Control|24™
Copyright Australian Compliance: © 2006 Digidesign, a division of Avid Technology, Inc. All rights reserved. This guide may not be duplicated in whole or in part without the express written consent of Digidesign. Avid, Control|24, Digidesign, DV Toolkit, DV Toolkit 2, Pro Tools, and Pro Tools LE are either trademarks or registered trademarks of Avid Technology, Inc. in the US and other countries. All other trademarks contained herein are the property of their respective owners.
IMPORTANT Do not install Control|24 anywhere or in any way that blocks free air flow at any time around the heatsink and back panel of the unit. SPECIAL WARNINGS REGARDING TEMPERATURE Important Safety Instructions When using electric or electronic equipment, basic precautions should always be followed, including the following: • Read all instructions before using this equipment. • To avoid the risk of shock, keep this equipment away from rain water, and other moisture.
Contents Part I Introduction Chapter 1. Introduction to Control|24 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 Included with Control|24 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 System Requirements and Compatibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 Ethernet Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Chapter 4. Mic and Line Preamps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Microphone and Line Preamps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Preamp Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Using the Mic Preamps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Talkback and Listenback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58 Chapter 9. Working with Tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 Fader Banks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 Channel Faders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Part IV Applications Chapter 11. Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87 Starting the Recording Process . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87 Assigning Channel Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87 Assigning Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Chapter 13. Plug-Ins and Inserts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109 Using Plug-Ins in Real Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109 INSERTS Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109 Assigning a Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Appendix B. Utility Functions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131 Editing Parameters on UTILITY Pages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131 Sys Info Page. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132 Monitor Pages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Part I: Introduction 1
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Chapter 1: Introduction to Control|24 Welcome to the Control|24™ control surface, a collaboration between Digidesign® and Focusrite®. Control|24 gives you precise, tactile control over Pro Tools® recording, mixing, and editing features. Control|24 also includes 16 premium microphone preamps, a control room monitoring section, and a line submixer. These analog audio features make Control|24 an ideal front end for Pro Tools recording, as well as a complete control surface for monitoring and mixing.
Ethernet Connections When Control|24 is the only Ethernet device connected to your system, it can be connected directly to the built-in Ethernet port on all qualified Mac computers, using the included “crossover” Ethernet cable.
Digidesign Registration Review the enclosed Registration Information Card and follow the instructions on it to quickly register your purchase online. Registering your purchase is the only way you can be eligible to receive complimentary technical support and future upgrade offers. It is one of the most important steps you can take as a new user.
About www.digidesign.com The Digidesign Web site (www.digidesign.com) is your best source for information to help you get the most out of your Pro Tools system. The following are just a few of the services and features available. Registration Register your purchase online. See the enclosed registration form for instructions.
Chapter 2: Installing Control|24 Installation and Maintenance Guidelines Before powering up your Control|24, be sure to allow it to reach room temperature, as there are some components that are sensitive to cold temperatures. Unpack your unit and allow it to adjust to the room temperature for several hours before turning it on for the first time. Control|24 can be mounted in studio furniture or set on a table top.
Ethernet Connections Installing Control|24 Ethernet Drivers Control|24 communicates with Pro Tools using Ethernet. This connection uses a standard RJ45, 10Base-T connector. (Windows XP Only) Ethernet connections should be made when Control|24 power is off. If Control|24 is the only Ethernet device connected to your computer: To install Digidesign Ethernet drivers for Control|24: 1 Connect one end of the included crossover Ethernet cable to the Ethernet port on the back panel of Control|24.
About Control|24 and Ethernet Performance This section presents some general Ethernet concepts that will help optimize system performance. Control|24, Ethernet and Network Traffic If your computer is already connected to an Ethernet network, moderate network traffic (such as basic e-mail) should not affect communication between Control|24 and Pro Tools.
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Part II: Analog Connections 11
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Chapter 3: Audio Connections This chapter provides an overview of Control|24 analog audio capabilities, and explains how to make all audio connections between Control|24, Pro Tools, and your other studio equipment for standard stereo operation. (For surround requirements and signal connections, see Chapter 5, “Surround Setups.”) Stereo and Surround Monitoring Modes Control|24 supports stereo and multichannel (surround) monitoring. Your audio connections can vary depending on which mode you want to employ.
Control|24 Back Panel The Control|24 back panel provides the following connectors. Figure 1. Back panel connectors and switches 25-pin D-Sub Connectors The 25-pin D-Sub connectors provide access to the Contro|24 mic preamp outputs, and to most monitoring and routing features. PRO TOOLS MONITOR IN Provide up to eight channels of input to Control|24, to connect stereo or multichannel Pro Tools outputs for monitoring and mixing through Control|24.
1 Submixer Input #1, Left EXTERNAL SOURCES IN Provide six channels (or three stereo pairs) of additional, external sources for monitoring. Use these for monitoring CD, DVD, or other audio sources in the Control Room Monitor section. These inputs can be used for multiple stereo sources, or multichannel surround source channels (as noted).
Output Three of the 25-pin D-Sub connectors provide output from Control|24 for recording and monitoring. LINE OUT TO PRO TOOLS 1–8 and LINE OUT TO PRO TOOLS 9–16 Provide outputs from the 16 Control|24 mic preamps (in two banks of eight channels each), to connect to Pro Tools audio interface inputs for recording through the Control|24 mic preamps. MONITOR SPEAKERS OUT Provides eight channels of Control|24 output, to connect to speakers for stereo and multichannel monitoring.
Additional I/O Connectors Output Control|24 provides the following individual connectors on the back panel: AUXILIARY OUTPUTS These two balanced, linelevel TRS outputs are for cue mixes, and should be connected to the inputs of your cue system. Input MIC and LINE Inputs These 16 balanced connectors (XLR for Mic inputs, TRS for 1/4-inch inputs) are the inputs to the Control|24 mic preamps. Levels are adjustable with a dedicated Gain control on the Control|24 channel strips.
Stereo Monitoring Connections Figure 2 shows connections for a basic stereo configuration. R L 1 2 7 8 L from AUX OUT L R R to line in 5–6 Cue mix to MIC in 3–4 MONITOR SPEAKERS OUT to PRO TOOLS MONITOR IN D.I ch 1 Pro Tools cue outs Pro Tools Out 1–2 to Pro Tools Inputs 1–8 Figure 2. Control|24 input and output connections for stereo mixing A Control|24 installation similar to that shown in Figure 2 requires the following connections.
Connections for Stereo Monitoring You can achieve a basic monitoring configuration through Control|24 by using stereo mix playback in Pro Tools in conjunction with two 25-pin D-Sub breakout cables (one for input and one for output). Main and Alt Inputs To monitor Pro Tools sessions in Stereo Mix mode: 1 Confirm that you have a male 25-pin D-Sub connector that breaks out to the correct type of connectors for your patch bay or audio interface.
