching and formats of external monitor sources Speaker_Sets TXT patching and formats of all speaker sets Setup_Variables TXT Call Follow state and Constellation brightness Constellation XT Page 238 Constellation User Manual Audio I O Configuration CHAPTER 31 SPECIFICATIONS Chapter 31 Specifications See SX 20 and SX 48 installation guides for details Constellation XT Wiring and Connection Details The following information contains all the wiring details necessary for specifying studio ca
224. ng a project limit of around 1 terabyte WAV files and AIF Wav files BWF files and AIF can be imported drag and dropped into an existing MT project These file types must be sourced from a DREAM II media device The files are played in real time within the current MT project and are considered attachments or borrowed files These borrowed files contribute to the count of 250 attachments that are allowed so it is good to consolidate them into the main file if many are to be used This is described in the next section Stuff the FUF Process Dream II v0 0a36 Beta Test4 DS UE ob ob hh eb EENEN Sample Rate Convert gt bs kee eekie BBB tame rte convert PRR RE REE mee A A A u Regenerate Profiles sE ToTg TTS A NNRRANAAAANAAA Time Pitch ELETTR CARA A B23 30 31 32 33 34 35 10 11 12 13 14 15 5 27 28 29 30 31 32 33 34 35 36 Stuff Fufs Selected Clips Stuff Fufs All Clips Mer 16 bit Jehinagrove 1 Loveoye To consolidate all attached files Wavs BWFs AIFs directly into the MT project In the Process menu there is a feature called lt Stuff Fufs gt as see above This will append data coming from the attached files into the FUF thereby consolidating them This can be done on several different levels 1 One clip 2 A range of clips and tracks individual clips can now be selected or de selected within this range using lt Ctrl Click gt 3 All clips This is the equivalent of a lt
225. nge to the clipboard Cuts the head of the clip at the cursor position Cuts the tail of the clip at the cursor position Copies the selected clip or range to the clipboard Copies the head of the clip at the cursor position Copies the tail of the clip at the cursor position Pastes a copy of the clipboard at the current position Erases the selected clip or range Erases the head of the clip at the cursor position Erases the tail of the clip at the cursor position Extends the clip head to use all the recorded audio Extends the clip tail to use all the recorded audio Cuts the selected clips into two at the cursor Allows the level of selected clips to be set Allows the selected clips to be renamed Syncs the selected clips to their record timecode Reverses the audio in the clips Cycles clip layers around when in BLUE Takes mode Positions the Sync point in the clip Can be used for Jumping Undoes the last edit Redoes the last edit that was undone Shows a list of the edits that can be undone Fade to the nearest end Fades from the head to the cursor Fades from the cursor to the tail Controls the number of layers affected by edits Controls Range On Off and sets head and tail of range Constellation XT Page 149 Constellation User Manual CHAPTER 12 GROUPING Chapter 12 Grouping Introduction Grouping is a fast and convenient method of controlling more than one signal path from a single fader or parameter control There are two
226. nly one To put a mix item into automation record we must first enable it then put it into write or trim this is just like arming tracks before recording audio on to them Enabling mix items requires enabling their parameters and their signal paths as outlined below Enable Parameters Parameters can be enabled by pressing any of the blue oval Enable keys Enable keys appear in the Master Enable section in each section of the Channel Panel in each strip of the In Line Panel next to the Master Fader and next to the Bus Assign key The enable keys provide a hierarchy allowing the operator to enable specific groups of parameters like one band of the equaliser or all parameters of a given type like the whole dynamics section or all parameters on the console press the ALL enable key Enable Signal Paths Enabling signal paths for automation allows the operator to limit the range of paths on which automation may be recorded To enable Signal paths Step 1 Press the Mix key to activate the Mix menu Step 2 Use the Selection Panel to enable signal paths This includes Track Feeds Live Feeds Main Bus Sub Buses Aux Buses Multi Track Buses press Multi Track and use Live Feed keys OR Press the Soft key on faders whose signal paths you want to enable OR Use Mix Menu soft key items to choose specific groups of signal paths This selection of enabled signal paths is also referred to as the mix mask Press the ALL CHA
227. nnnies 42 MITO aia iii 94 115 Post Fader ceccscsveicc sde2 dana iron 62 Threshold ccceccsceseecseeseeeesereeeees 94 115 POSEMULS inccccticisccdicisisissaassasasicecasdeinnass 62 AS 38 POSE PAM AAA 62 Link Group Format eerren 148 Pre Post Fader ccssccecsecceceestescessacccasericnn 62 LINK GrOUPS conecta rica 148 Pre Post MUte cooooonocccccncnoncnnnnnanannnnnanenos 62 Link Indicator snena 78 Pre Post Pan occcccccccccccnonononcnnnnnnnnnn 62 Liye Feed vis scccscecsiecccexereadesscczccsarersasverae 48 Pre Fader Listen oooocccccnncccnonnnnnannccnnnonos 72 Locking Automation to Video 233 Preroll PUNCh ccoononcccncnnnnnonnnnnnnanoninancnns 234 LOOP JOY ccccccccnnccccncnnnnnnannconnncnononarncnnnnns 38 A TT 155 Loudspeakers snccccnoorincinararanccnonncananias s 65 PM e 193 Mapping Fader Sets seeen 83 PRIME siriaca eanan ida 196 MaS in 209 Project NOLES ooooooccccnnnnnonnnnnaaannnnnnnnanas 165 Master Fader sirridir genai 74 86 O A E 28 MasterFader inncconcnccccannnaonaconnanaconananaasos 74 PUNCH acncicii 193 Meter QUEPUES aimaccoa i nena ceniceros 57 PUNCH Iniciativa ni epica cin 122 Meter cocina cae 120 Punch PrerOll ocommciornccoracianiniconecinnnnns 234 Meter taaan is d 158 A 169 Mix Carry OVer seeren 197 Range nta 41 MIX COPY iisi ccevtcneceecdeeiesecsentecneyere 201 Range Men ius ii 41 MIX Data sevice csscessareacttecdasenassoacseasestinnece 201 Ein o M A PEET 93 115 Mix EQItING ssicomoconoicicniiiccicrccn caras 201
228. nonnanannnnnnnnnanannnaanenernnnnnnnnnrrnnnnnnnns 222 Trt OCU a a NAE TEA R TA O keg A heen 222 Machine Control Indicators sisscrorrriinierni anyaran ereen ii 223 Editing with Machine Control ccccccccccnnnnnnccnncnonncnnnnnnnnononnnnnnnnnnnnnnnnnnnonnnn nana A 224 CHAPTER 30 PLUGINS AND REWIRE cccccceceeseeeeeeseesessessseeeaeeeeeceeeeseeeeeeeeeenes 225 Introduction a A ti 225 ST MOV MM e A ad 225 EATE EEE A E EE EA 228 CHAPTER 31 SYSTEM FILES 0000 i 232 TIN OCU LION ieee aiae AA A AAA AA a 232 Working with Constellation System Files oooccocccoononcconananacononononononononnnnnnnnrrnnnnnnnnnonnrnrannnnnrnnnns 232 REMOTE A AT 237 CHAPTER 31 SPECIFICATIONS ccocccccococcocconocancccaccnncannn anno cnnnnnnnnnnnnnnnnnnnnnennnrnnnnnnns 239 Audio T O Configuration id 239 Constellation XT Wiring and Connection Details ccceeeeeeeeeceeeessstsseeeeeeeeeeeeeeeeeeeeaaaaaeeeeeees 239 Operator Reference Manual CHAPTER 1 INTRODUCTION April 5 2007 Chapter 1 Introduction Introduction Constellation is part of a new family of products from Fairlight which marries together CC 1 processing with an ergonomic physical control surface in a combination that has a significant impact on productivity and efficiency The Constellation interface incorporates a unique combination of dedicated editing and large format mixing features an advanced graphical user interface and powerful database capabilities These
229. nstellation XT Page 77 Satellite AV User Manual CHAPTER 7 FADERS Input Gain and Phase Input gain and phase controls are accessed from the Patch I O menu Step 1 First enter the Patch I O Menu by pressing the Patch I O key Step 2 Select the feed or feeds whose inputs you wish to adjust Step 3 Press the Gain soft key Step 4 Use the Jog wheel to adjust the value or use the numeric keys and press Enter to complete To set input phase Step 1 First enter the Patch I O Menu by pressing the Patch I O key Step 2 Select the feed or feeds whose inputs you wish to adjust Step 3 Press the Phase soft key to toggle the phase of the selected inputs See Input Gain and Phase on page 49 for more details Inserts Inserts are controlled from the Insert Config menu Step 1 Enter the Insert Menu by pressing the Insert Config key on the Path Configuration section of the Channel Panel Step 2 Press the Send Return soft key to select patching for outputs or inputs Step 3 Select the feed or bus to be inserted Step 4 Press the Patch soft key to select physical inputs or outputs for the insert send and return Step 5 Press the ANALOG DIGITAL and AES MADI soft keys to choose the desired type of input or output Step 6 Press a track feed selection key to select a physical input or output Press the on orFF soft key to switch the insert in or out of circuit Direct Outs Step 1 Press the Direct Config key on the Path C
230. nstellation XT Page 143 Constellation User Manual CHAPTER 11 EDITING Step 1 Click the Setup Menu on the Track screen Step 2 Select General Preferences Step 3 Click the Playback tab Step 4 Change the value for Soft Edits The current value for Soft edits is shown in the Audio Options group A value of 72 samples is generally useful when the Project sample rate is 48 kHz but you may set this according to your own taste Creating Smooth Level Changes By pasting a copy of a section of a clip onto itself you are able to change the level of the copy to create a level change If the copy is cross faded with the original a smooth level transition results When using the copy and PAsTE functions be sure to be in stop otherwise a slight movement of the jogger wheel may result in phasing during the fades The same technique can be used to fade one clip EQ setting to another within the same piece of audio In the above illustration the top layer plays the same audio as the bottom layer but may have different level or EQ settings During the fade in and fade out the settings will effectively crossfade Gating Clips A rough but useful and quick way to remove unwanted silence or near silence from clips is with the Gate Clips function Using the Gate Clips Function First you will need to select the track s using the track feed keys and select the clip s either by selecting a range or by parking the playback head over the desi
231. nt speakers in LCR LCRS LCRSS 6 1 and 5 1 surround formats and the surround speakers in 6 1 The 7 1 table contains five columns and is used for panning across the five front speakers in 7 1 Each column contains 101 values which represent the gain in dB x 100 1000 This results in a resolution of 0 1dB The default pan law is a quadrant sine law The System_Variables File The System_Variables file contains user configured setup parameters plus automatically generated system variables Only modify the parameters described below The file is located at C Program Files Fairlight F MC Data System_Variables txt To edit the file open it in Windows notepad as described above Setting the Automation Lock Window The timecode lock window specifies the number of consecutive contiguous timecode frames that the automation system must read from the disk recorder before entering automation record This prevents the system from dropping out of WRITE mode when locking to an external video transport Edit the following line in System_Variables txt TC_LOCK_WINDOW 10 Constellation XT Page 235 Constellation User Manual CHAPTER 31 SYSTEM FILES Change the number at the end of the line to specify the number of frames This number will also determine the amount of pre roll required prior to performing an automation mix pass Typical values are TC LOCK WINDOW 1 for Vmotion TC LOCK WINDOW 5 for Betacam TC_LOCK_WINDOW 10 for
232. nual CHAPTER 11 EDITING Display Layering Pyxis Locators Tracks gt Video Track Clip Search Statistics Performance Background Tasks The layers of clips are shown on all tracks with the clips becoming thinner as needed to fit the available space Constellation XT Page 147 Constellation User Manual CHAPTER 11 EDITING cts E 1 Master Internal 23 54 40 08 ERA Top Layers The mouse can be used to change the order of clips To do this simply click and drag a clip from one level to a higher or lower level Changing levels in this way can be combined with dragging a clip to a different track or timecode Note that there is always a space at the top of each track equal to the width of one clip This is to allow room for you to drag a clip into the top position Mouse Edit Menu The screen Edit Menu provides many commands that are available elsewhere in the system The mouse can be used to access these commands Constellation XT Page 148 Constellation User Manual CHAPTER 11 EDITING Cut Cut Head Cut Tail Copy Copy Head Copy Tail Paste Erase Erase Head Erase Tail Restore Head Restore Tail Split Clips Clip Level Rename Rotate Set Sync Point Undo Redo Undo List Auto Fade Fade Head Fade Tail Edit Depth Range Reverse Clips Audio Ctrl X Ctrl C Ctrl Ctrl S Resync to recored time Ctrl 2 Ctrl Y Y7 Cuts the selected clip or ra
233. ny other track patched to this input The transport must be in STOP to monitor the inputs To arm a track Step 1 Press Arm Track selection keys flash red to indicate the available tracks Step 2 Select track s to be armed by pressing the track selection keys Constellation XT Page 120 Constellation User Manual CHAPTER 10 RECORDING Any number of tracks can be armed at the same time as long as your system contains enough channels to play them The currently selected track feed can also be armed from the Path Configuration section of the Channel Panel Arming Tracks with the Mouse A track may be armed by clicking on the disk at the left of the Track Selection Panel Click here to arm Track 4 Arm on the Fly Normally tracks are armed before you put the system into record but it is possible drop in or out of record on specific tracks while the system is recording using any of the arming methods described above If the input patching for the track is not unique i e it tries to record an input that is already being recorded on another track the first track disarms Metering Input Levels The input levels to the armed tracks are shown as vertical bargraphs at the top of the screen These are seen on the video screen as soon as you enter the Arm Menu For tracks that are not armed for record meters show the playback levels Recording Step 1 Locate the transport to where you want to start recording then press PLAY
