Die System 5 wurde grundlegend überarbeitet und erweitert und verfügt nun über neue Oberflächenmodule, den aktuellen DSP SuperCore und den revolutionären EuCon Hybriden für DAW Kontrolle über die Oberfläche des System 5.
- System 5-B modulares Oberflächendesign
- 8 berührungsempfindliche Regler pro Kanal
- TFT Metering
- Master Modul
- Sub-Master Modul
- Leeres Modul mit eMix Bildschirm
- Layouts für Aufgaben-Recall
- SnapShot Recall, GPI & Live Events System
- Spill zur Kontrolle von Surroundelementen oder Stems
- DSP SuperCore mit bis zu 500 Kanälen und unterschiedlichen Mixermodellen, anpassbar auf den individuellen Bedarf an Bussen, Kanälen, Aux, etc
- EuCon Hybrid für DAW Kontrolle
- bis 7.1 Surround Monitor Matrix mit analoger I/O
- bis 24×24 MADI Ins & Outs 1,536 x 1,536 Pfade @48KHz
- PatchNet Routing Software
- RS422 Machine Control & MMC
- Sonderanfertigungsoptionen für den Rahmen
- Details zur Bedienoberfläche von System 5:
- Erweiterbar auf 112 Kanalzüge/Fader
- 8 berührungsempfindliche Drehgeber und ein berührungsempfindlicher 100-mm-Motorfader pro Kanalzug
- Bis zu 450 Kanäle, jeweils mit 4-Band-EQ, Dynamik und zwei Filtern pro Kanal
- Hochauflösende LED-Anzeigen neben jedem Fader
- Hochauflösende TFT-Displays pro Kanal für Pegelanzeige (bis 7.1), EQ-, Dynamik- und Pan-Graphen und Routing
- Bis zu 96 Mix-Busse, 48 Gruppen-Busse, 24 Aux-Sends und 72 externe Eingänge
- Einfache Bedienung dank intuitiver Oberfläche
- Modulare Bedienoberfläche und I/O für Anpassung und Erweiterung und Konfigurationen mit bis zu drei Bedienern
- Laufend visuelles Feedback über hochauflösende TFT-Displays
- Unübertroffene Klangqualität und Leistungsstärke dank hochwertiger I/O und dedizierter DSP
- Sicherer Betrieb ohne Engpässe in der Kommunikation dank Hochgeschwindigkeits-Ethernet-Anbindung
- Schneller mischen mit SnapShot Recall für bis zu 240 Snapshots zum Abrufen aller Konsoleneinstellungen
- Anpassung der Oberfläche mit bis zu 48 Layouts für verschiedene Konfigurationen
- Einfaches Routen dank digitalem Router/Patchbay PatchNet
- Mischen von Mehrkanalaudio einschließlich Surround-Panning und -Monitoring (standardmäßig)
- Einfacher Zugriff auf Mehrkanal-Quellen über Spill-Funktion
- Einfaches Arbeiten mit Film einschließlich dynamischer Automation der meisten Parameter über Timecode
- Anpassen von Automation und Film über Conform-Funktion
- Umfassende Maschinensteuerung über Soundmaster, Colin Broad, Tamura und JSK
- Steuerung mehrerer DAWs mit der EUCON Hybrid-Option
Wie andere Audiokonsolen auch verfügt System 5 über Kanalzüge und eine Sektion in der Mitte zur Masterbearbeitung. Die Module der Bedienoberfläche können jedoch auch speziell für die erforderlichen Einsatzzwecke wie etwa Audio-Postproduktion und das Mischen von Musik konfiguriert werden. Da die Audio-Elektronik nicht im Gerät untergebracht ist, fließen keine Audiosignale durch das Gerät, wodurch Sie die Ein- und Ausgänge anpassen und Module in beliebiger Reihenfolge anordnen können. Jedes Modul ist eigenständig über eine Hochgeschwindigkeits-Ethernet-Verbindung angeschlossen, wodurch es rasch auf Steuerbefehle anspricht.Zu allen ausgeführten Vorgängen erhalten Sie laufend visuelle Informationen, denn jeder Kanal hat eine eigene Stereo-LED-Anzeige neben dem Fader sowie