Introduction

System 5 is a modular digital audio mixing system that can be configured with hundreds of channels and is designed specifically for audio post & music mixing applications.

System 5 Key Features

• Easy to use and learn—intuitive interface
• Modular surface and I/O design
• Constant visual feedback for the operator
• Highest sound qualityStar format Ethernet module interconnection resulting in more secure operation and no communication bottleneck
• Mixer Channel & Bus Size:
  - modular up to 300 channels
  - each channel has 4 band EQ, dynamics and two filters
  - up to 48 mix buses, 48 group buses, 24 aux sends, 72 external inputs
• High-resolution LED meters next to each fader
• 240 SnapShot Recalls of all console settings
• 48 Layouts for different surface configurations
• PatchNet - digital router/patchbay
• Surround panning and monitoring as standard
• Spill function for easy access to multi-format sources
• 8 Knobs & 100mm touch sensitive moving fader per strip
• TFT high-resolution displays at the top of each channel for metering (up to 5.1), EQ, dynamics & pan graphs and routing
• Dynamic automation of most parameters to timecode
• Conform to picture
• Comprehensive machine control facilities integrating with Soundmaster, Colin Broad, Tamura and JSK
• Up to 3-operator configuration

Control Surface
Much like any audio console the System 5’s surface includes channel strips and a center section for master facilities. The surface is modular, making it easy to add extra channel strips at any time.

Connections to the rack are Cat 5 Ethernet so placement is not restricted by complex cabling. No audio flows through the control surface as the audio electronics are housed remotely.

The console surface controls the Euphonix DSP SuperCore and, with the EuCon Hybrid Option, can control DAW tracks on multiple external DAWs via the EuCon control protocol over Ethernet .

New Digital Processing Core
Audio signals are processed in the new modular DSP SuperCore which includes DSP for channels, MADI I/O and a router (patchbay). The DSP SuperCore easily handles 24-bit 48kHz or 96kHz audio up to 40-bit floating point processing and is hardware capable of even higher sample rates up to 384kHz.

Audio Interfaces
Audio Interconnections use AES10 MADI (up to 64 channels of 24-bit digital audio data carried on a single 75ohm coax cable or fiber). To interface the console to the outside world, multi-channel digital and analog converters, digital format converters with sample rate conversion, as well as remote mic/line input amps, are available. Cabling is simplified because converters can be placed next to the equipment they interface to. The modularity means that the balance between analog and digital I/O can be tailored to the specific needs of the facility.

eMix
Operations such as system setup, file management, patching, and diagnostics are managed by a program called eMix which runs with a screen and keyboard, usually situated next to the console. PatchNet, a powerful digital patching system that handles patching for all the console’s inputs and outputs, replaces a traditional patchbay with a system that can store and recall every single patch that is made.

System 5 Block Diagram

The diagram below shows how the components of the system fit together in a studio environment.

Channels

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

Strips

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.

Swap (Replace)
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:

Knobsets
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
• Dynamics
• EQ & Filters
• Aux Sends - level, pre/post and routing
• Pan
• 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

Inputs

Each channel has two digital inputs labelled A and B. Controls for each input include:

• Gain Trim
• Phase Reverse
• Delay
• 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 Euphonix converters are used. See the Converter section for details.

Mic/Line Preamp
For variable gain analog mic inputs Euphonix 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.

Channel Process Order

Each channel has an insert point which can be placed in any of the seven process positions. The Euphonix 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:

• Delay
• Metering Source
• Insert Point
• EQ
• 2 Filters
• Dynamics
• 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:

• Delay
• Metering Source
• Insert Point
• EQ
• 2 Filters
• Dynamics
• 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.

EQ & Filters

EQ
The EQ controls are shown opposite. Euphonix 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.

Filters
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.

EQ Display
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.