234. o Buses Feed signals are routed to Main Sub and Aux buses via a panner element in each signal path Feeds can also be assigned to Multitrack buses which are mono buses used for sub mixing or recording to disk Sub Buses may also be assigned to the Main Bus if they are used for sub mixing or as separate stems An alternative to normal bus assignment is Stem Assign Stem Assign allows the outputs of the panner to each bus element to be disconnected This is useful when adding a pre mixed stem to a mix Each element of the stem may be assigned only to its corresponding bus element Assigning Feeds to Buses To assign signal paths to buses Step 1 Press the Bus Assign key Step 2 Press the bus selection key of the destination bus to which you want to assign signal paths This can be the Main Bus or any Sub Bus The selected bus key will light and so will all the Track and Live Feed keys associated with feeds already assigned to that bus Press the MT Buses key and any of the live feed keys to select a Multitrack bus as the destination bus Step 3 Press any Track or Live Feed key to toggle its assignment on or off You may use double clicking and hold double clicking to select exactly one or a sequence of keys respectively Press the All Tracks soft key to assign all tracks to the selected bus Press the All Live soft key to assign all Live Feeds to the selected bus Press the deassign all soft key to deassign all sources Step 4 Press the Bu
235. o any destination For example a Bus Element can be patched to a Track Input for recording purposes To illustrate select the Category Sub Bus Out the outputs of all the Sub Busses The expanded view will show the Sub Bus elements separately and they can be selected and patched to track inputs for recording To deselect all the signal paths you have selected touch the Clear button What are the Categories Each category name has two parts The first part can be Track a recording track Live a Live Feed which is a full featured channel bringing audio directly to Constellation XT Page 46 Satellite AV User Manual CHAPTER 5 PATCHING AND ASSIGNMENT a bus Main the Main mix bus MT Bus a Multi track bus as used in traditional mixing systems Sub Bus a multi Element bus used for extra mixing functions Aux Bus amono or stereo bus tied to the Auxiliary sends on the channels Mon shows the elements of the Control Room and Studio monitor paths Analog an analog physical input or output Digital an AES EBU physical input or output MADI a MADI physical input or output The second part can be In the input of a signal path not a physical input Out the output of a signal path not a physical output Direct each signal can have a Direct Output Send Insert Send from a signal path Return Insert Return to a signal path Talkback the Talkback system shows Commi and Comm2 Inputs
236. of a Range for the duration of the Range Trimming allows clips to be resized Trim commands are used to set the head and tail of clips to determine how much of the original recording is played by the clip Trimming may shorten a clip or extend a clip if the original recording is longer than the displayed clip This will be the case if the clip was imported with handles or if the original clip has been edited Constellation XT Page 132 Constellation User Manual CHAPTER 11 EDITING Head Trim Head and Trim Tail are the most common uses of Trim Step 1 Step 2 Step 3 Step 4 Step 5 Select a track and move a clip under the cursor Press the Trim key on the Binnacle if not already on Press and release the Head key Move the transport forward a few frames jog or play Press Enter The head of the clip is placed at the cursor which is now shorter The effect is just like erasing the head of the clip Its sync remains as before but it starts at a later time and a later point in the audio Step 4 Jog backward a few frames and press ENTER Now the head is moved earlier revealing more of the audio You can keep jogging and pressing ENTER as long as you like until you are satisfied with the position of the head Two Handed Trimming This is a more powerful method which is worth learning Step 1 Step 2 Step 3 Step 4 Step 5 Select a track and move a clip under the cursor Press the Trim key on the Binnac
237. of the window As this is occurring a pre mixed surround field for the exterior can be growing from the rear speakers and spread out to the entire speaker system as the exterior shot is established Rotate Control Rotate controls the left right and front back pan controls to rotate a single feed around the centre of the room Adjust the front back pan to reduce the radius of rotation Use rotate on a link group to rotate a pre mixed surround sound field with respect to the listener s position This effect is the audible equivalent of panning a camera where all the elements in the visual field are subject to the same angular movement The rotate control range is from 180 to 180 degrees When rotation is applied the panning of each link group member is offset in the direction of the rotation Rotate can be used in conjunction with spread and link group pan to create more or less audible panning effects for the entire surround soundfield When a link group is created with default pans spread is set to maximum divergence is set to minimum and rotation is set to zero Hold down the Pan key below the trackball and turn the jog wheel to achieve continuous rotation Pan Diverge Spread Rotate Automation Enable The blue enable key adds this group of controls to the current automation parameter selection Constellation XT Page 90 Constellation User Manual CHAPTER 8 THE CHANNEL PANEL Boom The Boom control is available when the
238. oft key to store the system settings This information is stored in the following files Monitor_Sources TXT patching and formats of external monitor sources and Monitor Sets Speaker_Sets TXT patching and formats of all speaker sets Setup_ Variables TXT Call Follow state and Constellation brightness Solo Individual feeds may be soloed into the monitoring system There are three solo modes which may be entered by pressing the SOLO key above any fader These are solo in place or SIP after fader listen or AFL and pre fader listen or PFL SIP mutes all other feeds leaving only the soloed feeds feeding the bus being monitored SIP supports monitoring in any format AFL and PFL modes replace the current monitor source with a stereo solo bus whenever a feed is soloed All soloed feeds are routed to the solo bus Soloed link groups are automatically downmixed to allow all their members to be monitored in the stereo monitor bus normal monitor down mixing occurs between the monitor bus and the selected speaker set The AFL solo signal is derived after the feed fader and mute PFL solo is derived before the feed fader and mute Hold down a BLUE key and press the Utils key to enter the Utils menu Press the Solo soft key to select the solo system to be used Soloed feeds are shown with a green indicator on the mixer video display See Solo on page 74 for more details on the mixer solo system Solo Clear The Solo Clear but
239. olation Preview Preview is a combination of isolation and enablement The mix items that are in preview are not controlled by the automation system so they respond manually to their controls But when the console enters automation record they all go into Write or Trim Typically preview is used to audition new mix settings for one section of the project while other sections already have automation data It prevents the automation system from moving the controls that the user is trying to balance for the new section As soon as the user is happy with the new balance it can be written to the new section Preview state is engaged on enabled mix items by first pressing the Preview key and then enabling mix items using Touch Latch for individual parameters or the AUTO key next to a fader to enable the mix items for all parameters on the selected feed When enabled in Preview mix items are illuminated in flashing red Once in preview mode the mix items can be placed into Write or Trim by dropping in manually with the In key or automatically using the Active In and Out points see Programmed Automation Once enabled for Preview mix items remain in that state regardless of transport starts and stops This is different from putting mix items into automation record which must be done again after each transport stop Safe When mix items are in Safe mode they cannot enter automation record They are always in READ To put Signal paths
240. old down the BLUE key and press the Utils key to display the Utils menu Step 2 Press the Osc Freq soft key in the LCD menu and turn the jog wheel or use the numeric keys and press Enter to enter the oscillator frequency Step 3 Press the Osc Gain soft key and turn the jog wheel or use the numeric keys and press Enter to adjust the level of the oscillator The level can be set from 99 to OdBFS Constellation XT Page 164 DREAM II User Manual CHAPTER 16 NAME Chapter 16 Name Introduction The Name Menu allows you to rename tracks and clips and to setup seed names for recording When a name function is selected the original name appears in the DREAM IT LCD display and in the popup window You can then use the BACKSPACE key to edit the original name Step 1 Press the NAME key Step 2 Select the clip or track soft key Pressing clip allows you to enter a name for the clip under the cursor the system will complain if there isn t one Pressing track allows you to enter a name for the currently selected track Step 3 Edit the name in the popup window that appears on the PC screen Step 4 Press Enter on the QWERTY keyboard or click OK Constellation XT Page 165 DREAM II User Manual CHAPTER 16 NAME Naming Tracks The track names of a Project can be changed to help organise Projects Select the required track and press the track soft key in the Name Menu Enter the new name Naming Cl
241. om preset Constellation XT Page 140 Constellation User Manual CHAPTER 11 EDITING Step 1 Press the Preset soft key then press the custom preset soft key then use the jogger wheel to scroll through the list of custom presets Each of the custom presets if any exist will be shown in turn and its shape displayed in the Fade panel Stop scrolling when you have loaded the preset you want To save the current shape to a new custom preset Step 1 Press the Preset soft key then press the save preset soft key Step 2 Type a name for the new custom preset then press the Enter key on your console not on the QWERTY keyboard To change the shape stored in a custom preset Step 1 Recall the custom preset as described above Step 2 Adjust the shape at the head or tail of the clip or capture new ones from a clip Step 3 Press the Preset soft key then press the save preset Soft key Step 4 Now immediately press the Binnacle Enter key to save the current values over the selected preset This will overwrite the preset and the software will give no warning Using the Mouse and Screen While the Fade mode is active the screen displays shapes and controls for creating and editing fades set p ration Trim Sa e E 78 j 10 00 00 00 08 10100 En a 20 Delet ann an al E 50 50 Fade Head Step 1 Select a track and move a clip under the cursor Step 2 Press the Binnacle Fa
242. onfiguration section of the Channel Panel to enter the Direct Outputs menu Step 2 Select a feed or bus Step 3 Press the Patch soft key to select a physical output for the direct out Step 4 Use the ANALOG DIGITAL and AES MADI soft keys to choose the desired type of output Step 5 The track feed keys may now be used to select outputs for the Direct Out Press the Direct ON OFF soft key is used to turn the direct output on and off Press the Pre Post soft key to derive the direct output from before or after the feed or bus fader Constellation XT Page 78 Satellite AV User Manual CHAPTER 7 FADERS Press the Gain soft key and turn the jog wheel or use the numeric keys to enter a gain value for the direct output Press Enter to complete the operation Faders To 10 The Faders To menu allows the channel faders to be assigned to one of a number of feed parameters Press the Faders To key to toggle the fader between its normal function and the function selected in the BLUE Faders To setup menu The faders will snap to the level of the selected parameter on each channel All other controls on the Channel Panel continue to function normally To select the Faders To function follow these steps Step 1 Hold down the BLUE key and press the Faders To key to display the Faders To menu Step 2 Press one of the menu soft keys to select one of the following functions Input allows the faders to control
243. op Jog Rewind etc Constellation XT Page 187 Constellation User Manual CHAPTER 22 ADR The Rec Out soft key can be set to PROG programmed exit or OPEN keep recording until manual exit The Rec Out screen button does the same When selected blue the record Out time will be obeyed When unselected grey manual exit will be used Keep Playing At the end of a cycle you may wish to keep playing in order to hear the next section of track Pressing the keep playing soft key at any time during a cycle will cause the postroll to be ignored and the system will enter normal Play mode after the cue s Out time Importing ADR cue lists from a text file You may import an entire script through the use of the Import button This can import a short script that has been written in a word processor Each line of text in the file is treated as a separate line of ADR cue text Each line of text can optionally have one or more timecode numbers at the start of the line 00 00 00 00 This line has one timecode number or 00 00 00 00 00 00 01 12This line has two timecode numbers The first timecode number becomes the cue in point and the second if present the cue out point Timecodes must contain 4 individual numbers separated by colons 01 00 23 12 Or semicolons if the timecode is drop frame based 01 01 00 02 Here is an example of a text file in the correct syntax with timecode numbers at the start of each line 00 02 19 19 Her e