ein hochauflösendes TFT-Display für Mehrkanal-Anzeigen zu Pegel, Quellen, Kanälen, Aux, Gruppen und Gain Reduction. Im Master-Modul sehen Sie Mehrkanal-Pegelanzeigen für Haupt-Busse und Monitore, während das Submaster-Modul acht zusätzliche, programmierbare Pegelanzeigen bietet, die angepasst und als Presets gespeichert werden können.Jeder Kanalzug verfügt über einen Mehrkanal-Motorfader und acht berührungsempfindliche Drehregler für EQ, Filter, Kompressor, Expander/Gate, Aux-Sends und Pansteuerung. Wenn Sie die EUCON Hybrid-Erweiterungsoption nutzen, können Sie mit Hilfe der Fader und Drehregler auch DAW-Funktionen steuern, einschließlich Anpassung der TDM-, VST- und Audio-Einheiten-Plug-In-Parameter. Weitere Informationen
Auf dem SC263 Studio Computer läuft die eMix-Software, mit der Sie das System auf einfache Weise einrichten und anpassen, Dateien verwalten und Systemdiagnosen durchführen können. Zur Verfügung steht außerdem PatchNet, ein leistungsstarkes digitales Patching-System für das Routen aller Konsolen-Ein- und Ausgänge. Anders als bei einer herkömmlichen Patchbay ist dabei das Speichern und Abrufen jeder einzelnen Patchverbindung möglich. Mehr
Übernehmen Sie die Kontrolle mit EUCON
Die EUCON Hybrid-Erweiterungsoption für System 5 erweitert die Steuermöglichkeiten der Konsole über den dedizierten DSP Core hinweg und ermöglicht das Routen von DAW-Spuren aus mehreren DAWs zum Mischen auf die Konsole. Das Steuerprotokoll EUCON ermöglicht die umfassende, enge, integrierte Direktsteuerung von DAW-Anwendungen über eine Hochgeschwindigkeits-Ethernet-Anbindung. Pro Tools 9, Logic Pro, Pyramix, Nuendo, Digital Performer und andere Anwendungen sind so direkt über EUCON steuerbar.
Dabei können Sie in jeder DAW in Ihrem Netzwerk, auf der EUCON Client ausgeführt wird, Spuren auswählen und diese auf die System 5-Bedienoberfläche legen und steuern. Spuren können auf eine beliebige Position der Bedienoberfläche geroutet werden. Sie können sogar mehrere Spuren aus verschiedenen DAWs in beliebiger Reihenfolge auf die Konsole routen, und zwar gleichzeitig und zusätzlich zu den DSP-Kanälen von System 5. Diese Kanalpositionen werden dann als Layouts für einfachen Zugriff und einfache Organisation gespeichert. So können Sie etwa ein Layout für DSP-Kanäle erstellen, eines für Pro Tools und eines mit Kombinationen aus mehreren DAWs. Dadurch erweitern Sie die Möglichkeiten Ihrer Konsole wesentlich und können auf DAW-Spuren zugreifen, die sonst nur als herkömmliche Wiedergabequellen zur Verfügung stünden. Mit EUCON Hybrid ist jetzt der direkte Hochgeschwindigkeits-Zugriff auf all diese Spuren sowie deren Plug-Ins und Pegel möglich.
Verbindung mit der Außenwelt
Über den Branchenstandard MADI, ein äußerst stabiles und robustes, von der AES unterstütztes Format, routen und patchen Sie bis zu 64 digitale Audiokanäle (24 Bit, 48 kHz) gleichzeitig über ein einziges Koaxialkabel. Außerdem können Sie Ihre Anschlüsse anpassen, damit Sie mit analogen Geräten oder anderen digitalen Formaten wie AES/EBU eingesetzt werden können. Avid bietet eine umfassende Auswahl hochwertiger Wandler, die in einem Mehrkanal-Rack (3 HE, 19 Zoll) konfigurierbar sind. Auf diese Weise passen Sie die Anschlüsse auf einfache Weise an Ihre Anforderungen an – jetzt und in Zukunft.