Headphones Control|24 provides a stereo headphone jack in the Control Room Monitor section, with separate level control. The headphone jack provides a discrete feed of the main stereo Control|24 mix. The Headphone output does not follow Control Room Mono, Mute or Dim functions. Stereo and Surround Modes Control|24 can operate in Stereo, LCRS, and 5.1 modes. When monitoring in stereo mode, the Control Room Monitor section supports single- and multi-source monitoring. In LCRS or 5.
Chapter 4: Mic and Line Preamps Control|24 is equipped with 16 preamps for microphone or line-level signals. The first two input channels are also equipped with instrument-level DI (direct input) inputs to accommodate high impedance signals such as those from electric guitars and basses. Microphone and Line Preamps All 16 input channels in Control|24 are switchable between microphone and line level operation.
Preamp Connections For manageability, route each preamp output to its corresponding input number on a Pro Tools audio interface. For more flexibility, connect these preamps to a patch bay instead of directly “hard-wiring” preamp channels to Pro Tools audio interface channels. To connect an instrument-level signal: 1 Turn the level control all the way down (counter-clockwise) as a safety precaution.
Using the Mic Preamps The mic preamp controls are located along the top of the fader section. These controls include source selection, variable gain, and a high-pass filter. Selecting a Preamp Source To choose a source input: ■ Push a preamp’s Source switch repeatedly until the LED next to the type of input you would like to access on that preamp becomes highlighted. Gain and Sources The gain range of each preamp is dependent on its Source setting. MIC 0 to +60 dBu.
About Signal Levels Rule #1 in adjusting input gain is to never clip the signal in Pro Tools. It is OK to occasionally trigger the red peak indicator on a track’s meter, but clipping causes digital distortion that can render your track unusable. Within the preamp circuit, however, there is a balance for optimal gain structure and signal integrity that varies greatly, depending on the dynamic range of a given signal.
Chapter 5: Surround Setups Surround Monitoring Mode Connections Control|24 supports multi-channel Surround monitoring modes to feed four-channel (LCRS) or six-channel (5.1) monitoring systems. For details about Pro Tools surround mixing formats (including LCRS and 5.1 formats) see the Pro Tools Reference Guide. After configuring paths, sub-paths, and track layouts (mapping) in the Pro Tools I/O Setup dialog, use the following sections to connect Control|24.
Pro Tools Film Track Layout L C R Ls Rs LFE 5.1 Formats Input connections for Film Pro Tools supports the following 5.
Options for Surround Mode Switching Using I/O Setup To avoid having to re-patch, remap your 5.1 format paths in the Pro Tools I/O Setup dialog. If you connected your system as shown in “5.1 Monitoring Example” on page 28, remap all paths to the SMPTE/ITU standard (L R C LFE Ls Rs). If you connected your system according to one of the other 5.1 formats described in “Surround Monitoring Mode Connections” on page 25, remap your paths to the corresponding track layout for Film or DTS format.
5.1 Monitoring Example L C R S Ls Rs Cue mix 1 2 3 45 6 7 8 Alternate stereo monitors from AUX OUT L R MONITOR SPEAKERS OUT Control24 digidesign digidesign Figure 3. Control|24 monitoring output connections for 5.
LCRS Monitoring Example L C S (often split to two speakers) Cue mix 1 2 3 45 6 7 8 R L R Alternate stereo monitors from AUX OUT L R MONITOR SPEAKERS OUT Control24 digidesign digidesign Figure 4. Control|24 monitor output connections for LCRS mixing See also “5.1 Surround Monitoring and Control Room Options” on page 25.
5.1 Track Layouts, Routing, and Metering Figure 5 shows the relationship between Pro Tools I/O Setup configurations, audio interface and channel meters when mixing in 5.1. Pro Tools on-screen 5.1 meters are always mapped according to the Film standard L, C, R, Ls, Rs, LFE. Output meters on Control|24 and Pro Tools audio interfaces, however, follow channel mapping in I/O Setup. Pro Tools Tracks, Meters 5.
5.1 Format Surround Monitoring and I/O Setup in Pro Tools Pro Tools provides preset I/O Setup settings files for three 5.1 surround formats. The different 5.1 format presets are: • Film (L C R Ls Rs LFE) When your Pro Tools Output paths are not SMPTE/ITU layout for 5.1, however, audio interface outputs 1–6 will need to be re-patched, or you will need to remap channels in the I/O Setup dialog. (See “5.1 Surround Monitoring and Control Room Options” on page 25 for more information.
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Part III: Control|24 Basics 33
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Chapter 6: Starting Up and Configuring Control|24 Starting Up and Shutting Down a System Pro Tools systems components must be turned on and shut off in a specific order. Shut down Pro Tools in this order: 1 Turn off the monitoring amplifier and speaker system. 2 Turn off audio interfaces. 3 Shut down the computer. Start your Pro Tools System in this order: 4 Turn off MIDI interfaces and other MIDI de- 1 Turn on external hard drives. Wait 10 to 15 vices. seconds for them to come up to speed.
Pro Tools Configuration Communication between Control|24 and Pro Tools is configured from within the Ethernet Controllers page of the Pro Tools Peripherals dialog. To configure Pro Tools for Control|24: 1 Choose Setup > Peripherals, and click Ethernet Controllers. 2 If the computer has multiple Ethernet ports, use the Ethernet port pop-up menu to select the Ethernet port. Ports are identified by (computer) name. 3 Click Enable.
QuickStart System Test This section takes you through a basic system test to make sure that hardware, software, and connections are all configured and functioning properly. The test employs the Demo Session that is included on the Pro Tools Installer disc. To begin: Launch Pro Tools and open the Demo Session, or any available session.
Troubleshooting This section includes information to assist you in troubleshooting Control|24. Pro Tools On-screen Dialog Warning Pro Tools Error Message: “Lost Communication” If a modal dialog message appears in Pro Tools, the following message will be displayed across the scribble strips: “PRO TOOLS HAS A DIALOG ON SCREEN.” If communication is lost, Pro Tools posts a warning dialog. Control|24 automatically attempts to recover communication until it is reestablished or you cancel the warning dialogs.
Chapter 7: Overview and Basics This chapter provides an introduction to control surface terminology, and an overview of the main sections and controls of Control|24. Control|24 Terminology The following terms and phrases are used throughout this guide when describing Control|24 features. Bank A group of tracks mapped to the controls available on a control surface. Fader Banks The Fader section on Control|24 focuses on 24 adjacent tracks at a time.
Control|24 Sections Meters Time Counter Fader Section Main Section Figure 1. Main sections of Control|24 There are three sections of Control|24, each with their own controls and subsections: • Main section • Fader section • Meter section Main Section Provides transport, navigation, and Control Room Monitor controls, the Time Counter Display, and other Pro Tools session controls. See “Main Section Overview” on page 41 for more information.