244. page 42 for more details on patching Displaying Tracks Disk recorder tracks are displayed on the video screen Select the number of tracks to display by holding down the BLUE key and pressing one of the numeric keys labeled 1T 2T 4T 8T 16T 24T 32T and 48T The most recently selected track always appears in the track display Step 1 Hold down the BLUE key Step 2 Press the desired Track Display key You can also select the desired track view in the onscreen View Menu Tracks Submenu User Selection of Tracks In addition to the track selections described above you can display any number and selection of tracks including discontiguous numbers There are three User Sets labelled U1 U2 and U3 which can be set and recalled at any time To create a User Set Step 1 Hold down the BLUE key Step 2 Press the 3 6 or 9 key and hold it down Step 3 Select the tracks that you want in this set Deselect tracks that you do not want in this set Constellation XT Page 33 Satellite AV User Manual CHAPTER 4 TRACKS amp TRANSPORT Step 4 Release the 3 6 or 9 key To access a User Set Step 1 Hold down the BLUE key Step 2 Press and release the 3 6 or 9 key To return to a contiguous track set simply select one NOTE When a user set is displayed the last selected track does not automatically appear on screen The Clip When audio is recorded or imported into Constellation it is displayed as a clip The clip is a re
245. particular signal path the signal path is called to the fader Press the CALL key then press a feed selection key to call an individual feed or a pre defined group of feeds or press the Main bus key or a Sub or Aux bus key or a Multitrack Bus Calling any member of a Link Group will call the entire group to the Master Fader To call a Fader Group hold down the Fader Group key and press a Fader Set selection key Group operation is described in detail in Grouping on page 150 A signal path can be called to the Master Fader in three ways Press the CALL key on a particular fader Touch a tile on the main Mixer screen Constellation XT Page 73 Satellite AV User Manual CHAPTER 7 FADERS Use the CALL key Step 1 Press the Call key Step 2 Press a feed selection key or the Main bus or Sub or Aux bus or a Multitrack Bus using the Multi Track key and a Live Feed key The fader now controls the level of the selected signal path and the path is displayed at the bottom of the mixer display Fader Follows Selection The fader selection can automatically follow the most recent signal path selection for context sensitive level control Press the CALL key and press the Follow soft key to select the follow mode Follow can be set to one of the following states Call by Solo The Master Fader controls the most recently soloed signal path in mix mode This refers only to mixer solo engaged by pressing the SOLO key next to a fader
246. per track in Multiple Mono Mode Select Selected Clips to only export selected red clips always one file per clip regardless of selected Channels Check Selected Tracks Only to only export selected tracks Check Align to Video Frame Boundaries to align exported file s with the video frame edges Check Export Empty Tracks to export blank files for empty tracks if Multiple Mono files have been selected Normalize Normalize will examine the level in every clip you have selected find the maximum level of all the clips then show the gain increase needed to bring it up to 0 dB Then all the clips will be amplified by this amount giving you the loudest best quality signal possible while maintaining correct balance Constellation XT Page 218 Constellation User Manual CHAPTER 28 TIMECODE SETUP Chapter 28 Timecode Setup Introduction The Setup Menu is used to configure the Project s synchronisation setup Step 1 Press the Setup key or click View gt Smart Pane gt Sync Setup Step 2 The following dialog is displayed 5X20 Internal ha Sample Rate This value can only be changed before there is any audio in the Project Once it is set the first recording will lock that value into the project Frame Rate Can be changed at any time Normally it is best to choose the frame rate of the Master video device in your system or of the timecode being chased if any Bit Depth Can be changed at
247. physical inputs analog or digital Outputs physical outputs analog or digital So for example Analog Inputs means the physical analog input ports while Aux Bus Send means the Insert Sends from the Aux Busses Patching Using the Selection Panel When using the Selection Panel slightly different techniques are used depending on the type of signal path being patched Note that all patching operations can also be achieved using the Patch I O screen see above Patching Inputs Each Track Feed Live Feed can be fed from a physical input or a Bus Element Patching a physical input to a signal path means connecting the audio at the physical input to the input of the signal path Live Feed Connects the input directly to the destination bus of the feed a Live Feed without an input cannot make any sound Live Feeds are used for effects returns microphone signals or other real time inputs for mixing Track Feed When a disk recorder track is armed an input can be recorded on to the track and monitored through it During mix down the disk recorder track is played back and mixed to a bus through the Track Feed Feeds are inherently mono although they can be linked into multiformat Link Groups as described in Link Groups on page 150 Physical inputs can also be patched to Insert Returns This is done in the Insert Config Menu which is described later in this chapter Constellation XT Page 47 Satellite A
248. quences of keystrokes There are three banks of nine macro keys Binnacle Editing Keys and Jog Wheel The Binnacle is at the heart of Constellation s advanced editing interface Dedicated edit functions are associated with these keys In addition to normal Jog Shuttle transport operations the jog wheel is used for zooming and parameter selection in soft menus Numeric and Track View Keys The Numeric Keys are provided for entering timecode locations or parameter values By pressing and holding one of the three BLUE keys the Track View Keys select the number of tracks visible on the monitor track display The Clear key can be used to clear numeric and text fields on the LCD menu and also to cancel dialogue box requests Edit Option Keys The edit option keys modify the effect of each edit An edit can be performed on All Layers on a time Range and can insert or delete time via Razor mode Trackball The Trackball or mouse is used as a conventional pointing device for the on screen graphical interface Many new mouse based functions have been added to the user interface in Satellite AV All mouse based functions will be described in context of their appropriate editing chapters Monitor Controls These controls allow adjustment of the listening level in the studio and control room and the selection and configuration of the nine possible multiformat monitor sets The monitor source can also be selected here Fader Section The Fade
249. r Section provides a motorised touch sensitive linear fader for control of the level of the current signal path Also included are Solo and Mute keys Automation Enable and bus Master and Fold keys Utility Function Keys These keys offer useful functions such as Multitrim for controlling parameters across temporary groups of feeds or buses Fader Copy for quick duplication of complete path configurations and an oscillator for alignment and signal tracing Constellation XT Page 19 Satellite AV User Manual CHAPTER 2 CONSTELLATION XT OVERVIEW Master Enable Keys The Master Enable keys allow fast global parameter automation enabling Individual parameters can be enabled independently on the Channel Panel Fader Set Selection Keys The order in which faders appear on the control surface is completely user definable Fader sets are user defined selections of faders The operator can quickly switch between banks of faders using the fader set selection keys Multi track busses Display of MT assignments This feature allows the user to allocate some of the system s bus elements to up to 24 mono multitrack busses on the Constellation This is accomplished by directly selecting the Multi Track button in the Setup section Path Configuration Section The DREAM II Channel Panel provides complete display and control over all the parameters for a single path or group of paths The Path Configuration Section can be used to define the or
250. r all signal paths selected on the Selection Panel For example you may select Track Feeds 19 23 then increase the Band 1 gain for all of them The fader and rotary controls offset existing settings while the switch controls are absolute i e the first press of any switch puts all selected signal paths into one state while subsequent presses change all of them to the other possible state See Multi Trim on page 155 for more details The Clipboard The Clipboard key displays a menu which allows copying of parameters from channel to channel To use the clipboard take the following steps Step 1 Call a signal path to the Channel Panel Step 2 Press the Clipboard key Constellation XT Page 104 Constellation User Manual CHAPTER 8 THE CHANNEL PANEL Step 3 Press the COPY soft key This copies all the channel parameters from the currently called signal path to a clipboard Step 4 Call a different signal path to the Channel Panel Step 5 Press any paste soft key This pastes a selection of the clipboard parameters into the newly called signal path Constellation XT Page 105 Constellation User Manual CHAPTER 9 THE IN LINE PANEL Chapter 9 The In Line Panel Introduction The In Line Panel ILP provides controls for a number of signal paths at the same time usually the ones belonging to the faders directly underneath It can also be expanded to show more information about one channel Panel Controls 0 0 gt
251. r clips will be deselected Selecting clips when creating a range with the mouse does not select tracks but selecting clips by directly Ctrl clicking them does select tracks To remove the current range click but don t drag anywhere with the mouse Moving Clips Clips can be dragged horizontally and vertically with the mouse This changes the clip timecode and track respectively When there is no range simply click and drag any single clip to another time or track When there is a range click on any selected red clip and drag it all other red clips will also be dragged along with the one you clicked Summary of Mouse Editing Actions Action Result Click on unused trackspace Removes range Ctrl Click on a clip If unselected adds it to the selection makes it red Also selects its track if not already selected If already selected removes it from the selection makes it blue With no range click on a clip and drag it The clip moves to any track and time where you drag it With a range click on a selected clip All selected clips move across tracks and time as and drag it you drag them Display Layering When clips are placed on top of each other only the uppermost is heard or at most a crossfade between the top and second layers The software allows you to see all the layers by selecting Display Layering using BLUE Takes or via the onscreen View menu Constellation XT Page 146 Constellation User Ma
252. r group format are not displayed To skip the current element press the Next soft key To remove patching for the current bus element and leave it with no output press the Blank soft key Step 8 To patch elements out of order press the speaker mute key of the element you wish to patch Inserts may be switched in and out of circuit by pressing the on orr soft key Insert return gain and phase may also be adjusted in the Insert Config menu Moving the Insert Point23 The path menu allows the position of the insert point to be moved within the signal path of any feed Step 1 Press the Path key which is located between Phase and Arm keys at the top of the Channel Panel to display the Path menu in the LCD Step 2 Press the INS pre EQ DYN soft key to move the insert point prior to the equaliser and dynamics sections OR Press the EQ DYN pre INS soft key to move the insert point after the equaliser and Constellation XT Page 101 Constellation User Manual CHAPTER 8 THE CHANNEL PANEL dynamics section The Signal Path display at the bottom of the mixer display is updated to show the current path configuration Direct IN Direct IN switches on the Direct Output for the signal path The signal path must have physical output defined for this purpose If the signal path is a Link Group all the members with outputs defined may have Direct Output switched ON Any Feed or bus may be sent to a Direct Output When a Fe
253. r key to apply the fade shape as specified Capturing Fade Shapes To capture a fade means to extract all of its parameters making them available to apply to other clips Step 1 Step 2 Press the capture soft key This will cause the Binnacle Clip Head or Tail key to flash inviting you to select one of them Select one of the Binnacle Clip Head or Tail key to capture the fade length and shape from the current clip The current clip is the clip currently touching the play head on the active track Having captured those values you can apply them to any other red clip by pressing the Clip key Turn off shape or length if you don t want to apply it Deleting Fades Step 1 Press the delete soft key then press the Binnacle Clip Head or Tail key to delete fades Pressing the Clip key affects fades at both the Head and Tail of each selected red clip while pressing Head affects only fades at the head and Tail affects only fades at the tail Presets Presets are used to save fade shapes only not lengths The system provides a number of Fade Presets and you can also save your own Custom presets To recall a system preset Step 1 Step 2 Press the Preset soft key then press keys 1 9 on the numeric keypad to choose one of the 9 factory fade presets To apply the recalled shape to a clip turn off the 1ength soft key and press the Clip Head or Tail key depending which part s you wish to apply To recall a cust