The number of cards in the DSP SuperCore determine the number of channels and buses that are available in each System 5. For a given number of cards in the DSP SuperCore, different combinations of channels and buses may be quickly configured using the eMix Mixer Model software. Usually a Mixer Model is chosen during installation and is used throughout the life of the system as it will best match the application requirements of the studio.
Each System 5 channel has:
2 inputs, that may be fed from analog or digital sources (using appropriate converters), labelled A & B. Either A, B or A & B may be selected to feed the channel.
- phase reverse
- gain trim
- delay up to 2 secs
- insert send & return
- 4 band fully parametric EQ
- 2 filters
- dynamics including compress/expand-gate with hysteresis, key input and side chain filter
- touch sensitive moving fader
- multi-format panning to mix-minus/group and mix buses
- up to 48 group buses
- up to 24 aux send buses
- solo (APL, PFL, SIP)
- 2 direct outputs - pre-fader & post-fader
If mic preamps are connected to the channel these additional controls are available which relate to the ML 530 remote mic/line interface unit :
- input impedance - hi/lo
- phantom power
- hi pass filter
- analog input gain
System 5 is built up of modules of 8 strips. Controls closely resemble those of a traditional analog surface. In its simplest form a single strip controls a single source so a 48 strip surface could control 48 channels.
However there is a very useful function called “Swap” which allows single strips, or every strip, to switch between two channels. So 96 channels (sources) could easily be controlled from 48 strips by Swapping between the two layers at the push of a button (1-48 and 49-96).
System 5 adds further flexibility by allowing any source to be controlled from any strip, it is even possible to have two strips controlling a single source. This is where Layouts come into play.
Layouts & Control Groups
The position of sources on the surface can be saved and recalled as Layouts. For example one Layout could be sources 1-48 and another sources 49-96 for a console with 96 channels and 48 strips. More importantly the most critical sources can be placed next to the operator. For example, dialog to the left and music sources to the right of the center. Different Layouts can be saved so that the engineer always has the most important sources within easy reach. Layouts do not save and recall knob and fader settings, they simply recall the layout of sources on the control surface. SnapShots are used to save parameter settings. Control Groups allow a number of faders to be controlled from a single strip. Layouts can store/recall the entire desk or only certain strips defined by the operator.
Central Control of Strips
The Master Control Module includes a complete strip for central control of any source. The optional CM402-T module also includes additional knobsets that are available for control of EQ, dynamics, aux sends, filters, input and routing at the same time. Pressing the Wave key next to a source fader brings that source to the center.
New Rotary Touch Knobs
System 5 uses unique rotary illuminated touch-sensitive knobs that instantly reset after a recall. The center of the knob also includes a switch which can be used for certain knobset select functions, and to punch in the knob automation, if the touch-sensitive knob automation option is switched off.
The displays reflect the type of control, for example a gain control is shown opposite. Below are the different displays for different functions:
At the top of each strip are a set of 8 knobs with associated switches. These knobs can be selected to control the following parameters using the switches just below the knobs:
- Input Controls
- EQ & Filters
- Aux Sends - level, pre/post and routing
- Routing to Group/Clean Feeds and Mix Buses
The selected button in this photo shows that the knobset is controlling EQ. To the left of these keys are processor In/Out switches.
Other Channel Functions
Here are just some extra functions available to the engineer:
- Copy and Paste one strip to another
- Use a single strip to select function such as EQ, Dynamics, Aux for all strips
- Clear all controls
- Lock a strip to prevent changes when the Layout changes
- Select a strip to be controlled from the center section
- Expand a strip so that EQ, Dyn, etc. controls are spread across several strips
Each channel has two digital inputs labelled A and B. Controls for each input include:
- Gain Trim
- Phase Reverse
- Input Select (A, B, or A+B)
Patching Input Sources (PatchNet)
The PatchNet routing system is used to patch sources to inputs. Any sources within the system, such as mix-minus/group outputs or externals may be sent to these inputs.
External MADI inputs can also be directly patched. For Analog, AES/EBU and other digital sources the Avid converters are used. See the Converter section for details.
For variable gain analog mic inputs Avid provides the ML 530 with 24 mic/line input preamps and the AM713 analog to digital converter. If this is connected to the system the controls for phantom power, input impedance, high pass filter and gain are available on the channel strip.