Main Section Overview The Main section provides the following primary control sections and capabilities. The current Timebase is indicated by the associated indicator LED illuminating, at the left of the Time Counter display.
Grouping, Zoom Presets, Window, and Edit Sections The Main section provides six sets of controls for direct access to many Pro Tools grouping, zoom presets, window display, and edit commands. Grouping The Grouping section lets you create, enable, edit, delete, and suspend Pro Tools track groups. Control|24 Grouping controls are explained in “The GROUPS Section” on page 70. Zoom Presets These switches let you select and define Zoom presets in the Pro Tools Edit window.
To undo: ■ Press the UNDO switch. To redo: ■ Press SHIFT/ADD+ (CTRL)+UNDO. The SAVE switch LED will be lit if the session has changed from its currently saved state. To save the changes in a session: 1 Press SAVE. The SAVE switch LED will flash when first pressed, indicating the Save process has been armed.
To scroll controller focus one channel at a time: Home, Banks, and Controller Focus 1 Press NUDGE to enable Nudge mode. In sessions with 25 tracks or more, the first 24 tracks (from the left side in the Mix window, or from the top of the Edit window) are the focus of the 24 faders of Control|24. This view is the Control|24 Home view.
Transport Controls Additional Transport Functions Control|24 provides the primary Transport controls, the Control section, and the Audition Control sections for complete transport control of Pro Tools and other machines. The following transport functions use the Back/Forward Amount preference, which is set in the Operations page of the Setup > Preferences window. To move the playback location backward by the Back/Forward amount: Rewind Stop Fast Forward Record ■ Hold (CTL) and press REWIND.
Control and Audition Sections Directly above the main Transport are the following special function Transport controls: • OPT(ALT)/ALL+IN or OUT: centers the left or right side of any current on-screen waveform selection in the Edit Window. • (CTRL)+IN or OUT: enter mode for pre-roll and post-roll. Audition Controls Control and Audition sections ONLINE Toggles the transport between online and offline.When lit, the transport is online. GO TO START Sets the playback cursor to the beginning of the session.
To enter an amount of pre- or post-roll: 1 While pressing the (CTL) switch, press PRE ROLL or POST ROLL. The respective switch LED (PRE or POST) will flash, indicating that pre/post entry mode is active. 2 Type values for pre-roll or post-roll using the numeric keypad. Press the Control|24 PREVIOUS or NEXT switches to tab through the numeric fields. Audition Mode Shortcuts To listen to the edit selection start point with both pre- and post-roll: ■ While pressing (CTL)+OPT(ALT)/ALL, press PRE or IN.
Transport Mode for Numeric Keypad ESC/CANCEL For additional flexibility, the numeric keypad can be configured for Transport command. There are two ESC/CANCEL switches on the Control|24 surface. The first ESC/CANCEL switch is located to the immediate right of the master ASSIGN switch in the Assign section of the Channel Bar. The second ESC/CANCEL switch is located above the SCRUB/SHUTTLE switches in the master section.
Fader Section Overview The Fader section consists of the 24 Fader strips, as well as other channel displays and controls. (For details on the Fader strips, see Chapter 9, “Working with Tracks.”) Function keys Mic Preamps Channel Bar Automation Section The controls in the Automation section let you enable Automation modes, select channel Automation type, write, and suspend automation.
Scribble Strips and Rotary Encoders Each channel includes a rotary encoder for parameters such as pan, send level, and plug-in parameters, with a scribble strip above the encode to show information. The SHOW VALUES switch, located on the left side of Control|24 (next to the scribble strips), determines and displays the current display mode of the scribble strips. In default Home mode, the scribble strips display fader levels for each channel.
Meter Section Overview Along the top of Control|24 are 24 stereo, 14-segment LED Channel meters at the top of the Fader section, and six Output meters above the Main section. Meter options Channel meters Output meters Figure 2. Channel Meters Pre-fader or post-fader level indication of individual channels. Mono channels activate the left side of the meter pair only.
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Chapter 8: Control Room Monitor Section Control|24 includes the Control Room Monitor section, and the Communications/Headphone section. Overview of Control|24 Monitoring The analog monitoring features of Control|24 are similar to the “center section” of a traditional mixing console. Features are located in the Control Room Monitor section, and the Communications/Headphone section.
Stereo and Surround Monitoring Modes Control|24 can be used to monitor in Stereo mode, or in a supported multichannel Surround modes (LCRS, and 5.1). Global monitoring modes are selectable between stereo, LCRS Surround, and 5.1 Surround with dedicated switches. Each mode has unique features and options, which require audio connections appropriate for stereo, LCRS, or 5.1 routing.
Selecting Monitor Modes Control|24 supports Stereo, LCRS, and 5.1 Surround modes. Stereo Mode Settings Monitor Input Source Select Switches The Control Room Monitor section comprises a set of six possible stereo monitor sources for Control|24 in stereo mode, or as master source controls for the matrix inputs in Surround mode. Stereo monitoring mode can be configured for Single-source, or Multi-source monitoring. If in “Single” source monitoring mode, only one input source can be engaged at a time.
MONITOR TO AUX and AUX LEVEL Monitor To Aux When enabled in stereo monitor mode, the MONITOR TO AUX switch sends the current Control Room Monitor mix to the AUX mix outputs. This mix can be any combination of sources as selected in the Control Room Monitor section, and is adjusted with the AUX LEVEL control.
Alt Monitor in Surround Modes When ALT Monitor is selected in Surround Monitor modes, only the Left and Right channels are routed to the ALT outputs. About the Monitor Level Controls The MUTE ALL switch acts as a Control Room Monitor master mute. The MUTE switch does not affect the Headphone signal (front-panel 1/4-inch connector), but mutes all other sources currently selected in the Control Room Monitor section.
DIM Switch Headphone Jack and Controls The DIM switch inserts a 20 dB reduction in level to the Control Room Monitor outputs. Depending on monitoring mode, most of the outputs are affected. A 1/4-inch stereo jack is provided on the Control|24 front-panel for headphone monitoring of the currently active main Control Room Monitor signal. The jack is located on the lowerright corner of the Control Room Monitor section.
control room outputs are muted. Pressing the Listenback switch again toggles the Listenback circuit off, and the control room outputs are reactivated. External Talkback Input For higher-fidelity or remote Talkback, an external XLR Talkback input is provided on the Control|24 back panel. This is provided as an alternative to the built-in Talkback microphone mounted in the Control|24 surface. Both Talkback options are controlled by the MIC LEVEL knob.