Dynamics

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:

Compressor

• Release
• Attack
• Threshold
• Ratio
• Depth
• Knee
• Gain Make Up
• Compressor In/Out

Expander/Gate

• Release
• Attack
• Threshold
• Ratio
• Depth
• Knee
• Hold
• Hysteresis
• Expander/Gate In/Out

Side Chain

• Filter Type - Hi Pass, Lo Pass, Band Pass, Notch
• Side Chain Listen
• Side Chain Source - Channel, Key Input, Link
• Detector Type - Peak, Average

Dynamics Display
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.

Bus Routing & Aux Sends

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.

Bus Processing
The new DSP SuperCore supports dedicated bus processing comprising filters and dynamics that can be attached to any mix, group or aux bus and controlled from a Strip.

Mix Buses
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 48 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 of a 5.1 mix section.

Group Buses
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.

Aux Send
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 monitor mixes and sends.

Pan Controls

Pan Formats
Years of experience in the film world allows Euphonix 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
• Divergence
• Focus
• Rotate

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.

Panning Display
Pan ScreenWhenever pan is being adjusted the display above the channel indicates the pan position.

Joysticks
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.

Track Panner
Another panning option is a four fader wide module fitted with a trackball. This operates on the currently selected channel to allow signals to be moved around the surround space more easily than with multiple knobs.

Channel Meter Display

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 5.1 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
Meter presets allow the setup of meter combinations to be stored and named for later recall - 24 are available. One setup could contain primary source meters together with mix bus signals, another Aux sends.

EQ / Dynamics / Pan Display
Whenever EQ, Dynamics, and Pan are being controlled on the knobset, a graphical display 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 & 2 selected.

Master Facilities

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.

Control Groups
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.

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.

CM402-T 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

Expanded Central Control

CM 402-T Central Knobsets

Dynamics & EQ
Once a source has been brought to the center, the two sets of knobs at the bottom of the CM402-T Knobset Panel allow dedicated control of dynamics (12 left knobs) and EQ (12 right knobs). Functions are exactly the same as those found in the strip controls. The CM402-T display includes simultaneous dynamics, EQ and filter graphics to show the processor settings.

Upper Knobsets - Aux, Filters & Inputs
At the top of the CM402-T panel are two sets of 8 knobs that can be switched to control Aux Sends, Filters, and Inputs. The functions available are exactly the same as those found in the strips.

CM402-T 48 Routing Keys

These 48 keys allow group and mix section routing on dedicated keys.

Bus Masters

Bus Masters are controlled from the 8 knobs and function select switches in the middle of the console. The knobset can be switched between Group, Mix and Aux Bus Masters using the function select keys at the bottom of the knobset. The page key allows the 8 knobs to switch between sets of 8 controls (1-8, 9-16 etc.)

Each master has a gain trim and On/Off switch plus an insert. For a Mix Section this will control the gain of all the buses within the section. For the Mix Masters the upper switch next to each knob switches the knobs to allow On/Off and gain trim for individual buses within each Section. The user can lock the bus masters so the point of reference is always the same.

Master Fader
Master FaderThe Master Fader in the middle of the center section controls all Mix Section output levels. It can also be locked out.

Master Meters

The flat screen display above the center section includes metering for main monitor outputs. The number of meters will match the monitor’s format (7.1 is shown in the example below).

The 8 meters at the bottom of the screen are for Aux, Group, Mix outputs or the SLS/Cue monitors, depending on the bus master knobset selection.

Solo

System 5 includes:

• Solo-In-Place (SIP)
• After Pan Listen (APL)
• Pre Fader Listen (PFL)
• Fader Backstop PFL
• Solo Safe - for isolating effects returns from Solo-In-Place

The solo control knob in the center section allows the level of APL and PFL to be set and pressing the top of the knob will clear any solos. There is also a solo active LED.

Solo Options:

• Inter-cancelling, Momentary or Latching Solo switches
• Solo (AFL, PFL) can be sent to either of the two alternate speaker outputs or can be sent to whichever is the currently selected speaker
• Solo can dim the monitors

Monitoring

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.