This can also act as a direct box, providing correct impedance matching with balanced outputs plus the benefit of gain control.
Each channel has an insert point which can be placed in any of the seven process positions. The Avid converters provide analog and digital I/O for insertion of any type of device, such as a delay line, into the signal path.
There are 7 processing sections:
- Metering Source
- Insert Point
- 2 Filters
- Fader and Mute
These can be arranged in any order using the eMix application, even when passing audio, but must be re-ordered at least two adjacent channels at a time. For example, the EQ may be set to follow dynamics, the insert may be placed after the EQ or dynamics, and metering, can be placed after the fader, on channels 1 and 2, or on channels 1-8.
Order of Processors
There are 7 processing sections:
- Metering Source
- Insert Point
- 2 Filters
- Fader and Mute
These can be arranged in any order. For example, the EQ may be set to follow Dynamics, the Insert may be placed after the EQ or Dynamics and Metering can be placed after the Fader.
The EQ controls are shown opposite. Avid has a well-earned reputation for the highest quality EQ algorithms with an uncompromised approach to design. System 5’s equalizer is much more than just a simple EQ. The four bands are each fully parametric, with additionally switchable peak/shelf selection on two of the bands. Frequencies are not limited to fixed ranges; each band covers the entire 20Hz - 20kHz spectrum, with a gain +/- 24dB and local variable Q control.
The Page key at the bottom of the knobs brings up the Filters. There are two Filters that can each be set to: High Pass, Low Pass, Band Pass or Notch. Each filter has a frequency control. The notch filter includes Q control and a “boost/listen” function, monitoring the audio without the filter in the circuit, to help identify any problematic frequency prior to selection. A 50/60 Hz hum, or other unexpected noise problem can be taken care of without disturbing the program mix or compromising any equalizer settings as with shared designs.
Whenever an equalizer is being adjusted a graphical display appears to illustrate what the processor is doing to the audio at the top of the channel.
The System 5 has an extremely powerful dynamics section comprising of a Compressor/Limiter, an Expander/Gate and side chain key input with filter. System 5 allows both Compress and Expand sections to be used together. The knobset shown opposite is the simple Compress/Expand knobset with the main controls for both sections available. The page keys at the bottom allow the knobset to be switched to a further 3 sets of knobs that give more advanced control. Here are the full set of parameters that can be adjusted:
- Gain Make Up
- Compressor In/Out
- Expander/Gate In/Out
- Filter Type - Hi Pass, Lo Pass, Band Pass, Notch
- Side Chain Listen
- Side Chain Source - Channel, Key Input, Link
- Detector Type - Peak, Average
Whenever dynamics are being adjusted a graphical display is shown on the display at the top of the strip to illustrate how the processor is affecting the audio.
Number of Buses -Mixer Models
The number of Mix, Group and Aux buses available in a System 5 console is dependent on the number of cards in the DSP SuperCore and the selected Mixer Model.Additional DSP cards may be added at any time to increase the number of channels.
The new DSP SuperCore supports dedicated bus processing comprising filters and dynamics that can be attached to any mix, group or aux bus and controlledfrom a Strip.
The mix buses are grouped in Sections (Stems) to allow mixing to different formats. For example, a stereo mix section has two individual buses and a 5.1 mix section has six. Up to 16 mix sections may be simply configured from the eMix setup software and each may be given a name. System 5 supports up to 96 individual mix buses. Formats are Mono, Stereo, LCRS, 5.1, 6.1 and 7.1 plus custom formats. Routing a source to a Mix Section is done from the switches on the Knobset after first pressing the Route -Mix key. Just as with the Aux sends, as shown right, each On/Off key switches the signal to that bus section. The channel signal may be routed to all buses in that section with or without the pan inserted. It is also possible to route to individual buses (direct assign) in each section, for example, just the center bus ofa 5.1 mix section.
Up to 48 audio group/DAW send buses are available. They can be set to any format from mono thru 7.1. Routing is similar to Mix buses by pressing the Route -Group key then using the knobset On/Off switches. For traditional sub-group control these buses may be brought back into channels that can act as audio sub-group masters -note that dedicated bus processing is also available.The Group knobsets also include an overall group send level control.