254. r the In Out radio buttons Copying an EQ The EQ parameters of a clip can be copied to another clip or Range of clips Step 1 Press the EQ key Step 2 Locate the cursor over the source clip Step 3 Press the copy soft key or click the Copy button on the screen Step 4 The enable checkboxes allow you to choose which of the bands are pasted into your Constellation XT Page 172 Constellation User Manual CHAPTER 18 CLIP EQUALISATION target clip s Step 5 Locate the cursor over the destination clip or define a Range of clips Step 6 Click the Apply button or press the apply soft key Parameter Display Current EQ parameters are always shown at the top of the screen when the EQ menu is active helping to see what is active and what values are current The layout of the parameter values is exactly the same as the layout on the numeric keypad A graph helps you to see what is going on EQ In Out Use the EQ In out Soft key to toggle the EQ on or off at any time This action will affect the clip under the cursor or all clips in the Range if any The on off position of this switch is stored in the clip along with the settings of the EQ parameters 4 While you are changing parameter values with the jogger wheel the actual sound is updated after a short delay 5 Turning the wheel faster increases the steps between values 6 There is no limit to the frequency Range for each band so you can have your low frequency
255. re Post switch in the optional Channel Panel is used to switch aux sends pre and post fader Setting Aux Pan Post Feed Pan The Pre Post switch in the optional Channel Panel is used to switch aux sends pre and post channel pan To do this hold down the BLUE key and press the Pre Post switch More Auxiliary Send Controls Additional controls can be accessed in More mode To enter this press the More button then double tap on one of the aux controls in the target channel Pre Post The Pre Post switch is used to switch aux sends pre and post fader Pre Mute Holding down the BLUE key and pressing the Pre Post switch causes the send to be Pre Mute That means you can mute the channel s fader without stopping the aux send Post Pan Holding down the BLUE key and pressing the IN OUT button for an aux send causes it to be sent post pan This is useful for stereo aux sends where you want the positioning for the stereo aux send to match the position of the main channel in the Left Right pan field User Modes You can create your own mixture of controls on a channel then save that mixture as a user mode There can be one user mode for every normal mode accessed by holding down the BLUE key and double pressing that Mode key Constellation XT Page 117 Constellation User Manual CHAPTER 9 THE IN LINE PANEL To create a user mode press the Setup button then press a Mode key which will be used to access your user mode The curr
256. red clips You are now ready to perform the Gate Clips function To do this Step 1 Navigate to the Process menu and select Gate Threshold Preview Constellation XT Page 144 Constellation User Manual CHAPTER 11 EDITING Step 2 Your selected clips will now be shaded in grey The grey areas mark the audio that will be retained after the Gate Clips operation is performed Start by moving the Threshold slider slowly to the right Step 3 Depending on the type of audio contained in the clip areas will begin to be shaded in pink This indicates the areas that will be removed when the Gate Clips function is performed Step 4 Once you have adjusted the threshold so that the undesired portions of the clip are highlighted in pink adjust the hold time and pre handle time to fine tune the gating process see below Threshold defines when the gate Threshold dB 11 5 opens to preserve audio in clip Hold Frames o EP A 2 AA 2 A 2 lt lt X lt X lt X lt X2 2 Grey indicates open gate Handle o Oe O Hold defines how long Gate Threshold dB fats remains open after audio level falls Hold frames 358 below set threshold value Harige k Notice length of Hold Handle defines time gate opens Threshold dB jus y before threshold is reached Hold frames 10 Handle 17 1 c 2 gt Notice gate open duration before threshold is reached Step 5 When you are happy with the amount retained versu
257. ree Pal iratza gf scale This dialog box allows many complex conversion Export The Export Menu is used to allow audio to be exported from a Project in the following formats Constellation XT Page 216 Constellation User Manual CHAPTER 27 IMPORT EXPORT e WAV e Broadcast WAV e Aif 1 ct the clip or clips to be exported Ranges of clips can also be selected 2 lt the File menu command above the Track display 3 ose Export then Audio Track s 4 following dialog box appears Channels Mono Stereo 9 fe bd Iv a E Make your selections and click OK Channels If Mono is selected a single Mono file will be exported If Stereo is selected a single Stereo file will be exported If Multiple Mono Files is selected one mono file will be exported for each selected clip on each selected track File Type Select Wav BWave or AIF files BWave files will be exported with the timecode stamp from the Dream II timeline Export Using Select Clip EQ and or Clip Level to render Clip EQ and or Clip Level into the exported file s Audio Type Constellation XT Page 217 Constellation User Manual CHAPTER 27 IMPORT EXPORT Select bit depth and Sample Rate for exported file s Defaults to Project sample rate and bit depth Mixdown Select Entire Project to export the entire project one file per track in Multiple Mono Mode Select Between Range to export all audio in the current range one file
258. roups the pan control pans all members of the link group at once and adds spread and rotate functions which can imitate the effect of a camera pan with the entire surround sound field or collapse the entire sound field into a single point Link groups can be created with default pan settings for each member see Link Group Format on page 148 The surround panner provides automated control of a level control matrix between the feeds and the individual bus elements of the buses to which the feed is currently assigned Using the Panner Step 1 Call a signal path to the Channel Panel by pressing the CALL button then pressing a feed selection key or pressing the Call button on any fader Or use Call Follow as described in Call Follow on page 84 above The signal path must be assigned to a bus for the panner to have any effect Step 2 Adjust the controls to achieve the desired result The parameter values are displayed in the fat channel section at the bottom of the mixer video display See the details of each Constellation XT Page 88 Constellation User Manual CHAPTER 8 THE CHANNEL PANEL control below Joystick The joystick provides control over the perceived source location of the signal within the surround sound field by applying proportional intensity panning Moving the joystick from left to right moves the signal from left to right across the speaker system Moving the joystick front to back only has effect in formats th
259. rt Config key on the Path Configuration section of the Channel Panel Constellation XT Page 100 Constellation User Manual CHAPTER 8 THE CHANNEL PANEL Step 4 Press the Returns soft key in the LCD menu Step 5 Press the Patch soft key The Track Feed keys now show the analog physical inputs and the Live Feed keys show the digital physical inputs Step 6 Press the ANALOG DIGITAL and AES MADI soft keys to select the desired input type Inputs that are available for patching are illuminated dim Inputs of the selected type already assigned to the bus or feeds selected are brightly lit Inputs assigned to other feeds flash between off and dim illumination Inputs that are not installed are not illuminated and cannot be selected Step 7 Bus elements and link group members are selected with the speaker mute keys Speaker mute keys corresponding to elements available in the current bus or link group format are illuminated dim green The current element for patching is illuminated bright green Elements that are already patched to inputs flash off to dim green The current bus or group element is advanced automatically when an input is selected Press a feed selection key to select the input for the current bus or group element The bus or group elements advance in the following order Left Left Centre Centre Right Right Centre Left Surround Centre Surround Right Surround Boom Elements that are not in the current bus o
260. rvo Timecode Offset Status romaner ipo DT eo Pm f o0 00 0000 TIME OUT F ToMaster zie ee 00 00 00 00 Fonon TIME OUT TCMaster X y E ee po 00 00 00 00 00 00 00 TME oT Video Arm Enabled r r r Use the type soft key or Type popup to select one of the following machine types e TC Master the selected machine is the 9 Pin timecode master e Chase slave the selected machine is in 9 Pin chase mode Asm Inh Ref o 0 9 9 e Remote slave Dream II will resond to 9 Pin remote commands like a virtual VTR e LTC Master the selected machine is set to chase external Longitudinal Time Code e MTC Master the selected machine is set to chase external MIDI Time Code e No Port No port selected Note You can have only one Master machine at a time but you can have as many slave machines as you like limited only by available ports Master and Slave machines can be used concurrently Press M1 and or M2 keys or use the Enabled checkbox to place machines online Enter an Offset if desired Use the red Video Analog and Digital LEDs to arm tracks on your remote devide as required Note The master Video Arm Enabled box must be checked and each video Arm En box must also be checked on the desired device before the Video arm LED can be used to arm the video track Click the Eject button to eject tape from the desired device Note that controls
261. s 4 Ctrl Click any toggle switch on any member s tile Mute Solo EQ In Out Insert In Out to set the value of that toggle to be the same for all members Link Groups can be included in the MultiTrim group When any of the MultiTrim members faders are moved the whole Link Group adopts the fader value of the first member removing any offsets between them that might have existed earlier To clear the MultiTrim Group double click on one of the red channel numbers Constellation XT Page 157 Constellation User Manual CHAPTER 13 LIBRARY Chapter 13 Library Introduction The Library menu provides storage for Equaliser Dynamics Channel presets or complete Constellation snap shots Up to 100 of each type of preset can be stored These presets can be recalled and applied to any signal path in any project To access the Library menu press the Lib key Select the preset type by pressing the chan EQ chan dyn all chan Or all console soft key Select the library function by pressing the Save Load Or Delete keys The presets and functions are described below a11 chan means all the parameters in the currently selected signal path Presets Equaliser A library of 100 equaliser settings is provided Each equaliser preset stores all the parameter settings of the equaliser section on the signal path currently called to the Master fader Press the Eo soft key in the Library menu to select equaliser presets
262. s Automatic Drop in Pre determined drop in and drop out points may be activated using the Machine Control section of the Constellation See Using the ADR Functions on page 182 for further details Constellation XT Page 124 Constellation User Manual CHAPTER 11 EDITING Chapter 11 Editing Introduction DREAM II offers a combination of hardware and mouse based editing The two methods are complementary and are designed to be used at the same time Edit Modes Binnacle editing uses six modes selected on the outer ring of keys Copy copies the selection to the clipboard Enter pastes it into the tracks Cut cuts the selection to the clipboard Enter pastes it into the tracks Erase erases the selection Trim retracts or extends the heads or tails of clips Slip one step movement of clips through time not using clipboard Fade fades or cross fades the selection Once a Binnacle mode is selected it remains current until another mode is selected Cut and Paste Whole Clip To cut and paste a clip Step 1 Select a track and move a clip under the cursor The clip is red because it is touching the cursor Step 2 Press the Cut key on the Binnacle if not already selected Step 3 Press the Clip key Constellation XT Page 125 Constellation User Manual CHAPTER 11 EDITING We see the clip s ghost It s a picture of the clipboard ready to be pasted in Step 4 Select another track
263. s Assign key to return to the previous mode or select any other mode Bus Assignment may be automated using the Enable key next to the Bus Assign key Note once the Main Bus is selected as the destination bus Sub buses can be added to the source selection as described below Press the Main key again to de select the Main bus as the destination before selecting a Sub bus as a new destination for bus assignment Fast Bus Assignment with Path Configurator The Path Configurator controls all the routing and assignment for the signal path currently selected to the Central Processing Panel Constellation XT Page 58 Satellite AV User Manual CHAPTER 5 PATCHING AND ASSIGNMENT Step 1 Step 2 Step 3 Step 4 Press the Call key to enter the call mode Press a feed selection key to call a feed to the Channel Panel Hold down the Bus Routing key in the Path Configuration section at the top of the Channel Panel Buses to which the feed is currently routed are illuminated Press any bus selection key to assign the current feed to that bus Press the Multi Track key and then a Live Feed key to assign the current feed to that bus If Multi Trim is ON more than one signal path may be selected If there are buses to which all of them are assigned those bus keys will be illuminated Pressing an illuminated bus key deassigns all the selected signal paths Bus keys to which some but not all of the selected signal paths are assigned will flash
264. s in the Channel Panel or controls in the In Line Panel when operating in Channel Mode to control the group The mixer display will be updated to show the changes as they occur No changes are made until the master controls are changed To update all parameters for all channels selected when in Absolute mode press the apply values soft key This causes the current values of all controls to be applied to all signal paths selected for Multi Trim Step 5 Press the Multi Trim key to return to the previous mode or press another key to continue mixing or editing Multi Trim can be used in conjunction with the automation record modes in the following ways ABS WRITE With Multi Trim in absolute mode and automation in Write mode Multi Trim is useful for establishing static presets of fader levels and other parameters across a range of feeds ABS TRIM With Multi Trim in absolute mode and automation in Trim mode the members of the Multi Trim Group will all move to the level of the virtual master Depending on the initial position of each member control this will cause the automation values to be trimmed or offset by differing amounts This may cause unpredictable results and it is therefore NOT advised to use this com bination REL WRITE With Multi Trim in relative mode and automation in Write mode Multi Trim is useful for reducing the level across an established static mix or for performing fades on a static mix Constellat