Using Talkback Whether using the internal or external microphones, operation of the TALKBACK switch is the same. Using Listenback To enable the Listenback microphone: 1 Press the Utility switch. 2 Select “Monitor.” To use Talkback: Press and hold the TALKBACK switch. This switch does not latch and therefore Talkback is only active for as long as you depress the switch. 3 Select “Talkback.” ■ The Talkback signal is sent to the AUX Out bus to supply cue mix systems.
Chapter 9: Working with Tracks This chapter describes the components of the fader section, and explains each function in channel-specific tasks. The Control|24 fader section shows a printed scale to +6 dB. However, when Fader Gain is set to +12 dB in Pro Tools, the appropriate volume levels are shown in the Control|24 Channel Scribble Strips. Fader Banks Channels are arranged in sets of 24 contiguous strips, referred to as banks.
Scribble Strips Mute and Solo Functions Each of the twenty-four channels has its own four-character scribble strip display. These displays often identify names or settings related to their respective channel strip. In certain modes, information will be spread across the scribble strips of more than one channel. MUTE and SOLO switches are located above the fader on each channel. The on-screen mute and solo functions are equivalent to those on Control|24, are additive, or “latching,” by default.
Shortcuts Solo and Record Safe Modes APPLY TO ALL CHANNELS+MUTE or SOLO: clears or enables Mutes or Solos on all channels. Channel strips can be placed into Solo and Record Safe modes. When in these safe modes, channels are locked out from implied mute or record states, respectively. ◆ APPLY TO ALL SELECTED CHANNELS+MUTE or SOLO: clears/enables Mutes or Solos on all selected channels.
To enable Record Safe status on a channel strip: 1 Press the RECORD SAFE switch. Its LED will flash. 2 Press the REC ARM switch on any channels you would like to place in Record Safe mode. 3 Press REC SAFE again. Its LED will light solid, indicating that one or more tracks are in Record Safe mode. 4 Repeat the process to disengage any tracks from Record Safe mode. Display of Safe Mode The respective REC SAFE or SOLO SAFE switches will light if any track is in Record Safe or Solo Safe mode.
Channel Automation Controls The AUTO switch is located above the SELECT switch. Next to this are five Automation mode LED indicators. The channel AUTO switch can also be used in combination with the master AUTOMATION MODE and ENABLE switches. The AUTO switch is used to set channel automation mode, and to punch out of automation recording on a channel during an automation record pass (placing the channel in Read mode).
Data Encoder and LED Rings Directly below the scribble strip on each channel is a Data Encoder knob (surrounded by a ring of 15 LEDs). In conjunction with the Channel Bar Display and scribble strips, the Data Encoder Knobs and LED indicators are used to display and adjust values and parameters. Depending on mode configuration, these knobs perform a variety of functions, some of which can take advantage of velocity sensitivity mode.
PAN/SEND Switch The PAN/SEND switch invokes Pan/Send mode, that displays all of the track’s pan and sends information across the scribble strips. To enter Pan/Sends Mode: ■ Master EDIT/BYP Switch The EDIT/BYP switch is located immediately to the left of the channel EQ switch row. It toggles the function of the EQ and DYN switches between their default Edit mode and optional In (bypass) mode. See Chapter 13, “Plug-Ins and Inserts.” Press a channel’s PAN/SEND switch.
EQ BYP Mode and DYN BYP Mode When in Bypass mode (EDIT/BYP switch LED on), the channel EQ and DYN switches serve as bypass switches for all EQ or Dynamics plug-ins assigned to a channel. A lit channel EQ or DYN switch in this mode indicates that at least one of these plug-ins is already bypassed. The LED will flash if there is more than one plug-in of the same type on the channel (more than one EQ, or more than one DYN), and they are in a mixed state when some but not all of them are bypassed.
Shortcuts employing the MASTER REC switch: • Press MASTER REC to record-enable all audio tracks. • While pressing APPLY TO ALL SELECTED CHANNELS or SHIFT/ADD, press MASTER REC to enable all currently selected audio tracks. • While pressing OPT(ALT)/ALL, press MASTER REC to enable all MIDI tracks. • While pressing OPT(ALT)/ALL+SHIFT/ADD, press MASTER REC to enable all currently selected MIDI tracks.
To paste copied settings to the current Target plug-in: 1 Select the plug-in into which you want to paste settings. This must be the same plug-in that you copied from, on a different track or insert position. 2 Press PASTE SETTING TO CHANNEL. Creating New Groups The CREATE switch is used to create groups in empty group locations, or overwrite existing groups: To create groups: 1 Make a selection of two or more channels. 2 Press CREATE.
Enabling/Disabling Groups Suspending Groups ENABLE lets you enable or suspend groups. The SUSPEND groups switch lets you temporarily suspend groups. To enable or suspend a group or groups: 1 Press ENABLE. 2 A dialog across the scribble strips prompts you to select a group to enable or disable from the list of existing groups, with an additional option labeled ALL. The LEDs are lit on any group currently enabled and flashing on any group not currently enabled.
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Chapter 10: Navigation and Editing This chapter describes how to navigate through a session and how to edit audio and MIDI with Control|24. Navigation and Zoom Navigation and Zoom functions (selected with the NAV and ZOOM switches) are controlled with the UP, NEXT, DOWN, and PREVIOUS arrow switches. These four switches provide roughly the same functionality as the arrow keys on the computer keyboard (plus some additional features unavailable from the computer keyboard, described below).
Scrub/Shuttle Wheel The Scrub/Shuttle wheel is used for scrubbing, shuttling, defining regions, and other edit operations. Using Scrub Mode To use Scrub mode: 1 Press SCRUB while Pro Tools is not playing or recording. 2 Navigate the scrub point to the start or end of a current selection by pressing PREVIOUS (for start) or NEXT (for end). 3 Rotate the Scrub wheel clockwise to scrub au- dio forward, or counter-clockwise to scrub backward.
Scrub with Trim Control|24 supports Trim/Scrub mode, which lets you scrub to locate an edit point, then trim to that point in one operation. To use Trim/Scrub: 1 Identify and navigate to a region or selection you want to Trim/Scrub. 2 Press and hold either the SCRUB or SHUTTLE switch for at least one second (wait for the TRIM switch to flash) to enable Trim/Scrub mode.
Shuttle Mode Shortcuts Navigating and Editing with the Scrub/Shuttle Wheel To engage Shuttle mode for the numeric keypad: 1 Choose Setups > Preferences > Operations. 2 Enable the Shuttle mode Numeric Keypad op- tion.
3 Scrub the in or out point with the Scrub/Shuttle wheel while pressing SHIFT/ADD, depending on whether you selected PREVOIUS or NEXT. Your selection will expand/contract with the wheel as long as you press SHIFT/ADD. To adjust the perceived amplitude of a waveform in the Edit window: ■ Press UP or DOWN to exaggerate or minimize the waveform amplitude. To recall a Zoom Preset from Control|24: To exit Scrub mode: Press the SCRUB switch again or press any other TRANSPORT switch.