Up to 24 Aux sends are available and can be configured in mono or stereo pairs. Press the Aux function key to bring up the Aux sends on the knobset. The example on the right shows typical Aux sends with 1 & 2 working as a stereo send with pan. Sends can be individually set to feed pre or post-fader and can be used as effects sends or foldback sends. Aux masters are controlled from the center section and include individual talkback and tone insert provisions. Each send may be named to reflect its destination. Aux sends can be flipped to be controlled from the faders -very useful for setting complex monitormixes and sends.
Years of experience in the film world allows Avid to include powerful surround features not found on other systems, with an extremely simple user interface. For surround Mix Sections (Stems) the following pan controls are available:
- Front Pan
- Surround Pan
- Rear Pan
- Boom Level
- Non-Boom Level
Multi-Format Masters and Spill
Stereo sources or surround sources such as a 5.1 pre-mix, or the 6 sources in an audio sub-group (in the case of 5.1) can be controlled from a single control strip called a Multi-Format Master to save on space and to make adjustments, including routing, much simpler. A function called Spill allows the component sources of the Multi-Format Master to be brought up on the surface, for individual adjustment of each element, at the push of the channel select button on the Multi-Format Master or Control Group.
An optional dual joystick panel is available. Each joystick can be assigned to any channel or group of channels. Joysticks are touch sensitive and have a matrix which displays the automation null value.
The meters above each strip may be set to show any source, Mix, Group or Aux bus. Single or dual meters can be selected. For example, all strips could have the source fader signal plus the first 48 strips could also show the mix bus levels. The example shown to the right has been configured with a single input meter displaying the source signal (channel 1) and a dynamics meter.
The meter is accurate to within 1/4dB from 0dBfs down to 48dBfs and displays clip indication. The green bar to the left of the meter lights showing the approach to peak level.
If the strip is set to a Multi-Format Master that has stereo or surround format then the meter at the top of the strip will show stereo or Surround metering.
It is also possible to set up the channel meters so that they display metering for both the Main and Swap sources at the same time.
Meter presets allow the setup of meter combinations to be stored and named for later recall -24 are available. One setup could contain primary sourcemeters together with mix bus signals, another Aux sends.
EQ / Dynamics / Pan Display
Whenever EQ, Dynamics, and Pan are being controlled on the knobset, a graphicaldisplay illustrates what is happening to the audio.
Channel Routing Display
Source routing to the mix and group buses are also displayed. The example shown top right is displaying the routing to the 48 group buses, with bus 1 & 2selected.
Central Assignable Controls
A source can be brought to the center section strip in the CM401-T Master Module either from one of the strips, by pressing the Wave key, or by selecting a channel from the 32 keys on the optional CM402-T Sub-Master module. These 32 keys, together with source names and ON keys, are located just above the 8 assignable faders and can scroll through all the channels and control groups on the console. Once a strip has been brought to the center, control is exactly the same as on a strip elsewhere on the console. The CM402-T module, as shown below, has 40 extra knobs together with more displays and switches that are available for expanded EQ, Dynamics, Aux, Input, Group and Mix bus controls. The screen at the top shows extra metering and larger graphs for EQ and Dynamics.
Up to 48 control groups are available. They act just like VCA or DCA control groups with functions such as nested groups and coalesce. These groups may be brought up on a Strip anywhere on the console as well as on the 8 central Assignable Strip faders. System 5 control groups include all channel functions which is very useful as it allows overall master level control of sets of pans, EQ and aux sends.
CM402-T Sub-Master Module
32 Source Select Keys
These 32 buttons in the optional CM402-T module make it very easy to move around the console from the sweet spot. The display shows the channel name, and the right button beneath each display selects this channel to the center strip.
The left button can act as an On/Off or a Solo button. The Page keys at the bottom allow the 32 buttons to page to more channels. These controls may also be switched to select control groups
8 Assignable Strip Faders
At the bottom of the optional CM402-T are 8 faders. These can be assigned to control any channel, control group or multi-format master.
System 5 has five monitor outputs; Control Room (main and two alternates), and the SLS/Cue outputs Mon A, B, C and D. Each of the 5 monitor feeds can select from external inputs configured as External Devices, the Mix Sections (Stems) both bus and playback return, and the aux sends.