265. s the amount removed from the graphic representation press the Apply button to process your settings All pink areas in the clip will be removed retaining the grey areas NOTE As with many other editing functions in Dream II the original audio is not affected by clip gating only the clips that reference it Any audio removed by gating can be recovered using the Trim function See Trim Function on page 132 Mouse Based Editing The mouse can be used to select clips make ranges and move clips in time and across tracks This can be done irrespective of which editing or mixing mode is selected Selecting Clips As explained previously the mouse can be used to select and deselect individual clips within the range by Ctrl clicking on them If no range is present this can still be done When you Ctrl click a clip when no range is present a range will be created which includes all the previously selected Constellation XT Page 145 Constellation User Manual CHAPTER 11 EDITING clips plus the one just added If the track containing the clip was not selected it becomes selected automatically Mouse Based Ranges The mouse can be used at any time to create a range Simply click an empty space one where there is no clip and drag an area on the Track display and a range will be created At the same time any clips or parts of clips on already selected tracks that are inside the area you dragged will be selected All othe
266. s the path configuration for the current path displaying the status of all signal processing parameters A path may be a single mono feed or a bus or multichannel surround format link group e Faders can be clicked and dragged with the mouse to change level e Faders can be double clicked to set them to 0 dB Live 1 Live 2 Live 3 Live 4 Live 5 Live 6 Live 7 Live 8 Live 9 Live 10 Live 11 Live 12 Live 13 Live 14 Live 15 Live 16 7 1 f 1 00s ans 0034 Bd als 00 as Cele s s Cl es 9 00 s 1100 a 100 s 200 200 100 500 1600 a Live 17 Live 18 Live 19 Live 20 Live 21 Live 22 Live 23 Live 24 Live 25 Live 26 a j Live 29 Live 30 Live 31 Live 32 i l Live Feed tiles vaa 3180 a LAng a 212200 5 20 ala l z l laa a aaa 3 82810 eg Live 33 Live 34 Live 35 Live 36 Live 37 Live 38 Live 39 Live 40 Live 41 Live 42 Live 43 Live 44 Live 45 Live 46 Live 47 Live 48
267. se the desired type of output The track feed keys may now be used to select analog outputs for the Direct Out and the live feed keys for digital outputs Outputs of the selected type Analog and AES MADI currently patched to the selected feed or bus element are brightly lit Outputs of the selected type Analog and AES MADI currently patched to other sources flash off to dim Outputs of the selected type Analog and AES MADI currently available are dimly lit Outputs of the selected type Analog and AES MADI that are not fitted are unlit If the selected path is a bus or a link group the outputs can be selected for one bus element at a time The Speaker Mute key of the current bus element is illuminated Constellation XT Page 55 Satellite AV User Manual CHAPTER 5 PATCHING AND ASSIGNMENT green Speaker mute keys for bus elements already patched flash off to dim green Speaker mute keys for bus elements not currently patched are illuminated dim green Step 6 Each direct out may be patched to a single output or multiple physical outputs Press the SINGLE MULTI soft key to select single or multi mode Step 7 In SINGLE mode Press a track key to select the output for the current feed direct out OR If the selected path is a bus or link group in SINGLE mode the current bus or link group element is advanced automatically when an output is selected Press a track key to select the output for the current bus or link group elem
268. sed Instead the duration is set by the cursor position If you are happy with your current fade shape using Fade Head is a fast and simple way to get a lot of work done NOTES e If you do not want to apply the Smart Panel shape shown above to the Head turn off the shape soft key e If you ONLY want to apply the shape and not to change the length of the head fade turn off the length soft key Fade Tail Same as Fade Head but it fades from the cursor to the end of the clip Fade Clip Applies the numbers in the Head Duration and Tail Duration fields shown in the Smart Pane 10 00 00 00 20 Duration BER 5 amp vu Using Multiple Tracks If multiple tracks are selected the simple Fade Head and Fade Tail commands will apply to all clips touching the cursor on selected tracks Using a Range If a Range is present the Fade Head command applies the Head Duration field value and the Fade Tail command applies the Tail Duration field value to all red clips those wholly inside the range on selected tracks Using Soft Keys Advanced fade editing can easily be performed using the soft keys Setting Fade Duration Fade duration can be set numerically as follows Step 1 Press the set dur soft key Turn off the shape soft key if you do not wish to apply the Smart Panel fade shape to the selected clips Step 2 Press the Binnacle Head Tail or Clip key This determines whether the duration you set will appl
269. selected feeds to all bus elements Press disconnect all to disconnect the selected feeds from all bus elements Press boom only to disconnect the selected feeds from all bus elements except the Boom element Press all but boom to connect the selected feeds to all bus elements except the Boom element Stem Assign Group Members If a Link Group is chosen as the source the individual elements are all stem assigned identically If it is desired to change the group or bus members individually the bus is first selected then hold down a BLUE key and double press the member feed selection key See Link Groups on page 150 for more details Aux to Main Bus Aux buses cannot be assigned to the Main Bus Constellation XT Page 60 Satellite AV User Manual CHAPTER 5 PATCHING AND ASSIGNMENT Bus Reduction Bus reduction provides a separate fader for each feed assigned to a reduction Sub Bus independent of the fader feeding the Main Bus This allows separate simultaneous mixes to be created in more than one format The reduction bus fader may be configured to be pre or post the normal channel fader thus providing a level offset trim of the main mix or a completely in dependent mix The reduction mix fader levels may be modified in a separate automation pass without effecting the main mix Reduction buses may be configured in any format and may optionally be assigned to the Main Bus Creating a Reduction Bus Step 1 Step
270. ssing the Call key then using the selection panel or b touching a tile on the Mixer Screen Step 2 Press the Insert Config key in the Path Configuration section of the Channel Panel Constellation XT Page 51 Satellite AV User Manual CHAPTER 5 PATCHING AND ASSIGNMENT Step 3 Press the Returns soft key on the LCD menu Step 4 Press the Patch soft key Step 5 Choose the input for the insert return using the same techniques as for inputs to signal paths If the signal path is a Bus or Link Group the Speaker Mute keys are used to select individual elements for patching Alternatively multiple inputs can be selected at the same time by holding one down then selecting others or double pressing the last in a range then releasing the original They will be patched consecutively to the elements of the bus or link group Inserts may be switched in and out of circuit by pressing the on orrF soft key Insert return gain and phase may also be adjusted in the Insert Config menu Moving the Insert Point The path menu allows the position of the insert point to be moved within the signal path of any feed Step 1 Press the Path key which is located between Phase and Arm keys at the top of the Channel Panel to display the Path menu in the LCD Step 2 Press the INS pre EQ DYN Or EQ DYN pre INS soft key to move the insert point before or after the equaliser and dynamics sections The Signal Path display at the bottom of th
271. sts the expander threshold The expander threshold sets the signal level below which gain reduction occurs The control range is from 50 to O dB Expander Ratio The Ratio control adjusts expander ratio This sets the gain reduction ratio input to output applied to signals which fall below the threshold level The control range is 1 0 1 to 10 1 Expander Depth Press the Depth key to toggle the Ratio control between Ratio and Depth Expander depth sets the maximum amount of gain reduction that will be applied when the signal falls below the expander threshold When the signal falls below the level determined by the expander threshold minus the expander depth no gain reduction is applied The control range is from 0 to 60 2dB Expander Attack Time The Attack control adjusts the attack rate time constant of the sidechain detector The control range is 0 to 100mS Expander Release Time Press the Hold key to toggle the Release control between Hold and Release The Release control adjusts the release time constant of the sidechain detector The control range is 0 03 to 4 03mS Expander Hold Time Press the Hold key to toggle the Release control between Hold and Release Hold time controls the delay between applying gain reduction and commencing release of gain reduction Gate Parameters Gate Threshold The Thresh control sets the signal level below which gain reduction occurs The control range is from 50 to OdB Gate Hysteresis
272. t the range independent of the play position MARK Select a mark by turning the Jog wheel and pressing Enter or by pressing one of the flashing selection keys which represent previously entered marks See Marks on page 209 LAST The last FROM or TO point is used this recovers the previous range and is the same as pressing the Range ON key PROJECT Sets the FROM Or TO points to the Project Head or Project Tail HEAD TAIL marks which mark the first and last positions at which audio has been recorded or clips are placed Jumping to Range ends Holding down the BLUE key and pressing either Jump key will locate the transport to the start or end of the Range Setting a Range With the Mouse The mouse can be used to set a range To do this click in a part of a track where there is no clip then drag the mouse to another timecode and release it The time swept out by the mouse will become the new range To remove a range click where there is no clip and the range will disappear Constellation XT Page 40 Satellite AV User Manual CHAPTER 4 TRACKS amp TRANSPORT Selecting Clips with the Mouse Clicking on a clip while holding down the Ctrl key on the QWERTY or the BLUE key on the DREAM II controller keyboard causes the clip to be selected or deselected if it was already selected In addition a range is created exactly large enough to contain all clips that were already selected plus the one just c
273. t and press the To key to capture the Out point The Out point is displayed below the In point in the Mix menu Note If you would like to use the existing editing range for your In and Out points hold down a BLUE key and press the Range key To make the In and Out points active Step 1 Step 2 Hold down a BLUE key and press the Active In key to make the automation In point active The In key flashes blue when active Hold down a BLUE key and press the Active Out key to make the automation Out point active The Out key flashes blue when active Note that you do not need to activate both In and Out points See below for consequences To enter record explicitly Step 1 Press the Punch Key The transport will preroll the In Point go into automation record when it reaches the In Point if active then exit record at the Out Point if active If the In Point is not active the transport will still preroll and pass it allowing you to punch in when ready by pressing the In key If the Out Point is not active the transport will go into record at the In Point then stay in record until you manually exit The transport continues to play after the Out point The punch preroll time is set in the System_Variables file see Setting the Automation Punch Preroll on page 236 To enter record implicitly Step 1 Move the transport to a location before the In point and press PLAY The automation system will enter WRITE or TR
274. t be moved over the red circle to capture control of the pan position If a link group has been called the pan display shows a red circle for the pan position of each member and a yellow circle for the position of the virtual link group master When diverge is applied a white circle represents the perceived image size When a bus is called the output box displays the output patching showing each bus element and the user and system names of the physical outputs to which they are connected Zoom Panels Constellation features dedicated full Screen displays for the called Channel EQ Dynamics Aux and Pan settings These displays automatically pop up whenever a relevant control is touched Users may define in the menu lt BLUE gt Utils the duration of the delay to enable the return to the main screen Alternatively the screen may remain locked where multiple operations may be required for any given number of channels There is a dedicated zoom key on the Constellation and the display can be locked by hitting lt BLUE gt Zoom It is possible to see more detail when adjusting EQ Dynamics and Pan control using Zoom Panels In particular numeric values for all parameters are shown and update as they are changed To display a zoom panel you may also right click in the corresponding display in the Fat Channel Constellation XT Page 24 Satellite AV User Manual CHAPTER 2 CONSTELLATION XT OVERVIEW