Main Panel
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 sources to the Control Room Monitors.

External Inputs
Up to 32 devices may be configured for External sources in any surround format up to 7.1. The monitor matrix is intelligent and automatically selects the appropriate monitor format to match the source’s format.

Monitor Source Selection

Each of the monitor outputs (CR, Mon A, B, C, D) have their own level and source select key. It is important to note that these are digitally controlled analog controls as they provide a quiet and highly stable monitor output stage which is essential when feeding powerful monitors at high levels.

The 8-character display shows the name of the selected source and the switch on the level knob acts as a speaker mute.

The Main Control Room feed can be sent to the Main Monitors, Alt 1, or Alt 2.

Each of the 5 monitor outputs has a Source button. Pressing this activates the Main panel.

Panel Viewer for Source Selection
The Panel Viewer is at the top right of the center section and is used by many of the master facility control sections. The 24 buttons along either side of the character displays, and those at the bottom, take on the function shown in the displays.

As an example, the monitor source selection Panel Viewer is shown opposite that comes up when the Mon D source key is pressed. It shows that VTR 2 external source has been selected.

The keys at the bottom allow source selection of the Mix Sections, Aux sends or External sources. The sources shown opposite are for the Externals. The other two buttons allow the sources to sum or intercancel, and in the case of Mon D, follow the main control room monitor source selection.

The Panel Viewer offers fast access to many functions without the need for a massive center section space taken up with dedicated keys. It also allows functions to be changed in software as new features are added in future.

All sources may be named.

Monitor Output Control

Communications Facilities

System 5 includes a comprehensive communications system including talkback, listenback, oscillator and slate. The Comms Ctrl button, just above the main monitor controls, brings up all the communications options on the Panel Viewer. See also next page for details of the Quick Keys panel which is also used for fast access to comms facilities.

Quick Access Panel

This panel has 4 sets of 5 keys, factory set for quick access to commonly used comms features.

The four buttons at the top bring up four sets of 5 keys, the one shown right is the set of Talkback keys.

All these functions can also be found in the main Communication section of the Panel Viewer as explained on the last page. The Quick access panel simply bring the most frequently used keys closer to the engineer.

Control Surface Displays

System 5 screens are all high resolution SVGA TFT Displays

Center Section Screens
The two screens that are situated above the center section show infomation relating to master facilities.

Left Hand Screen - Central Assign - CM402T Sub-Master Module.
Right Hand Screen - Master Facilities - CM401T Master Module - Showing Automation tree to the right

Meter Presets
Another very useful feature is meter presets. These allow the setup of all the Strip meters to be stored and named for later recall. For example, a meter setup comprising just single meters for whatever channels are assigned to the strips, or another which includes dual meters for channel signals and group signals. Another useful preset would be to show all Aux buses, another for just group signals. The Strip meters can show any combinations of channel signals, aux, group and mix buses. els.

Patching - PatchNet

System 5 includes a large comprehensive digital patchbay called PatchNet, operated from the eMix software program which runs on a monitor next to the console.

eMix
PatchNet is one of the eMix menus. Other menus that are accessible on this computer are the File Directory, Bus Formatting, System Setup, Format Fold Down, External Source Setup & Conform.

PatchNet
System 5 ’s patching system. PatchNet operates in the same way as an engineer would make a patch on a traditional patchbay. First the source is located and selected, then the destination, and the patch can then be made.

The screen below shows PatchNet in operation. The left hand side of the screen shows the groups of signals, such as console A & B inputs, or External Inputs. Once the group of signals is selected every signal in that group appears on the main part of screen for patching. Multiple signals can be selected making it a simple job to patch 48 bus outputs to 48 recorder inputs, for example.

Patches are saved within Titles. So when the session starts and the engineer loads the Title, the complete patchbay comes back exactly as it was left at the end of the last session.