To create a memory location with a specific numerical address: ■ Enter a decimal, a number key (or keys), then press ENTER. If available, a memory location will be assigned to that number/address. Creating Selections Using Memory Locations Here are a few more techniques for making selections. To create a selection using two memory locations or markers as the in and out points: To recall a memory location: 1 Recall the memory location of the desired se- Enter a decimal, then a number, then a decimal.
To make a selection “on the fly” during playback: 1 Click within the desired track to select it. 2 Press PLAY. 3 As your track plays, press the IN switch to set the selection start. Using the Selection Indicators The Selection Indicators let you define selections numerically, to make precise selections based on specific time locations in a session.
To select and adjust the selections OUT point: While pressing the NEXT switch, rotate the Scrub/Shuttle wheel. ■ You can move the entire selection forward or backwards against the Pro Tools timeline while maintaining the selection length. To move an entire selection while maintaining it’s length: ■ Press NEXT+PREVIOUS while rotating the Scrub/Shuttle wheel in either direction. To move the selection to also include the previous track: ■ Press SHIFT/ADD+UP.
Creating and Editing Regions The Control|24 Edit tools include all the controls found in the Edit Mode, Edit Tool, and Edit Function sections. The switches mirror their functions in Pro Tools. Capturing Regions To create a new region: 1 Create a selection of audio or MIDI data. Make sure the selection is within the bounds of an existing region. 2 Press CAPTURE in the EDIT FUNCTION switch section. Pro Tools will prompt you to name the region.
Edit Tool Selection The Trimmer, Grabber, and Pencil each have different tool options available from their popup menus in the Edit window in Pro Tools. These tool options can be selected from Control|24 by repeatedly pressing the TOOL switch to step through the options. To select an edit tool: Press the appropriate Edit Tool switch: TRIM, SELECT, GRAB, or PENCIL. ■ To select the SmartTool: ■ Press any two of the following simultaneously: TRIM, SELECT, and/or GRAB.
Nudging Regions You can move regions in precise, user-selectable Grid increments with the plus (+) and minus (–) keys on the Control|24 Numeric Keypad. Editing Waveforms with the Pencil Tool The Pencil tool enables you to destructively “redraw” audio waveform data, automation and MIDI note and controller data. To nudge regions: 1 Select a region, or regions using the tech- niques described earlier. (You can also select partial regions, in which case the selection will be moved by nudging.
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Part IV: Applications 85
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Chapter 11: Recording This chapter explains all the steps required to record into Pro Tools using Control|24. Instructions include configuring session parameters, assigning input and output routing, record-enabling tracks, and initiating recording from the transport. Starting the Recording Process Before you start your first recording pass with Control|24, make sure you have configured the sample rate and other Session Setup parameters.
To make the same input assignment to all channels simultaneously: Press APPLY TO ALL CHANNELS or OPT(ALT)/ALL while confirming your selection. ■ Using the above procedure to select “none” (indicated by “–” in the scribble strip) is a quick and easy way to remove the input settings on all tracks. To make the same input assignment to selected channels only: ■ Press APPLY TO ALL SELECTED CHANNELS or OPT(ALT)/ALL+SHIFT/ADD while performing step 4 above.
To make the same output assignment to all channels simultaneously: Press APPLY TO ALL CHANNELS or OPT(ALT)/ALL while assigning an output to a track. ■ To make the same output assignment to selected channels only: Press APPLY TO ALL SELECTED CHANNELS or OPT(ALT)/ALL+SHIFT/ADD while assigning an output to a track. ■ To assign multiple outputs: ■ While pressing CTL/CLUTCH, while assigning an output to a track.
3 Press the PAN/SEND switch on any channel to exit Select Input Monitoring mode. On Control|24, the SWITCH ACTIVE switch lights to indicate Input Only mode. On-screen, the Track Input button lights green to indicate Input Only mode. MIDI Record modes Merge/Replace, Wait For Note, MIDI Loop Record, and MIDI Merge Loop Record are the MIDI recording modes. Click and Countoff options are also available in audio and MIDI recording.
MIDI Recording Modes By default, when the MERGE REC switch LED is not lit, MIDI recording is in Replace mode. The channel REC ARM switch LED will flash when a channel is in Record-Ready mode and lights solid when Pro Tools enters record (record mode). To arm Pro Tools for recording: Merge and Replace To toggle between MIDI Replace and MIDI Merge Record modes: 1 Press MIDI TOOLS in the EDIT TOOLS section. The MIDI TOOLS switch will flash.
To toggle all MIDI tracks in or out of Record-Ready mode, do one of the following: ■ While pressing APPLY TO ALL CHANNELS, press REC ARM on any active MIDI track. ■ While pressing OPT(ALT)/ALL, press MASTER REC. While pressing OPT(ALT)/ALL, press REC ARM on any active MIDI track. ■ To toggle the currently selected tracks in or out of Record-Ready mode, do one of the following: While pressing the APPLY TO ALL SELECTED CHANNELS switch, press any selected channel’s REC ARM switch.
Shortcuts To change record-enable status on all channels, do one of the following: While pressing APPLY TO ALL CHANNELS, press REC SAFE. ■ – or – Press OPT(ALT)/ALL+ (CTL)+REC ARM switch on any channel. ■ To change record-enable status on all selected channels, do one of the following: While pressing APPLY TO ALL SELECTED CHANNELS, press REC SAFE. ■ – or – Press SHIFT/ADD+OPT(ALT)/ALL+ (CTL)+REC ARM switch on any channel. ◆ MIDI Merge Loop Recording is similar to a “drum machine” style of recording.
To enable MIDI Merge Loop Recording mode: 1 Press the MIDI TOOLS switch. The LED while light up. 2 Press MERGE REC. 3 Press the LOOP PLAY switch located just above the primary Transport switches. The Record button in the Pro Tools Transport window will display a circular arrow when in Loop Record or Loop Playback mode. 4 In the Pro Tools Edit window, select the desired range on the target track that will constitute the loop. 5 Assign an input to the target track.
TrackPunch Recording TrackPunch lets you instantaneously punch in (start recording) and punch out (stop recording) on individual audio tracks during playback. You can punch in on a TrackPunch-enabled track at any time during playback by record enabling the track. When TrackPunch mode is enabled: ◆ A “T” appears in the on-screen Transport Record button. ◆ If at least one track is TrackPunch-enabled, the on-screen Transport Record button lights solid blue.
TrackPunch Enabling Tracks While in TrackPunch mode, you can TrackPunch enable tracks without record enabling them, which lets you punch in individual tracks after you start playback. To simultaneously TrackPunch enable and record enable all selected audio tracks: ■ Hold the SHIFT/ADD + OPT (ALT) ALL switches and press a selected track’s REC ARM switch to toggle the on-screen Record Enable buttons to flashing blue and red.