275. t the Out Point of the ADR cue in the same way The cue is shown as below adr 2 J Language 00 00 05 15 00 00 10 15 Pre Rec 00 00 00 00 Preroll 00 00 01 00 Postroll 00 00 01 00 Delete Delete All Rehearse Early In PreRoll Add Cue Prev Cue CYCLE STOP Edit Cue To Next Cue CEE Rec Playback Keep Playing Once you have entered all the cues that you want to use you may set up your preferences by clicking the ADR Menu and selecting ADR Preferences The following screen is displayed Constellation XT Page 185 Constellation User Manual CHAPTER 22 ADR Cues Roll Single Multiple cues sing y Pause before rolling 0 seconds Beeps Colours Number of beeps bl Streamer white w before zero Spacing seconds 0 Cross white w Zero beep Frequency 100 Gain db 0 Duration ms 1 Cross Beep Frequency 100 Gain db 0 Duration ms 1 Text Color black Y iv AutoScale Font Choose Font Wrap text The main purpose of this dialog is to control beeps and the streamer The streamer is a band across the screen which displays the ADR text and also gives an indication of the start point for the cue An example of the streamer is shown below The cat sat on the mat The text is shown and the indicators converge on the centre of the screen arriving at precisely the In time of the cue To turn on the Streamer click the ADR Menu above the Track display and select ADR Display Cyc
276. t the device from the devices list and click on Convert to Media device Please also set the Device Info accordingly Devices Rec Priority Device Location Description Free Space kb FairlightAU For Speed Networked Guid DA H Dream II 143543782 Yes 2500 Local 000001 uy D Dream II 240570532 Yes 2500 Local 000001 beth i Windows Formatted Drive 69418796 No 2500 Local N A gt Purge Media Convert to Media device F view CD Drives Default Project Device D Rescan Devices Projects Project Comment Clips Sample Rate Frame Rate Last Modified Duration se Export Project to another Device Export Project to Folder List Media in Project Delete Project T View Backup Projects Constellation XT Page 207 Constellation User Manual CHAPTER 24 PROJECT AND FILE MANAGEMENT Device Name mm Device Speed Fast Normal Slow Device Type Local Network shared Temp Format Guid To use a network connected device first create a mapped network drive or folder in Windows Explorer This can now be selected in the device panel and converted to a DREAM II Media device as above For those of you out there already using Pyxis this interface should all be familiar MT Projects INTRODUCTION DREAM II as its Fairlight predecessors uses the concept of Projects MT files to store work performed on the disk recorder All audio r
277. t to flash Step 2 Click the Clip Head or Tail button to capture the fade length and shape from the current clip The current clip is the one currently touching the play head on the active track Having captured those values you can apply them to any other red clip by clicking the Clip button Untick shape or length if you don t want to apply it Cross Fades If a fade is placed on a clip and there is another clip layered underneath a cross fade between the two will automatically be induced Cross fade parameters can be modified with the soft key menu functions Induced crossfades are complementary that is to say the clip underneath is faded with exactly the opposite shape to the clip on top If the clip underneath already has its own fade overlapping the time of the upper clip s crossfade then no induced fade occurs In the following illustration clip layering has been turned on using BLUE Track or View gt Display Layering Induced crossfade note lower curve No induced fade lower fade overlaps Fade Options Layers On ALL LAYERS ON is not supported in Fade Mode Razor On RAZOR ON is not supported in Fade Mode Soft Edit Every clip has a small fade at the head or tail to make it sound smoother This is called a Soft Edit and you can control its length To do this click the Setup Menu on the Track screen and select General Preferences In the dialog that is displayed click the Playback tab Co
278. talkback circuits This feature ensures that the faders are controlled by valid automation data before playing back an automated mix at full level To use Auto Cue without affecting normal studio communications use the second talkback circuit and de assign it from all destination buses To enable Auto Cue hold down a BLUE key and press a Talkback key Press the Auto Cue soft key to toggle Auto Cue on and off Oscillator Constellation provides an on board digital oscillator for system calibration slate line up tones and path identification The oscillator shares the second talkback channel and may be fed to any bus Using the Oscillator Step 1 Press the Osc key to turn the oscillator on or off Constellation XT Page 163 Constellation User Manual CHAPTER 15 TALKBACK AND OSCILLATOR Routing the Oscillator The oscillator may be routed to any bus The oscillator shares the second talkback channel and will be routed to the same destination Step 1 Hold down a BLUE key and press the Talk 2 key Step 2 The bus selection keys are used to select the destination bus for the oscillator Buses to which the oscillator is already assigned are brightly lit Press any bus selection key to add it to the oscillator destinations Once the oscillator is assigned to a bus the bus may then be routed to any physical output or track feed for recording to an external device or the disk recorder Oscillator Frequency and Level Step 1 H
279. te patching System I O Ports System output ports are only available for patching in the Monitor Setup Patching page System ports are defined in the I O Config TXT file as described in The I O Config TXT File on page 229 Use system output ports for patching your studio monitors to avoid accidentally patching other sources direct to the power amplifier or headphone inputs Naming Studio Speaker Sets Studio speaker sets may be given more meaningful names specific to the current installation Step 1 Step 2 Step 3 Hold down a BLUE key and press the Setup Output key in the Studio Monitor Controls section Press the patch outputs soft key Select the speaker set you wish to patch by pressing one of the 9 speaker set soft keys Constellation XT Page 69 Satellite AV User Manual CHAPTER 6 MONITORING Step 4 Press the name soft key and type the name on the PC keyboard Step 5 Press Enter to complete Selecting Studio Monitor Sources The studio monitor source can be selected from one of the following The Main Bus a Sub Bus or an Aux Bus OR external source presets 1 to 16 named Extsrcj by default on the LCD soft keys which can be patched from any physical input allowing monitoring of CD players VTRs or other external devices Step 1 Press the Setup Source key in the Studio Monitor section Step 2 Press any bus selection key to select a bus as the monitor source Press any of the external source
280. te send is not affected by the mute status of the main feed level A post mute send follows the main mute but may also be muted independently Pre Post Pan A pre pan send is not affected by the setting of the main feed panning The send s pan control sets the absolute panning for the send For a Post pan send the send panning is added to the main feed panning Constellation XT Page 62 Satellite AV User Manual CHAPTER 6 MONITORING Chapter 6 Monitoring Introduction Constellation provides flexible choices of monitor sources formats and speaker destinations It also supports automatic fold down or up into narrower or wider formats allowing for example a 5 1 mix to be checked in stereo monitors Programmable Source Sets and Monitor Sets provide storage and instant recall of monitoring configurations Control Room and Studio Separate monitoring facilities are provided for Control Room and Studio speakers Control Room setups target up to 8 speakers while Studio setups are strictly stereo Control Room setups include 12 macros that can switch sources or monitor sets into operation while Studio Setups include 3 independent Cues that can be run simultaneously Source and Monitor Sets A Control Room Source Set is a set of up to 8 source signals that can be sent to the speakers Because you will want to listen to different things at different times the system lets you create and save up to 8 Monitor Sets so you can
281. te the mute and solo status of all the members 7 When the group is created the channel Soft Pot is set to the position of the first feed in the group When it is adjusted the values of the Soft Pot parameters of all the members of the group are offset The channel Soft Key displays the setting of the Soft Key parameter of the first member of the group 8 The AUTO key on the Master Fader section enables automation recording for the link group master which will control all the members Constellation XT Page 151 Constellation User Manual CHAPTER 12 GROUPING 9 When selected a link group is displayed in the channel display at the bottom of the mixer display The display shows input patching and destinations for the entire group 10 When using dynamics across a link group the side chain signal for each member is derived from the maximum signal level for the entire group thus maintaining the integrity of the signal image Creating a Link Group Link groups are created from the Link Group menu Step 1 Press the Link Group Key The feeds that currently belong to link groups flash red Feeds available for selection are dimly lit Step 2 Press the feed selection key of the first feed of the group Its key lights up and so do the keys of the next seven feeds which are the other possible members of the new link group Step 3 Press one of the illuminated feed selection keys to make it the last feed of the group Link groups
282. ter the Seed Name you wish to use on the selected track s Step 4 Enter the Seed Index This is the number that will be used on the next recording made on any of the selected tracks You may set this to any value you like even if it has already been used Constellation XT Page 166 DREAM II User Manual CHAPTER 16 NAME 1 The system defaults to the Seed Name Recorded Audio on all tracks This results in lots of clips called Recorded Audio N 2 Use only the following characters in names A Z a z 0 9 _ underscore 3 When multiple tracks with the same Seed Name are recorded the resulting clips have a range of numbers increasing by one with each increasing track number So for example if e The Seed Name is Clip e The next number is 5 e Tracks 1 2 and 12 are in record Track 1 will get Clip 5 Track 2 will get Clip 6 Track 12 will get Clip 7 Naming Feeds and Buses Feeds and Buses can be named from the Call menu Names appear in the mixer display on each channel or bus tile Step 1 Press the Call key to enter the Call menu Step 2 Press a feed or bus selection key to call the path to the master fader Step 3 Press the name soft key Step 4 Type a name for the signal path and press Enter Press the Tab key to enter the name and step to the next feed Hold down the Shift key and press Tab to move to the previous feed Notes Project notes can be captured in a text field using the following steps Step 1
283. tice Fairlight AU re serves the right to change any part of this document without notice The warranties remedies and disclaimers above are exclusive and take precedence over all others oral or written express or implied to the extent permitted by law in the geographical area of the product s use No employee of Fairlight AU agent distributor or employee of an agent or distributor is authorized to offer any variation from this policy Copyright 2007 Fairlight AU Pty Ltd Unit 3 15 Rodborough Rd Frenchs Forest NSW 2086 AUSTRALIA Telephone 61 2 9975 1777 Fax 61 2 9975 1999 END USER LICENSE AGREEMENT You have acquired a device DEVICE which includes software licensed by Fairlight AU from one or more software licensors Fairlight AU s Software Suppliers Such software products as well as associated media printed materials and online or electronic documentation SOFTWARE are protected by international intellectual property laws and treaties The SOFTWARE is licensed not sold All rights reserved IF YOU DO NOT AGREE TO THIS END USER LICENSE AGREEMENT EULA DO NOT USE THE DEVICE OR COPY THE SOFTWARE INSTEAD PROMPTLY CONTACT Fairlight AU FOR INSTRUCTIONS ON RETURN OF THE UNUSED DEVICE S FOR A REFUND ANY USE OF THE SOFTWARE INCLUDING BUT NOT LIMITED TO USE ON THE DEVICE WILL CONSTITUTE YOUR AGREEMENT TO THIS EULA OR RATIFICATION OF ANY PREVIOUS CONSENT GRANT OF SOFTWARE LICENSE T
284. tion Press the Insert Config key in the Path Configuration section of the Channel Panel Press the Returns soft key on the LCD menu Press the Patch soft key The Track Feed keys now show the analog physical inputs and the Live Feed keys show the digital physical inputs Press the ANALOG DIGITAL and AES MADI soft keys to select the desired input type Inputs that are available for patching are illuminated dim Inputs of the selected type already assigned to the Feeds selected are brightly lit Inputs assigned to other feeds flash between off and dim illumination Inputs that are not installed are not illuminated and cannot be selected Select the input by using the a feed selection keys If a signal path already has an insert return input choosing another one will replace it while choosing the current one will unpatch it Patching is completed by pressing an edit mode key or other menu key or by pressing Insert Config to return to the previous state Patching Link Group and Bus Insert Returns Step 1 Step 2 Step 3 Press the Call key to call the bus or link group to the Channel Panel Select the bus to be inserted by pressing a bus selection key or press the feed key of any member of a link group to select the group or retain the existing selection To select a single member of a link group hold down the BLUE key and press the track key then follow the procedure above Enter the Insert Menu by pressing the Inse
285. tion key to copy the existing editor range The rn and out points are displayed on the LCD Step 4 Press the Mix Edit soft key in the Mix menu Step 5 Locate the cursor to the destination where you want to paste the mix automation data Step 6 Press the copy Mix soft key to perform the mix copy operation Step 7 Press the Back to Mix soft key to return to the Mix menu Automation follows Clips editing In addition to the Mix Edit functions it is also possible to edit automation data whilst editing the audio For Clips or Ranges of Clips their corresponding mix data can be Copied or Cut to another position if Data is included on the Edit Target key Step 1 Press the Edit Target until both AUDIO and DATA are illuminated Step 2 Edit audio in the usual ways and all automation data for the sections of track you are editing will also be edited Data Storage All the mix data of the current mix is stored in system memory This data must be explicitly saved to disk as a named mix If a new project is loaded the previous mix data is retained in memory and may be saved as a mix in the new project Constellation XT Page 203 Constellation User Manual CHAPTER 23 AUTOMATION Mix Thinning Constellation offers a Mix thinning algorithm that ignores identical static mix data This is especially useful for large amounts of mix data as it can largely reduce the actual number of mix events When automation is written there can