The format of the main control room monitors, and Mon A can handle up to an 8 output surround format. Even the Alt 1 outputs can handle 6 speakers which is very useful for a second set of control room speakers when mixing in surround. Group outputs are usually monitored on the strips but can also be picked up by the External inputs using PatchNet - digital monitoring is also available.
The main panel in the center section is used for making monitor selections as well as for many other functions including saving and loading Layouts, Meter Presets and SnapShots. It is very simple to operate with a straightforward menu structure and designations which describe functions next to the actual keys. The External Monitor Selection is shown opposite for selecting external sourcesto the Control Room Monitors.
Up to 72devices may be configured for External sources in any surround format up to 7.1. The monitor matrix is intelligent and automatically selects the appropriatemonitor format to match the source’s format.
An option for the Main CR and Studios to be digitally controlled is available
Main Control Room Monitor
Monitor KnobsThe Main Control Room speaker section includes a digital readout of level, 8-character source display and dedicated Dim and Mute keys. The active speakers are indicated just above the level control to show which speakers are switched on (L C R etc.).
It is also possible to switch off individual speakers, set dim level and phase reverse the Left speaker. These options are accessible from the CR Output key which brings up menus on the Main panel (see previous page).
Mon A, B, C & D
By pushing the Mon A, B, C & D level control switch these feeds can be muted.
Monitor Format Fold Down
The Control Room Output key also brings up main monitor fold down options (see screen below) such as folding down a 5.1 feed to LCRS, Stereo or Mono. The way the outputs get folded down, and any level drops, can be set by the user from the eMix software (shown opposite). These settings can be stored as 24 user presets.
As System 5 is a fully digital console, it has been designed with Total Automation in mind. Almost all parameters on the console may be dynamically automated to timecode including faders, EQ, pans, Aux sends, dynamics, processor in/out and fader On/Off.
The faders are motorized and touch-sensitive, as are the knobs, which (with their unique illuminated displays) show automation moves as they playback, with dedicated LEDs showing automation status. Each switch that can be automated has its own automation punch key.
In the center of the console are a set of dedicated automation keys. These are used to select objects for inclusion into the automation and for selecting the object status. Automation may be written in small sections, which is more normal for post work, or can be written as continuous moves throughout the length of the Title.
- Isolate - Object behaves manually.
- Read - Object plays back automated move. When playing back anautomated move in READ the engineer can manually override the control or fader by simply touching and moving the control - nothing is written but the manual moves will be heard.
- Write Absolute - moves are recorded.
- Write Trim - trim moves can be written on top of an existing move.
- Auto Glide - This is a punch out mode for a soft ramped change between the level at punch out and the underlying level. Glide time can be user set.
Conforming Automation to Picture
As video or film sections are inserted, deleted, and moved during post-production, the Conform utility realigns the automation data to match the edited film. Data from an Edit Decision List (EDL) with the start time, end time, and duration for each edit, along with the type of operation (insert, delete, move) is entered into the Conform utility. The Conform utility creates a new mix with the EDL changes.
Automation Performance Control
Several modes are available to modify the main automation status:
Preview - When activated the engineer can preset a value prior to punching an object into write. Useful for writing an abrupt jump in level.
Suspend Preview - Allows the engineer to quickly switch between the new value and the underlying automated value.
Capture - Stores in memory the values of objects which are writing. Punch Capture allows all these objects to be punched back into record at the stored values. Two buffers are provided.
Join - Stores in memory which objects were writing when the transport was stopped (i.e. objects that were not punched out manually). The join key allows all these objects to be punched back into record.
Auto Join - Automatically punch all the objects that were writing when the transport was stopped back into write at the timecode where the transport was stopped.
Fill - Four keys that allow a level or switch state to be written from the punch out point to the start, or to the end of a region. Can also write the punch out level or state between two points.
All Match - Punches out all objects currently writing. Objects will glide back to previously recorded values.
In a multi-operator film post environment, the user experiences a single, large console that allows multiple operators. In reality, each section is a unique System 5 console, which allows a maximum number of channels per operator. The Mix and Solo buses are normally linked across the consoles. Often the Aux and Group buses are not linked but local to each operator. In a two-operator system, one console usually handles the FX and the other Music and Dialog. Only one console, designated the Master, uses its monitor matrix. Each operator has a Film Post Panel located in their section. These large systems can be configured with hundreds of inputs and up to 96 mix buses.