TrackPunch Recording Punching In on Multiple Tracks After you have put Pro Tools in TrackPunch mode and enabled tracks for TrackPunch recording, you can record with TrackPunch in several ways. To punch in on multiple tracks simultaneously: Punching In On Single Tracks To punch in on single tracks: 1 Put Pro Tools in TrackPunch mode. 2 Press the REC ARM switch twice on each track you want to punch in, so that the track is TrackPunch-enabled only.
Setting Up Cue Mixes patched to the Control|24 AUX IN buss. The Control|24 AUX OUT outputs can be connected to your cue mix system to provide a headphone mix. The Talkback and Listenback signals are always routed to these outputs. Once your mix is set up pre-fader, you can copy your current (main) fader mix to your newlycreated, independent, stereo cue mix.
Footswitch Shortcuts Footswitch behavior is selected in Utilities mode. The default is PLAY, but there are other options available, such as record and talkback. When either footswitch is employed, the following shortcuts are available: To cancel a record pass: Hold down SHIFT/ADD and press Footswitch #1 to cancel the recording without saving the most recent recording. ■ To initiate half-speed playback: Hold down SHIFT/ADD and press Footswitch #1.
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Chapter 12: Mixing Control|24 provides comprehensive support for the Pro Tools mix environment. This includes the ability to access and control input and output configurations, inserts, sends, auxiliary inputs, master faders, and mix automation. Although the routing and configuring of MIDI tracks differs in various ways from the way it is done with audio, a MIDI track will appear and function in basically the same way as an audio track on Control|24.
4 The scribble strip for each track display default (or previously-assigned) input assignments. The following MIDI controls appear on each channel as follows: • Channel data encoder: MIDI Volume 5 Adjust the data encoder knob to scroll • Select switch: MIDI Mute through the list of available inputs on each track you want to configure.
The NUDGE switch will light if there are more than 24 Master Faders in the session. If necessary, press BANK RIGHT or BANK LEFT to bring up the next set of Master Faders. To exit Master Faders mode: Press the MASTER FADERS switch again. The faders will revert to their previous state, prior to engaging Master Faders mode. ■ 3 On each channel where you want to assign a send, turn the channel data encoder to scroll through the available path choices.
When you have confirmed a send assignment, the SWITCH ACTIVE LEDs will light up below the encoder switches that correspond to that send’s destination and the panning information should show up in the scribble strips. Send Level and Mute Controls The encoder knob below the send destination strip functions as the send level control. The respective scribble strip briefly displays the send level information and then reverts back to the send destination information.
To make the same assignment to all channels simultaneously: 1 Press the PAN/SEND switch on a channel. 2 Press the ASSIGN switch in the ASSIGNMENT section. 3 Turn the channel data encoder to scroll through the available path choices. 4 While holding APPLY TO ALL CHANNELS or OPT(ALT)/ALL, confirm the output assignment by pressing the flashing switch directly below the channel encoder, or pressing the ASSIGN switch.
3 Press the SEND MUTE switch. Its LED will light, indicating that you are in Send Mute mode. To toggle a send between pre- and post-fader status for all selected channels: 4 Press an encoder switch on a channel to mute trol|24 is not in channel ASSIGN mode (the ASSIGN switch LED should be off). the selected send on that channel. 1 Make sure playback is stopped, and that Con- 2 Select a send by pressing a master SEND Pre/Post Fader Send Status switch (A/F–E/J). 3 Press the global PRE/POST switch.
Send Pan Send Mute In Flip mode, the channel encoders are used to display and adjust pan position for stereo sends. In Send Flip mode, the channel MUTE switches become SEND MUTE controls. The channel encoder LED ring displays the relative position of the PAN control. Pre/Post Toggling To toggle between left- and right-side pan controls on a stereo send: Press the flashing master PAN LR switch to toggle between left- and right-side pan controls.
You can exit Flip mode at any time and return to normal operation by pressing the flashing FLIP switch. This action will return Control|24 to the state it was in prior to entering Flip. The FLIP switch LED will extinguish when the mode is exited. Pro Tools preferences for Send Mute and send level follows mix groups. Send Shortcuts To toggle a send between pre- and post-fader status for all channels: 1 Follow steps 1 through 4 above.
Chapter 13: Plug-Ins and Inserts Using Plug-Ins in Real Time INSERTS Section Control|24 provides complete access and control to the five inserts on each Audio Track, Auxiliary Input track, or Master Fader. Located to the right of the channel bar display is the INSERTS section, that contains four switches, labeled MASTER BYPASS, COMPARE, INSERTS/PARAM, and PLUG-IN SAFE. These switches provide editing and mode access to plug-ins.
MASTER BYPASS Switch The MASTER BYPASS switch has two functions, depending on the current state of the INSERTS/PARAM switch/mode: • When in INSERTS mode, the MASTER BYPASS switch acts as a master bypass for all plug-ins on the channel. When this occurs, the MASTER BYPASS switch LED lights solid. • When the INSERTS/PARAM switch is set to PARAM mode, the MASTER BYPASS switch acts as a master bypass for the plug-in currently being edited. When this occurs, the MASTER BYPASS switch LED lights solid.
To assign a plug-in to all tracks simultaneously: 1 Assign plug-ins as described above. 2 Before confirming the assignment, do one of the following steps: • While pressing the APPLY TO ALL CHANNELS switch, press the flashing encoder switch that corresponds to the insert position being assigned. – or – • While pressing the OPT(ALT)/ALL switch, press the flashing encoder switch that corresponds to the insert position being assigned.
6 Press the channel’s INSERT switch again to re- turn to the Control|24 default mode. The scribble strips will display track names, the encoders will become panning controls, and the faders will adjust each channel’s level. If there are more parameters than fit across the 24 scribble strips, you can access additional pages, if any, with the CHANNEL BAR SCROLL switches labeled . These switches are located at the right end of the scribble strips.
EQ and DYN Switches and Modes The EQ and DYN switches are dedicated to EQ and Dynamics plug-ins respectively, that function in different ways depending on the configuration of the global EDIT/BYP switch. The EQ switch is supported by all Digidesign and Digidesign-distributed EQ plug-ins, and the DYN switch affects most compressor, gate, and limiter plug-ins. Bypass Mode When the EDIT/BYP switch LED is lit, the EQ and DYN switches on each channel are in Bypass mode.
The DEFAULT Switch The DEFAULT switch serves as a shortcut alternative to using the channel encoder knobs to remove a plug-in. This method removes plug-ins—and any associated automation data—without displaying any warning or option to cancel. Use this power-user feature with caution! systematically by track or effect type, that can save time and keep you from having to look away from the Control|24 surface or leave the monitors’ sweet spot.