286. tion of the Channel Panel Press the Patch soft key in the LCD menu Press the AES MADI soft key to choose the desired type of digital output if required The track feed keys may now be used to select analog outputs for the insert sends and live feed keys to select digital outputs Outputs of the selected type Analog and AES MADI currently patched to the selected bus element are brightly lit Outputs of the selected type Analog and AES MADI currently patched to other sources flash off to dim Outputs of the selected type Analog and AES MADI currently available are dimly lit Outputs of the selected type Analog and AES MADI that are not fitted are unlit If the selected path is a bus or a link group the outputs can be selected for one bus or link group element at a time The Speaker Mute key of the current bus or link group element is illuminated green Speaker mute keys for bus or link group elements already patched flash off to dim green Speaker mute keys for bus or link group elements not currently patched are illuminated dim green Each insert send may be patched to a single output or multiple outputs Press the SINGLE MULTI soft key to select single or multi mode In SINGLE mode Press a track key to select the output for the current feed insert send If the selected path is a bus or link group in SINGLE mode the current bus or link group element is advanced automatically when an output is selected Press a track
287. ton clears all currently soloed paths press the Solo Clear button again to restore the soloed channels SIP Defeat Press the SIP Defeat key in the Path Configuration section of the Channel Panel to prevent the selected feed from being muted when other feeds are put into SIP Alternatively hold down a BLUE key and press the MUTE key above any fader to toggle SIP Defeat for that channel This feature is useful for keeping reverb returns live when channels feeding them are soloed SIP Defeat feeds are shown with a grey solo indicator on the mixer video display SIP Defeat is sometimes referred to as Solo Safe Disk Recorder Solo The disk recorder solo system allows an selection of track to be soloed For details of the disk recorder solo and mute functions see Solo and Mute on page 180 Constellation XT Page 72 Satellite AV User Manual CHAPTER 7 FADERS Chapter 7 Faders Introduction Constellation XT has one touch sensitive motorised Master Fader which can be used to control the level of an individual feed a bus or a group of feeds The fader section includes MUTE and SOLO buttons for eliminating and isolating a feed from the mix In addition the fader section includes a Master key to call the Main bus to the fader for level control and the AUTO key for arming automation record gt Calling a Signal Path to the Master Fader 7858873 a e Operation To assign the Master Fader to control a
288. toring a source format with less elements than the current monitor format the elements in the source format that also appear in the monitoring format are passed through to their respective loudspeakers unmodified For example when monitoring a stereo bus through a 5 1 speaker system the left and right bus elements appear in the left and right speakers and the centre and surround speakers are ignored The exception to this where the source format contains a centre or centre surround element and the target format does not In these cases the centre channel is distributed between left and right elements Bass Management The default monitor matrix eliminates the boom or LFE channel when downmixing to a format that does not include a boom channel If it is desired to add the boom signal Constellation XT Page 233 Constellation User Manual CHAPTER 31 SYSTEM FILES into the front monitors this may be done by adding the appropriate entries to the monitor matrix file as described below Editing the Monitor_Matrix File The monitor matrix data is contained in a readable text file on the Constellation computer The file specifies both downmix and upmix combinations This file can be opened and edited to conform to your specific monitoring requirements The file is laid out as a comma delimited table Each downmix entry begins with a description prefixed with a e g Stereo to Mono Each subsequent row describes a node in the matrix and has th
289. ts must be saved to disk before being closed or all changes since opening will be lost Project files are given the mr filename extension by default Opening a Project Step 1 Select the Open command from the onscreen File Menu in the Editing screen Alternatively you may press the Proj button in the DREAM II console then click the Open command from the drop down menu in the Editing screen Step 2 The system displays a list of all the projects in the last folder you visited If necessary browse to other folders to see other projects that you may wish to open Select project file to open Look in En ME Fe Name sie Type Date Modified 7 E AES_Demo_OK MT 799 488 KB MT File 9 28 2006 6 11 PM AN Ed ali_4stk MT 570 752 KB MT File 9 6 2006 1 56 PM SA Bud_96tk MT 493 696 KB MT File 9 11 2006 4 18 PM e E Cadillac_96tk MT 220 800 KB MT File 9 11 2006 3 46 PM E FolderInfo128 dsm 4KB DSM File 10 1 2006 3 15 PM Desktop E FolderInfo dsm 3KB DSM File 10 1 2006 3 15 PM E MATRIX_48tk MT 312 832 KB MT File 9 6 2006 2 00 PM SD E Matrix_Video MT 312 960 KB MT File 10 1 2006 3 23 PM E Matrix_Video_EXT MT 126 976 KB MT File 12 15 2003 12 05 PM O E NODOUBT_96tk MT 953 600 KB MT File 9 11 2006 3 57 PM E RIO_48tk MT 349 824 KB MT File 9 6 2006 10 33 AM e SE My Computer File name a i E Files of type fan Files y _ Cancel Places J Open as read only 4 Step 3 Click on the
290. ture display of the pan surround field with the red pan position is displayed The pan position changes in real time Track 5 Buses The fader levels of the Main sub and auxiliary buses are displayed Signal level meters for the Main bus are also displayed Signal Path Display The signal path display or Fat Channel shows a detailed display of the parameters for the currently called signal path A signal path may be a mono live or track feed a bus or a multichannel surround format link group which can be selected and modified from a single set of controls e The user and system names of the signal path are displayed at the top left The input box at the left of the signal path indicates the format or element name of the path and the user name and system name of the physical input from which it is patched e The input meter shows the signal level at the input of the signal path Constellation XT Page 23 Satellite AV User Manual CHAPTER 2 CONSTELLATION XT OVERVIEW If a track feed is selected the input fader level is shown this fader can be controlled from the Faders To menu The EQ display shows a graph of the equaliser response The numeric values of the parameters currently being modified are displayed below the graph If the equaliser is switched IN the graph is highlighted if switched OUT the graph is dimmed The dynamics display shows the composite transfer function of the entire dynamics section The display also i
291. types of groups Link Groups and Edit Groups Link groups are designed for controlling groups of feeds in multichannel formats Link groups simplify many tasks associated with working in surround formats and share many of the operational features of surround format buses Link groups can include up to eight members The simplest link group has two members and fulfils the function of a stereo channel Fader Groups are similar to other VCA or DCA grouping schemes and allow one fader or parameter control to control a group of signal paths Fader Groups can include any number of members Summary of Groups Type Member Type Master Fader Selection to Stem Structure Fold on Channel Panel Creation Link Group Live Feed or Link Group Select Master Yes Yes Track Feed Master level equal to first member Fader Group Live Feed or Fader Group Fader Group No No Track Feed Master menu key and soft Speaker Set key Link Groups Link groups allow the control of up to eight feeds with one fader Link groups can only include track feeds or live feeds not a mixture of both Link groups can be created in any standard multichannel format Link Group Format When a link group is created the number of members determines the format of the link group When a link group is created you have the option of retaining the current pan setting of each member or using default pan settings for the chosen format If default pans are selected each member of the group is p
292. uction bus channel fader may be configured to pre or post the normal channel fader This is achieved using the Bus Params menu When set to Post the reduction channel fader defaults to OdB and provides an offset to the normal channel fader When set to Pre the reduction channel fader provides an independent mix level for the reduction Sub bus See Bus Reduction on page 60 for more details The mute and fader controls may be automated and will record data for the bus send and bus assign parameters Use the enable keys next to the Master fader to enable these parameters for automation Fader To Input While BLUE Faders To is active the Input soft key may be chosen All track feed faders now control the level prior to the disk recorder This can be used to control the level going to disk during recording Note that live feed faders are inactive when Faders To Input is selected The fader control can not be automated Faders to Direct Output While BLUE Faders To is active the Direct Output soft key may be chosen All channel faders now control the direct out level The Mute key toggles the direct output ON and OFF The fader control may be automated and will record data for the direct out level parameter Use the enable key next to the Master fader to enable this parameter for automation Fader To Boom While BLUE Faders To is active the Boom soft key may be chosen All channel faders now control the boom level
293. uina odedeakidtacenenesss EEOAE AAEE EEA EE 199 A ATT 200 Te six MOM sii A A A A A A ete esa ae 200 THE Blue Utils MEM Usscsazcssevessgesanscnccssaccegaagedassd neces sagedeagaaesacdadacdedacacwedeaaddedadddadeoedessaccendasaedsaa 200 Multi AM 201 UEA ESRA o EE E aiii 203 DO EE EEE RR 203 MA PING r a a E a a aa E uv aaa a a 204 On Screen M GOO Sii A a a aiia 205 CHAPTER 24 PROJECT AND FILE MANAGEMENT sssseessceseeceeeeeeeeeeeees 206 Introducido 206 File Management eein e e a a A Ea RAAR 206 CHAPTER 25 MARKS iia Soa aan ie ee ee is 212 IntroduciON EEPE TE E A E EE E EE A E E ET 212 Mak Sid li 212 videa Locators aii 212 Creatinga Malk erra aa a e a A Aee deers RE Aa 212 Editing Marks cuina aaa 213 COTO Matt isc atoni ie T AAEREN EAEE EEE AAAA EO AARE AAA E A aS 213 GHAPTER 26 AUDIOBASE cion raas n 214 INTOdU COM A 214 Creating and Maintaining Databas S ccccccccnnnccccnnnnnnnonnnnnnnnnnnnnnnnnnnnnononnnnnnnnnnnnnrnrrrronnrrrnnnnn 214 Searching for SOUNDS srera aana eaan a ERAT EA ALERE ER AAAA TETEA RE AAAA AEREE TREENAA AAAA aie 214 Placing Sounds In A Projet ceiuri eiia iae eee 214 CHAPTER27 IMPORT EXPORT 00 i 216 Introducir 216 importing Fluid dis 216 EXPO A A 216 CHAPTER 28 TIMECODE SETUP onoocccccccccccccconoccconnconnnnnnnnnnnnannnnnnn ca nnnrnnnnnnnrnnnrnnnnnnnns 219 o O 219 Synchronization Indicators Iii 220 Synchronization Detallada 220 CHAPTER 29 MACHINE CONTROL oonccccccccccccccnoncnonc
294. unch_Skin_Heavy_Gut_We Track 10 2351 57 17 23 51 59 20 00 00 02 02 Punch_Skin_Heavy_Smack_ Track 10 23 52 06 15 23 52 08 17 00 00 02 02 Punch_Skin_Heavy_Gut_We Track 10 23 54 50 16 23 54 52 09 00 00 01 23 Punch_Skin_Heawy_Gut_wWe Track 10 23 54 52 19 23 54 54 29 00 00 02 10 Punch_Skin_Heavy_Gut_We Track 11 23 53 59 19 23 54 01 29 00 00 02 10 Punch_Skin_Heawy_Gut_We Track 12 23 53 59 19 23 54 01 29 00 00 02 10 y b The clips can be sorted in track order start order end order or duration by clicking on the column header Clicking a header item a second time reverses the sort order Go To Mark The Go to Clip function locates the transport to the head of the desired clip It also incorporates an alphanumeric search function to help sort through clips by name Step 1 Select GO TO Step 2 Select mark Step 3 Marks are listed on the video display Use the Jogger Wheel to scroll up and down the list of marks or use the mouse to click on the desired mark Step 4 Press Enter While viewing the list of marks you can also select and edit them changing their names and timecode locations Constellation XT Page 183 Constellation User Manual CHAPTER 22 ADR Chapter 22 ADR Introduction Constellation XT provides the ability to automate recording using a list of In and Out points with a simple interface The ADR menu includes functions for setting pre and post roll and features for automatic dialogue replace
295. ur Control Room Monitors If this is the first time your Constellation XT has been used you will first need to set up and patch your control room monitors See Monitoring on page 63 for instructions on patching and using your monitors with Constellation BO 0 000 04008258 0000 005098 0000 sann 0000 aoge Ono Hee UXES Lyo SUE YO Al VES DIGITA e Some Terms Patching Patching means connecting signal paths the output of one to the input of another It can be accomplished as follows e Use the Patch I O screen if you are new to the system don t change patching very often or don t use the system very often e Use the Selection Panel if you are an experienced user or plan to become one It takes some time to learn but it s faster for many operations Assignment Assignment means sending signals to Buses where they are collected and mixed This is accomplished as follows e Use the Bus Assign menu to assign a lot of signals to one bus Constellation XT Page 42 Satellite AV User Manual CHAPTER 5 PATCHING AND ASSIGNMENT Use the Mixer screen Virtual channel display to see and change all the bus assignments for one feed This can also be done using the Path Configuration buttons Use the Stem Assign menu when you want to assign a signal to some Bus Elements and not others Patching Methods Constellation offers several different patching methods summarised in the following paragraphs