Although the consoles are almost entirely independent (i.e., file system, automation system, snapshots, groups, etc.), the solo system can be linked across consoles.
Film environments often require both operators to share control over the machines. A single TT007 can combine the machine control commands from two consoles.
The new EUCON Hybrid option for System 5 extends the control capabilities of the console beyond the dedicated DSP Core to the outside world, bringing DAW tracks from multiple workstations onto the console surface for mixing. No other control system or console comes close to the power and total integration of AVID control surfaces with EUCON.
Any DAW running the EUCON Client Application on the network can have its tracks selected for placement and control on the System 5 surface. The position of DAW tracks on the surface is completely flexible. Multiple tracks from separate DAWs may be placed in any order on the surface simultaneously next to AVID DSP channels. These channel Layouts may be saved, making them easy to access and organize - one Layout for DSP channels, one for Pro Tools and one with combinations from multiple DAWs for example.
This greatly extends the capability of any System 5 console and allows operators access to DAW tracks that would otherwise be available only as traditional playback sources. It is now possible to have direct, high-speed access to any of these tracks, their plug-ins and metering.
The EUCON control protocol makes all this connectivity possible and is transparent to the user. The EUCON Hybrid Pilot Computer scans the Ethernet network for available workstations. Any PC or Mac application, not just DAWs, can be controlled from the System 5 surface.
The EUCON Client Application is installed on each PC or Mac workstation for basic connectivity. This allows control surface commands, such as fader or knob moves, to be translated into EUCON, HUI or Mackie Control commands for each application. Native EUCON applications that directly support the EUCON protocol, such as Digital Performer, Nuendo, Logic Pro, Maestro, MIO Console, SONAR and Pyramix, have an extremely high level of integration with high-resolution, high-speed connectivity to all of the application’s functions, including multi-channel metering and EQ/pan curves. Control is fast and highly responsive.
In addition to fader, pan, aux sends, metering and routing, EUCON Hybrid allows access to the track’s plug-ins from the 8 knobs on the System 5.
With the EUCON Hybrid option installed, DAWs running the EUCON Client Application are highlighted in the sub-panel and can be selected for access by the System 5.
DAW Tracks can be assigned to any strip in any order and saved using Layouts (up to 48 Layouts). Auto-Assign works just the same as with normal System 5 channel strip assignments. DAW tracks also appear in the list of available sources when assigning directly from the strip. DAW tracks can be independently placed on the control surface. For example, Pro Tools track 1 could be placed next to its track 24 which could be followed by track 14 from a Nuendo system.
The MC Controller includes multiple banks of 24 SmartSwitches, programmed with keystroke or EUCON commands, which are saved in Application Sets specific to each application. These Soft Keys are available for use on the System 5 and appear on the Main Panel for the selected DAW.
The System 5 includes a jog/shuttle wheel at the bottom of the CM401-T center section. One of the most useful features of EUCON control is the ability to assign different functions to this wheel. As well as Jog and Shuttle the wheel may also be used for adjusting clip based functions in some EUCON DAWs such as trim head/tail, fade in/out, slip, move and clip gain.
Automation functionality of DAW tracks is dependent on the features within each DAW. Any fader, knob or switch automation for DAW tracks is written directly to the DAW software and is not associated with the AVID System 5 automation of DSP Core channels. Faders are touchsensitive and knobs include auto-pickup functionality. Any automation playing back from the DAW will move the appropriate faders, and display changes on the knob LED rings and switches.
EUCON Hybrid Package
- EUCON Hybrid Pilot Computer (PC 254h) fitted with:
- Two Ethernet ports for connecting to the System 5 and external DAW networks
- EUCON Hybrid Software Package
- Latest software Application Sets
The Main Panel provides access to Tracks and Soft Keys for each connected workstation. With Tracks displayed (upper photo), the list of tracks currently available from the application in focus on the connected workstation is shown. With Soft Keys selected (lower photo) the selected DAWs soft keys are available for sending out EUCON commands and Keystroke commands to the DAW.