Navigating Between Plug-In Targets If you open a new plug-in from Control|24 without pressing the SHIFT/ADD switch, the newlyopened plug-in will become the new Target. The previous Target, if any, will replaced by the new Target. Use your mouse to change Target status of any open windows.
To open a the current controller focus plug-in window: ■ Press the unlit PLUG-IN switch. To close the current controller focus plug-in window: ■ Press the lit PLUG-IN switch. To close all open plug-in windows: ■ Press OPT(ALT)/ALL+PLUG-IN. Plug-In Flip Mode Plug-In Flip mode maps plug-in parameters to the faders. The primary advantage to this is increased control, as afforded by the touch-sensitive, longthrow faders on each channel.
Chapter 14: Automation This chapter will explain how to maximize and expand the capabilities of Pro Tools mix automation with Control|24. Recording Mix Automation Control|24 replicates Pro Tools on-screen automation features, with channel-based and session-wide automation controls. Automation Mode You can set the Automation mode for all tracks, or all selected tracks, by toggling a channel’s AUTO switch.
AUTOMATION ENABLE Switches Suspending Automation Control|24 AUTOMATION ENABLE switches, located to the left of the channel faders, are identical to those found in the Pro Tools Automation Enable window. This switch is located directly below the Automation mode and Enable switches. The AUTO SUSPEND switch globally suspends record and playback of all automation parameters on all channel strips. All channels are left in their present mode, but automation operations are temporarily suspended.
Groups and Automation Mode Assignment As in Pro Tools, groups follow Automation mode assignments. To suppress Group behavior during automation assignment or editing: Suspend all groups by pressing the SUSPEND switch (in the GROUPS section). To arm or disarm the MASTER BYPASS function: ■ While pressing OPT(ALT)/ALL, press the MASTER BYPASS switch in the CHANNEL BAR.
AutoMatch Function Join Function During playback, you can stop writing of automation on Write-enabled or Latch-enabled tracks and return automation to previously written levels by ramping up or down according to the AutoMatch time. The Join function is used in Latch mode to manually resume writing of automation after the transport is stopped and started again during an automation pass.
3 Move the cursor back so that it is just before the stop location. To automate Send Mute: 1 Make sure SEND MUTE automation is en- 4 Resume playback. abled. At the AutoJoin Indicator, automation recording resumes automatically for all controls in Latch mode. 2 Select a SEND by pressing the relevant master SEND switches (A/F–E/J).
Enabling Trim Mode Trim is a special mode for the three write modes (Write, Touch and Latch). It is toggled on/off separately from other automation mode operations. To enable TRIM mode: 1 While pressing TRIM in AUTOMATION/EN- ABLE, press a channel AUTO switch. This enables TRIM mode on that channel. 2 Select a specific TRIM mode (Write, Touch or Latch). • Use the channel AUTO switch or a combination of AUTOMATION MODE WRITE/TOUCH/LATCH and the channel AUTO switch as described in the previous steps.
Control|24 enables you use the Write Automation to Start/All/End functions with all automation recording modes including Write, Touch and Latch, and the Trim modes. When using the Write Automation to Start/All/End functions, every enabled automation parameter is actively enabled. For this reason, use these functions with caution, and be sure to disable the master Automation mode switches that do no apply to your specific task. See also “Plug-In Safe Mode” on page 116.
To configure Automation Write On Stop modes to remain enabled after an automation pass: ■ While holding CTL/CLUTCH and OPT(ALT)/ALL, press the START, END, or ALL switch in the WRITE AUTOMATION TO section. The switch lights to indicate that Write on Stop will remain enabled. 6 You can punch-out of automation recording at any time by pressing the appropriate AUTOMATION ENABLE switch.
To disable a plug-in parameter from automation: 1 Select the desired plug-in to make it the con- troller focus. 2 Press the AUTO/SELECT switch. 3 Press the encoder switches below the parame- ter names in the scribble strips that you want to suspend from automation. 4 Pressing a lit parameter encoder switch will toggle the automation arming off. The LED will extinguish and “AUTO” followed by “OFF” will flash briefly in place of the parameter name in the scribble strips.
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Appendix A: Pinout Tables 25-Pin Female D-Subs Mic/Line Outputs 9–16 Channels 9–16 Mic/Line Preamp Outputs Mic/Line Outputs 1–8 Channel Channels 1–8 Mic/Line Preamp Outputs Channel Hot (+) Cold (–) Ground (shield) 9 24 12 25 Hot (+) Cold (–) Ground (shield) 10 10 23 11 1 24 12 25 11 21 9 22 2 10 23 11 12 7 20 8 3 21 9 22 13 19 6 19 4 7 20 8 14 4 17 5 5 19 6 19 15 15 3 16 6 4 17 5 16 1 14 2 7 15 3 16 8 1 14 2 Appendix A: Pinout Table
Line Submixer 1–4 Inputs External Source Inputs Channels 1–4 Line Submixer Inputs External Source (Monitor) Inputs Hot (+) Cold (–) Ground (shield) Hot (+) Cold (–) Ground (shield) 1 Left 24 12 25 1 Left 24 12 25 1 Right 10 23 11 1 Right 10 23 11 2 Left 21 9 22 2 Left (Center) 21 9 22 2 Right 7 20 8 2 Right (Surround, Sub) 7 20 8 3 Left 19 6 19 6 19 4 17 5 3 Left (Left Surround) 19 3 Right 4 Left 15 3 16 3 Right (Right Surround) 4 17 5 4 Right 1
Monitor Outputs Pro Tools Monitor Inputs Hot (+) Cold (–) Ground (shield) Left 24 12 25 Right 10 23 11 Center 21 9 22 Surround, Sub 7 20 8 Left Surround 19 6 19 Right Surround 4 17 5 Alt Monitor Left 15 3 16 Alt Monitor Right 1 14 2 Channel XLR and TRS Connectors XLR Mic Inputs Channel all XLR Mic Inputs (female) Hot (+) Cold (–) Ground (shield) 2 3 1 TRS 1/4-Inch Inputs and Outputs Channel all TRS 1/4-inch I/O Hot (+) Cold (–) Ground (shield) Tip Ring Sleeve
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Appendix B: Utility Functions The UTILITY functions let you configure operational aspects of Control|24, and to perform diagnostic tests on surface components. To enter the UTILITY menu: 1 Press the UTILITY switch (located directly above the MASTER FADERS switch). 2 The text label “Util menu” is displayed in the dual 4-character scribble strip displays in the CHANNEL BAR. The channel scribble strips, beginning with display the UTILITY menu items.