Default Title
Each studio can set up default PatchNet wiring and naming after installation. This includes naming of all studio patchpoints such as mic inputs and effects devices. Normalling of standard connections such as sources to inputs and console outputs to device inputs can also be setup. These initial settings are similar to the studio wiring, normalling and patchbay labelling in an analog studio. These default settings are brought into PatchNet each time a new Title is created. They can be updated at any time to reflect the addition of new equipment.

PatchNet Screen

System 5 Simplified Routing Diagram

SnapShot Recall

A SnapShot stores console settings for recall at a later date. System 5 supports 240 SnapShots per Title. The engineer can choose which parameters to include in a SnapShot. For example, a SnapShot may include every setting on all channels, a single channel, or just the EQ or pan settings on a single channel.

SnapShots can be named and can also be modified. If only channel 1 was saved, for example, it is a simple matter to add channel 2 to this same SnapShot. In this example when the SnapShot is recalled only channel 1 and 2's setting will be updated.

Total Automation

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.

Automation Status

• 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.

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.

Transport & Locate Controls

TT007 Multiple Machine Control
The Euphonix TT007 is a multiple machine controller option that enables System 5 to become the centralized hub for machine control within any studio. It is unique in that it allows the engineer simultaneous control of each machine connected to the TT007 which is extrememly useful in a studio that includes a console, tape machines, video machines and MIDI sequencers. It has three 9-pin serial ports and three Midi Machine Control ports.

Session Management

eMix
eMix is the management software program for System 5 and runs on a screen that sits next to the console. The program comprises of the following modules:

• Directory
• PatchNet
• Mixer Models
• Mix & Group Bus Setup
• Monitor Fold Down Setup
• External Inputs Setup
  

Directory
System 5 has the following file heirarchy: Drives - Projects - Titles - Mixes, SnapShots, Cues, Layouts, Meter Presets, PatchNet state. A project is a folder which contains Titles.

A project would be an album name or a film name. The Titles are where all the important data relating to a session is stored. A Title would be a song name or a reel of a film.

eMix Directory Screen - click for high res

The directory includes all the features you would expect from a file management system such as copy, paste, rename, open and close. The eMix computer includes a large hard disk, recordable CD-ROM drive and floppy drive. The CD-Rom can be used to store and remove Project/Title information. Loading a Title brings back all the stored information about that title including Dynamic Mixes, SnapShots, Layouts, Meter Presets and most importantly the PatchNet digital patchbay.

PatchNet
See the Patchnet Overview Section for more information.

Mixer Models
eMix allows the combination of channels, buses and externals to be changed very simply so that the system can be tailored to each application.

Mix, Group, Fold-Down, External Setup
- Sections of eMix allow the mix and group bus formats, external formats and monitor fold down to be defined. See page describing this setup.

DF70 DSP SuperCore with MADI I/O & Router

DSP SuperCore Features

The DSP SuperCore is packed with advanced features that stand out from the competition:

• Compact, lightweight, modular and scalable
• Over 400 signal paths per DSP SuperCore at 48kHz
• Over 200 signal paths per DSP SuperCore at 96kHz
• Independent EQ, filters and dynamics processing per channel
• Up to 2 seconds delay per channel
• Bus processing with dynamics and filters
• 4,096-path FPGA audio router on each SP663 DSP card
• Up to 32x32 MADI I/O (2,048x2,048 paths @ 48kHz) per DSP SuperCore
• Hardware compatible with 192/384 kHz
• DSPs support 40 bit, 32 bit IEEE floating point and 32 bit fixed point formats
• Hybrid FPGA and DSP technology to accommodate 40 bit floating point (extended precision) operation, for timing precision, and wide feature set
• Parallel signal processing utilizing SIMD (Single Instruction Multiple Data) architecture
• Optional SNMP System Management Controller remotely monitors operating conditions and notifies the user to take action to avert system failure
• Optional 100% changeover redundancy for the DF66 DSP SuperCore in Bcst Applications