296. ur the manufacturer Step 2 Run the software at least once in standalone mode Step 3 The software should now appear in the list of available ReWire devices Constellation XT Page 228 Constellation User Manual CHAPTER 30 PLUGINS AND REWIRE Launching a Rewire Application In order to patch a Rewire device a Rewire application must be installed first e g Reason Ableton Live Step 1 Click on Setup in the Dream IT toolbar Step 2 Select Setup Instruments to launch the dialogue box Your Rewire application should appear in this list Step 3 Click on the name of the desired Rewire application so it is highlighted Highlight rewire application Instrument MIDI Device MIDI Channel Ableton Live Click on edit to launch Step 4 Click on Edit at the bottom of the dialogue box Note Some programs eg Reason will launch automatically Others eg Ableton Live need to be launched manually Step 5 Open or create a project within your Rewire application demo projects that accompany the application are a good starting point Constellation XT Page 229 Constellation User Manual CHAPTER 30 PLUGINS AND REWIRE Patching a Rewire Application Once your Rewire Application is launched it s time to patch Rewire inputs to track or live feeds Step 1 Open the Patch I O page by pressing the Patch I O key on the channel panel Step 2 Click on Instrument Inputs located on the left hand si
297. used by reducing the dynamic range of the signal Compression Threshold The Thresh control adjusts the compressor threshold This sets the signal level above which gain reduction occurs The control range is 50 to OdB Compression Ratio The Ratio control adjusts the compression ratio This sets the gain reduction ratio input to output applied to signals which rise above the threshold level The control range is 1 0 1 to 10 1 Compressor Attack Time The Attack control adjusts the attack rate time constant of the sidechain detector The control range is O to 100mS Compressor Hold Time The Hold knob controls the delay between applying gain reduction and commencing release of gain reduction Constellation XT Page 114 Constellation User Manual CHAPTER 9 THE IN LINE PANEL Compressor Release Time The Release control adjusts the release time constant of the sidechain detector The control range is 0 03 to 4 03mS Compressor IN OUT The Compressor IN OUT key bypasses the compressor section DYN2 Parameters DYN2 represents the second channel of dynamics It may be configured as a limiter expander or gate Press the Mode key in the top control to cycle amongst these three dynamics types Expander Parameters Expander Threshold The Thrsh controls adjusts the expander threshold The expander threshold sets the signal level below which gain reduction occurs The control range is from 50 to O dB Expander Ratio The
298. ute A single feed fader or link group can be muted using the MUTE key in the Master Fader section or above any fader This mute function can be automated along with other parameters Muted feeds are shown with a red indicator on the mixer video display Disk Recorder Track Mute To mute a random selection of tracks use the track Mute key located in the upper set of function keys This function is not included in mix automation Indicators next to the track numbers on the track display show blue for soloed muted tracks Step 1 Press the track Mute key located in the upper set of function keys Step 2 Select the tracks that are to be muted by pressing the track selection keys to toggle feeds in and out of the selection The currently muted feeds are illuminated Step 3 Press the Mute key again to return to the previous mode While any signal path is muted the Mute key flashes An alternative way of using the Mute key is to hold it down make a selection of signal paths then release it This causes immediate return to the previous operation mode The disk recorder mute functions are available from the Mute key at the top of the Constellation The While the Mute key is held down or while its menu is active the soft key menu offers a number of additional functions Mute On Off The On Off soft key toggles the entire set of muted channels on and off The Soft Key When automation Mix On is selected and either the Mix or Enable menus are
299. utput while the switch mutes and unmutes this output Only works if a Direct Output Port has been defined for the channel This is done using the Patch I O button see Patching and Routing for details Holding down the BLUE key while pressing the Direct In Out button causes the Direct Config menu to be displayed in the LCD Main Bus Assign Toggles the assignment of the signal path to the Main Bus Holding down the BLUE key while pressing the Main button causes the Bus Assign window to display on the Mixer screen Constellation XT Page 110 Constellation User Manual CHAPTER 9 THE IN LINE PANEL VCA Groups The rotary control allows you to choose to which VCA group the channel belongs or none Equaliser The equaliser provides four bands of parametric EQ and two filters Each parametric section can be switched to band pass reject shelving or notch Each parametric section can be switched to one of four ranges LF 10 250Hz LMF 50Hz 1k50Hz HMF 450 8k00Hz HF 1k40 22k0Hz Each parametric section provides 18dB of gain Q has a range of 0 3 to 10 When notch is selected the filter has a gain of O to 99cB Gain controls include an IN OUT switch for the band Hi Gain High Frequency gain for the channel Hi Mid Gain High mid gain for the channel Hi Mid Frequency High mid frequency for the channel Lo Mid Gain Lo mid gain for the channel Lo Mid Frequency Lo mid frequency for the channel Lo Gain Lo
300. uts soft key Select the speaker set you wish to patch by pressing one of the 9 speaker set soft keys To determine the number of outputs required you must specify the format of the speaker set Press the Format soft key to cycle through the available formats These are None Mono Stereo If patching to a digital output select the type of physical output you wish to patch to by pressing the AES MADI soft keys The speaker mute keys are now used to select each speaker The current speaker mute key is brightly lit Other elements included in the specified format are dimly lit Available elements are Centre for mono or Left and Right for stereo Press a speaker mute key to select the element to patch Live feed keys now represent digital outputs and track feed keys represent analog outputs Press a feed selection key to select a physical output for the current speaker Only one output can be selected for each speaker selecting a new output replaces the previous patch The output feed selection key patched to the current Monitor Element is brightly lit Output feed keys used for other purposes flash Output feed keys available for patching are dimly lit Select the speakers to patch one by one by pressing each speaker mute key and following the patching procedure described above Press the next soft key to step through the elements or press the blank soft key to leave an element blank Press the end soft key to comple
301. ve the control of any enabled mix item it enters record and starts writing automation Release the control it leaves record The mix items that will be recorded are only those you have touched and only while you were touching them Notes Only enabled mix items can be written by this method See Touch Auto Enable below for a more powerful version Using Touch Latch This is the same as Touch Snap except once a control is touched it stays in record even after you release it Use Stop or other standard methods to exit all recording or press Auto to take the current signal path out of record Using Touch Auto Enable In this mode you enable parameters but not signal paths Touching the control of any enabled parameter will do it automatically 1 2 3 Press the Touch button until Snap or Latch is illuminated Enable parameter s see Parameter Enables below Press the Mix button to open the Mix menu and press the Touch AutoEn soft key until its light comes on Press Play to move transport Touch the control of any enabled parameter on any signal path It enters record and starts writing automation You can touch a control and put it into record before or after pressing play The rest is the same as the normal Touch modes Constellation XT Page 191 Constellation User Manual CHAPTER 23 AUTOMATION Enabling Mix Items Typically mix items are recorded a few at a time often o
302. vel The Monitor Level control provides direct control of the control room listening level Dim The DIM key next to the monitor level control reduces the monitor level by a fixed amount Follow these steps to set the Dim level reduction amount Step 1 Hold down the DIM key next to the Monitor Level Control The DIM key is illuminated when the monitors are dimmed The level reduction is displayed on the LCD The range is O to 20dB Step 2 Turn the jog wheel to enter the value Step 3 Release the DIM key Press the DIM key again to return to normal listening level Fixed Reference Level The BLUE Fixed key next to the monitor level control is used to set the monitoring level to a fixed reference standard volume The Fixed key bypasses the Monitor Level control Follow these steps to set the fixed monitoring level Step 1 Select the monitor system to calibrate by pressing the Monitor key to select the Main monitors or hold down the BLUE key and press the Monitor key then select an Constellation XT Page 67 Satellite AV User Manual CHAPTER 6 MONITORING alternative monitor set Step 2 Using a pink noise source and a sound pressure level meter follow the steps in Trimming Relative Speaker Levels on page 68 to set all speakers to the same sound pressure level for 5 1 film mixing the surround speaker level may be reduced by 3dB Adjust the pink noise level in each bus element to OVU 20dBFS or your local standard Use the spe
303. w frequency gain for the channel EQ In Out The switch at the bottom of the strip is EQ In Out EQ Flat To quickly set an individual band to flat hold down a BLUE key and press the band IN key to set the gain to OdB To set the whole EQ section to flat hold down a BLUE key and press the EQ Mode button Filter The Gain control controls the gain of shelving filters with a range of 18dB The slope of hi or lo pass filters are fixed at 12dB octave The actual gain and slope values are displayed on the fat channel at the bottom of the mixer video display Gain controls include an IN OUT switch for the specific filter The Freq control of the filters provides the following ranges of control hi pass 20Hz 1 50kHz Constellation XT Page 111 Constellation User Manual CHAPTER 9 THE IN LINE PANEL lo pass 3kHz 18kHz The Surround Panner The In Line Panel provides controls for a comprehensive surround panning system The panner automatically configures itself for control of signals within all the supported surround formats In addition to simple two dimensional panning of a mono signal the surround panner provides advanced control of multichannel signal paths contained in link groups The supported surround formats are Stereo LCRS LCRSS 5 1 6 1 and 7 1 For mono signal paths the pan control is a simple panner moving the signal left to right and front to back around the surround field with the addition of diverge
304. y to the head the tail or both Constellation XT Page 138 Constellation User Manual CHAPTER 11 EDITING Step 3 Set the Duration value using the Jogger Wheel press Stop if it is jogging the transport by typing numbers in the Numeric keypad or using the QWERTY keyboard Step 4 Press the Enter key to apply the fade duration s Trimming Fade Duration Fade durations can be trimmed from their current values This is particularly useful because it can be applied to a range of clips with one command Step 1 Press the trim dur soft key Turn off the shape soft key if you do not wish to apply the Smart Panel fade shape to the selected clips Step 2 Press the Binnacle Head Tail or Clip key This determines whether the duration you trim will apply to the head the tail or both Step 3 Set the Trim value using the Jogger Wheel press Stop if it is jogging the transport by typing numbers in the Numeric keypad or using the QWERTY keyboard Trim values can be positive or negative Step 4 Press the Enter key to apply the fade duration s NOTE Trim values can be positive or negative To type in a value like minus twelve frames you can use the Numeric Keypad type Minus then 12 or the other way round then press Enter Using the QWERTY keyboard you can use the Down Arrow to go from zero to 1 frame then type in a value to be used negatively Fade Shape A fade s shape includes the following parameters X Point this
305. yes shined bright and true 00 04 57 07 00 09 42 18 Do not look now but 23 58 39 03 00 02 58 19 Haven t I seen you before The format described above is the native format used by Pyxis NLV for storing ADR cue lists You can edit the stored ADR cue lists directly in any word processor or text editor as long as you make sure you save the file as a text file Constellation XT Page 188 Constellation User Manual CHAPTER 23 AUTOMATION Chapter 23 Automation Introduction The Constellation automation system provides simple flexible and comprehensive facilities for recording and editing mix automation data All feed and bus mix parameters can be automated and played back in perfect synchronisation with the project audio In addition to the channel parameters bus assignments inserts and direct outs may also be recorded The Constellation automation system is designed to allow the operator to record all the static and dynamic parameter changes involved in balancing the mix of tracks played back from the disk recorder and live feeds from external sources Mix moves may be recorded on one or more parameters or channels at a time More moves may be added with each pass resulting in complex and detailed mixes that can be played back identically every time the project and mix are loaded This chapter does not cover basic operation of the mixer Refer to the chapters on Patching and Routing Faders and The Channel Panel for

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