Sys Info Page The Sys Info page contains information about the hardware and firmware revisions on Control|24, as well as the Ethernet ID. To access the Sys Info page: ■ Talkback Page This mode allows you to specify the settings for talkback mic operation. It provides a way to select whether the internally-mounted talkback mic or an external mic is active. For more information, please refer to “Talkback and Listenback” on page 58. Press UTILITY > Sys Info.
Vegas Mode Test Modes for LED Colors Vegas mode rapidly turns each switch LED, meter segment, and 7-segment display LED on and off in a randomized fashion. The faders are also run in sine wave mode. Red LED mode, Yellow LED mode, and Green LED mode, are used to check for proper lighting of all LEDs of the specified color on the control surface by illuminating only LEDs of that color. To enter Vegas mode: For example, when Red LED Test mode is engaged: 1 Press UTILITY > Test > LED > Vgas (Vegas).
All LED Test Mode All LED mode, when engaged, checks for proper lighting of all LEDs on the control surface by turning all LEDs on. When All LED test mode is engaged: 2 Press the flashing encoder switch located be- • The encoder switch LED located below the scribble strip which shows “All” will light solid indicating that this is the chosen test mode. low the menu item of choice to enter the display test mode desired.
Timecode Display Test Mode Scribble Strip Test Mode Timecode display test mode will continually cycle through a series of automated tests which check the LEDs and LED segments on the time display located on the meter bridge of Control|24. Scribble strip test mode will continually cycle through a series of automated tests which check the segments on the LCD scribble strips.
Fader Test Pages The Fader test mode allows you to test the operation of the touch sensing, moving faders on Control|24. To access Fader Test modes: Step Test Mode Step test mode places the faders on Control|24 in a test mode where the faders jump, lock-step, to fader positions which are determined by adjusting the scrub/shuttle wheel. When this mode is first engaged, the faders will jump to mid position (approximately 512 steps). 1 Press the flashing encoder switch below the la- bel “Fadr.
Cycle Test Mode Sine Test Mode Cycle test mode places the faders on Control|24 in a test mode where the faders cycle, lock-step, from the bottom of the fader throw to the top in a continuos cycle. The speed at which the faders cycle is determined by adjusting the scrub/shuttle wheel. Sine test mode places the faders on Control|24 in a test mode where the faders cycle, in a sine wave shape, from the bottom of the fader throw to the top.
Group Test Mode Touch Test Mode Group test mode places the faders on Control|24 in a test mode where the faders become grouped and can be moved, lock-step, to indicate that all faders are operating properly in a grouped fashion. Touch test mode places the faders in a test mode where the scribble strips indicate when a fader has been touched and at what frequency the fader is currently recognizing.
Rotary Test Page The Rotary test page provides you with a way to check the operation of all rotary encoders on Control|24. This includes the SCRUB/SHUTTLE wheel. This test does not include the mic-pre or submixer analog pots. To enter Rotary test mode: 1 Press the flashing encoder switch below the la- bel “Rotary.
To access footswitch SW1 settings: Press the flashing encoder switch below the label “SW1.” Sys Reset Page ■ The text label “SW1” will be displayed on the far right dual 4-character scribble strip display in the CHANNEL BAR. The Sys Reset page allows you to reset Control|24 to the factory default settings. To reset Control|24: 1 Press the UTILITY switch. The switch LED PlayStop is the default function choice and is indicated by the solidly lit encoder switch LED below this choice.
8 Press the flashing encoder switch below the The following functions will be checked: scribble strip showing “Yes” to reset Control|24 to the default factory settings. • Communication board RAM check. 9 Control|24’s settings will be reset, the Sys Re- set menu will be exited and the system will be placed in the main UTILITY menu. You can also press the flashing UTILITY switch to exit the UTILITY mode entirely and revert to the previous Control|24 operating state.
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index Symbols @ 112 Numerics 10Base-T 8 15 dB (DIM) 58 5.
C Channel Bar 50 cleaning 7 CMD/CTRL switch 49 configuring Pro Tools 36 Control|24 and signal routing 101 system requirements 3 controller focus 39, 114 Counter 41 COUNTER MODE switch 41 CTL/CLUTCH switch 49 cue mixes 98 D data encoders 66 DEFAULT switch 69, 114 DOWN switch (navigation) 73 DYN In/Edit 67 DYN switch 49, 113 bypass mode 68 E Edit and Timeline linking 80 Edit mode (plug-in) 113 EDIT MODE switches 82 Edit modes 82 EDIT switch (window display) 42 Edit Tool switches 82 Edit Window Follows Bank
I M IN switch 46, 47 inactive indicator 112 Input Only mode 89 INPUT switch 66 inputs alternate sources 19 assigning 87, 88 INS/BYP switch 68 Inserts View mode 109 INSERTS section 109 INSERTS/PARAM switch 109 installation configuring Pro Tools 36 Ethernet connections 8 power connections 7 Instrument tracks tracks Instrument tracks 102 machines, external see EXT TRANS 47 maintenance 7 markers 77 MASTER BYPASS switch 110 Master Faders 102 MEM-LOC switch 42 MEM-LOC switch (window display) 42 memory location
N NAV (navigating) 73 Navigation mode 73 network 4 NEXT switch (navigation) 73 NUDGE switch 44 and Master Faders 103 nudging 83 Numeric Keypad 43 and Shuttle Lock mode 75 and Shuttle mode 76 and Transport mode 48 O OFF switch (automation) 118 Offline status 41 Online 90 OPT(ALT)/ALL switch 49 OUT switch 46, 47 OUTPUT switch 66 outputs assigning 88 multiple send assignments 105 Plug-Ins 109 assigning 110 assigning inputs from 88 automating 124 automating in Flip mode 125 displaying in channels 112 editing
S SAVE switch 42 scribble strips (channel displays) 62 SCRUB fine control 74 Scrub with Trim 75 scrub/shuttle editing 76 Scrub/Shuttle Wheel 74 scrubbing 74 SELECT 64 Select Adjust mode 73 SELECT switch (channel) 64 SELECT switch (edit tool) 82 Selection Indicators 79 selections creating 78 creating using memory locations 78 extending 82 moving range 77 moving up and down 73 using scrub/shuttle 76 Sends muting via PRE/POST/ASSIGN/MUTE 105 sends and multiple output assignments 105 and signal routing 103 assi
T Talkback 58, 59 TALKBACK switch 60 target (Plug-In window) 114 TOOL switch 82 TOUCH switch 118 TrackInput monitoring 89 TrackPunch 95, 97 tracks Auxiliary Inputs 101 Master Faders 102 TRANS switch (window display) 42 Transport 41, 45 Back/Forward functions 45 mode for numeric keypad 48 Shuttle mode 76 Special Function switches 46 Transport mode (numeric keypad) 48 Trim mode (automation) 122 TRIM switch (automation) 118, 122 TRIM switch (edit tool) 82 Trim with Scrub 75 U UNDO switch 42 UP switch (navigat
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