 

Euphonix Introduces DSP SuperCore Upgrades DF70
More Channels and Faster Performance for System 5 and S5 Fusion

Euphonix is pleased to announce the new DF70 SuperCore, the latest digital signal processing engine specifically designed for System 5 film, post and music consoles. The DF70 continues the Euphonix tradition of offering the most powerful digital signal processing capability with the highest quality sound. Utilizing Euphonix's exclusive Shark technology, the DF70 features eight new SP663 Signal Processing modules in a 4RU package. This provides over 400 channels of audio with full processing at 48kHz or over 200 channels at 96kHz. In addition, the DF70 provides up to 32 MADI I/O. At 48kHz, this equates to an integrated 2048 x 2048 signal matrix controlled from the console’s PatchNet software.

The DF70 complements the current scalable DF66 SuperCore and provides an alternative for film, post, and music studios seeking large channel counts. The DF66 is perfect for Broadcast applications and smaller music and post installations as it is capable of full 100% redundancy - an industry first, and capable of up to 300 channels at 48Khz. EQ, filter, and dynamics algorithms are identical in both products, each featuring the award-winning Euphonix sound. All channels also feature multi-second broadcast alignment delay, while transparent delay management guarantees phase-coherency between channels regardless of the signal processing blocks inserted across the channel paths.

 

SC263 Studio Computer

The new SC263 Studio Computer runs the eMix software which includes the file management system and the PatchNet software. It includes twin drives set up as a RAID array for redundant storage of all data. There is a separate keyboard and mouse for this computer and an external screen for showing the eMix software. Alternatively, instead of an external screen, a CM411 Video Display Module (similar to a CM409-F blank module but with a TFT display) can be purchased to have the eMix display integrated into the main console surface.

The SC263 includes an Ethernet port for connection to the System 5 LAN and is fitted with two controller cards:

• TCC Card for controlling ML530 remote mic preamps and the MC524 monitor controller
• TT002 card for machine control, including a single RS422 port, MMC port, video ref plus 32 GPIO for use with the console the events system (available Sept 07)

Bus & Monitor Setup

eMix Mix Bus Setup Screen

Four different screens allow for mix bus, group bus, external monitor input and monitor fold-down setup from within the eMix program (click links below to see high res screens).

• Mix Bus Setup
• Group Bus Setup
• Monitor Fold Down Setup
• External Inputs Setup

Mix Bus Setup
16 Mix Sections (or Stems) are available. For each Section the Mix Bus setup screen allows th engineer to select how many buses will be in that section and what is the format for these buses. A Section could be a stereo pair, or a full 7.1 set of 8 buses.

Group Bus Setup
Group buses are numbered and cannot be named. It is possible to set each bus to a different format, for example the first 6 buses could be set to a 5.1 format. However it is more usual to simply set these as stereo pairs, exactly the same way as traditional multi-track group buses. The mix buses are more suited to surround format use.

Fold Down
The way formats are folded down in the monitor section can be setup. This determines how a 5.1 format source will be folded down when the monitors are switched to monitor in stereo, for example, or from stereo to mono. For each format the summing levels can be set individually to within 100th dB.

Externals
Up to 48 external devices are available and can be set to be any format and can also be named such as 5.1 format DVD player or stereo CD player.

Interfaces to the Analog & Digital Worlds

Internally, System 5 uses MADI to route and patch digital audio. MADI is a very stable and robust AES sanctioned format that allows up to 64 channels of digital audio (at 24-bit, 48kHz) along a single coax cable.

To interface to analog and other digital formats such as AES/EBU, Euphonix provides a full range of high quality converters in multi-channel, 19” rack mounting cases.

All signals such as Aux sends, mix minus/group outputs, mix outputs, channel inputs, inserts and dynamic key inputs are MADI and require the Euphonix converters for analog or AES/EBU connection. Commercial MADI converters are also available including PCI cards for connecting MADI into and out of PCs.

Because the system is modular, it is easy to start working with the System 5 in an analog environment and then add digital converters in future as more of the facility’s sources move to digital.

AM713 Analog to MADI Converter
26 balanced analog on XLR plus an AES or S/PDIF pair to MADI.

MA703 MADI to Analog Converter
MADI to 26 balanced analog on XLR plus an AES or S/PDIF pair.

DM714 AES/EBU to MADI Converter
13 AES/EBU pairs on 110ohm XLR, or 75ohm BNC, with two extra analog balanced inputs plus an AES or S/PDIF pair to MADI.

MD704 MADI to AES/EBU Converter
MADI to 13 AES/EBU pairs on 110ohm XLR or 75ohm BNC withtwo extra analog balanced outputs plus an AES or S/PDIF pair.

MI715 Analog to MADI Converter
16 balanced analog line level inputs and 8 AES/EBU digital inputs plus an AES or S/PDIF pair to MADI.

MO705 MADI to Analog Converter
MADI to 16 balanced analog line level outputs and 8 AES/EBU digital outputs plus an AES or S/PDIF pair.

ML530 Remote Mic Preamp
24 remote controlled mic preamps with XLR inputs. Usually supplied with AM713 Analog to MADI converter. The mic preamps are controlled remotely using TCC serial control from the SC263 Studio Computer.

Modular I/O System
The new range of modular converters is based around a 3RU 19” chassis conforming to the DIN 41494 specification with dual redundant power supplies. Cards may be fitted in slots at the front and the rear for high density configurations. Although designed primarily for broadcast use, modules such as the SDI de/embedders may be useful in a post or music facility. 16 different cards are available offering many different I/O combinations including:

• MADI Interface Module (coax or fiber)
• MADI Interface Module - Fiber with Redundancy
• 4 Ch SDI De/Embedder Module
• 8 Ch SDI De/Embedder Module
• 8 Ch HD/SD SDI De/Embedder
• 4 Ch AES/EBU Input/Output Module - 75Ω BNC or 110Ω XLR
• 8 Ch AES/EBU Input Module - 75Ω BNC or 110Ω XLR
• 8 Ch AES/EBU Output Module - 75Ω BNC or 110Ω XLR
• 4 Ch Analog Line Input Module
• 4 Ch Analog Line Output Module
• 4 Ch Microphone Input Module (2-units wide)
• 4 Ch High-Density Microphone Input Module (1-unit wide)
• Ethernet Remote Control Module for Mic Pre Control
• Sync Module
• 4x Wordclock Output Module
• Power Module

FC726 Digital Format Converter with SRC
Bi-directional digital format conversion of up to 56 channels with sample rate conversion. Formats supported; MADI, SPDIF-2, ProDigi, TDIF, ADAT Optical, AES/EBU. 56 channels of AES/EBU are always available regardless of what formats are being used.

FT730 FiberTran
Fiber Optic MADI Extender
The FT730 FiberTran can extend MADI and Digital Sync for up to 1km over fiber optic cable. The FT730 can also extend TCC control to an ML530 mic pre or the MC524 monitor controller when used with a Euphonix System 5 or Max Air console.

For more detailed information about these units go the Converter section of this website.

CM424 - Optional DAW/Producer's Desk

CM424 Producers Desk shown with optional 22" 16:9 display installed
for DAW operation or video playback

Versitile workspace anywhere in the console surface!
Euphonix has introduced a new control surface module for the System 5, the CM424 Producers Desk. The 24" wide module incorporates a level writing surface and integrates seamlessly into the System 5 frame. The CM424 allows simple integration of third-party digital audio workstations, it includes pass-throughs for keyboard, mouse and phone cableing and is pre-configured to accept a 23" 16:9 cinema display (not supplied).