S6 Tip ‘o the Day

[WildHoney]

Jeff, these continue to be great. Thank you for doing them.

[creativecontrol]

Let's take a closer look at Expand Faders, with an emphasis specifically on EQ. When mapping a reverb, multi-band compressor, noise reduction processor or any other plug-in which is not classified as an EQ or DYN, individual Expand Fader maps are going to need to be created at least once (then likely stored in your template) for each different plug-in. With EQ (magenta) maps, an Expand Fader map can be created and reused for any plug-ins that support the dedicated EQ pagetables on S6.

I wanted to show an example of, not only creating the map, but using the EQ cycle function to roll through 10 of the following EQ plug-ins from Avid and our 3rd Party partners:



Here's the list of EQ's inserted on to track A:
Avid EQ3-7
Focusrite d2 6-Band
Avid Channelstrip
DMG EQuick
Avid JoeMeek EQ
DMG EQuality
Fabfilter Pro-Q2
McDSP AE400
McDSP Filterbank 202
Sonnox Oxford EQ + Filters

Once we create the map, you can observe that the assignments to the parameters are fixed whether or not the next and previously cycled EQ plug-ins on the track contain those parameters. Essentially, your map should contain the most important parameters that you might need, and if a plug-in has less, it will show what it can.

There's a slight error in my video with regard to the way I reference the 2 different EQ Expand Fader map pages. To be very specific, page 1 (which I refer to as page 2) is shown here:



...which contains HPF and LPF plus parametric controls from Low-Mid and Hi-Mid bands. It's not terribly important, and actually somewhat arbitrary once you've defined the parameters, but I wanted to make sure no confusion was created by my reference.

So - experiment with the idea of creating YOUR ideal EQ map and take advantage of the fact that once the parameters have been assigned, they can be reused for any other EQ plug-ins.

https://www.dropbox.com/s/4hqv6z4bkd...2418a.mov?dl=0

[o-matic]

This one is awesome ! Thanks Jeff :)

[creativecontrol]

Let's explore the idea of creating Track Layouts from elements in a DADman monitor profile plus Layouts composed from Pro Tools session elements to access within Spill Zones in a kind of split-console super bank. This workflow example requires a bit of setup, so please stay with me.

We have a monitor profile created in DADman, connected and controlled from our S6 console that contains Source Inputs and Outputs (Speakers) for the Control Room as well as Monitors A, B, C & D. For this example, we are going to focus on Monitor D, which you can see here:



Let's break down the Sources and Outputs contained within Monitor D, which is one of the 4 available talent mixes:

PTHD: 7.1.2 wide path from Pro Tools that can feed Stereo up to Atmos
Mac Pro: DVS: Dante Virtual Soundcard - Channels 1-2 from Mac, iTunes + More
Moog: Sub Phatty Analog Synth
LIVE: Ableton Live via Dante Virtual Soundcard - Channels 3-4
CUE A: Submix coming from Pro Tools via DigiLink 15-16
CUE B: Submix coming from Pro Tools via DigiLink 17-18
CUE C: Submix coming from Pro Tools via DigiLink 19-20
Outputs: KLANG quelle: 4 Stereo Pair Dante Headphone D/A (Pair 4)
Fold Down: This is where FoldDown and UpMatch matrixes are applied

So, in a nutshell, I can send talent either the Main Mix from Pro Tools, iTunes, Ableton Live, or specific sets of stems blended on the S6 composed from CUE A - CUE D. Let's look at the architecture of the Pro Tools session, starting with the SubMasters which are simple Stereo AUX Input tracks where all of the food groups for this music session flow into:



During the section where we begin routing from the Sends on the SubMasters, we are using the idea that we can instantiate everything but the kitchen sink we may need, then simply deactivate, leaving just the essentials. When we need to apply a Send route, simply hold COMMAND + CONTROL on the Fader Module switches while pressing a SEL switch on a Send to activate it. You can see that Drums and Bass are going to CUE A, Guitars and Keys are going to CUE B, and BGV's and Vox are going to CUE C.

We've also created Stereo Master Faders as a final gain stage and safety precaution using TrackLimit plug-ins on each from DMG Audio, as you can see here:



We are taking advantage of Track Layouts in both DADman and Pro Tools, collecting the Source Inputs and the Monitor D master in the Monitor Profile, then collecting the SubMasters and the Stereo CUE Masters in Pro Tools. Loading these saved Track Layouts into Spill Zones gives us the flexibility of seeing and controlling all of these elements in context, to provide talent with the best blend of audio elements in real-time.

https://www.dropbox.com/s/r4ftz2m4is...0118a.mov?dl=0

[creativecontrol]

For this TOD I wanted to do a simple breakdown on a possible collection of preferences located on multiple S6 pages which can contribute to a more streamlined workflow for the operator. This is one possible path among many.

We start on the Tracks page and immediately enable Display Breaks on Track Color to quickly clean up our track matrix which helps manage large sessions when trying to find specific tracks. After enabling, we can scroll down till we get to some of our primary Vocal tracks which are easily identified in Yellow. Back into the Local Options (gear icon) on the Tracks page, and we will also enable Show Home Screen on Track Attention and Auto Bank to Attentioned Track. Now, when we Attention LD Vox Main from the Tracks page we are immediately taken to the Home page and, based on the Auto Bank to Attentioned Track preference, all of the faders on the console immediately bank within the range of the touched track based on the justification settings.

Next, we’ll dig into the Local Options (gear icon) for the Home page and tweak a few settings. Track Scroller Follows Attentioned Track allows me to ensure that whether I attention a track from the S6 Fader Module Attention button or by touching on the Tracks Page, the scroller at the bottom of the page is always going to center justify to show me the Attentioned track relative to the whole session. We’ll simplify the center real estate of the Home page window by enabling Knob View: Selected Function, filtering out other virtual knobs that are not part of the currently selected function scroller module. For Open Plug-Ins on Workstation When Knobs Assigned, the S6 is looking to the Master Module to bring up the appropriate plug-in windows for EQ, DYN, or other individual Inserts. Next, we’ll tweak the Function and Knob Page Selected on Attention Page and Backup Function and Knob Page Selected on Attention Page. Essentially, we are going to tell the S6 to try and access EQ as the first priority on the Home page and its adjacent docked encoders. If that particular function is not available on the Attention track, then next try and bring up DYN. The second pop-up options for both the Primary and the Backup function refer to the specific page to display when EQ or DYN is brought up. So for example, if always wanted to make sure the High-Pass Filter was visible, we could choose EQ, then specify Page 2. Lastly, Auto Show Function Graph on Selection is going to ensure that when the EQ or DYN function is brought up on the Attentioned track, it will also display the appropriate Curve in the center real estate of the Home page.

If we touch LD Vox Main while in Attention mode on the Tracks page, the console faders bank to that track range and we are immediately brought to the Home page with the EQ function accessible on the docked encoders, with the EQ plot visible in the center. If we touch Sends, dock them to the right side encoders and press the Lock, S6 will remember this collection the next time we access this track. Returning back to the Tracks page, this time we touch LD Rev vox, again while in Attention mode, and since this track doesn’t contain an EQ, the Fabfilter Pro-C2 compressor is accessed instead, our backup function: DYN. Let’s do the same locking trick again, but this time with the Input function. We’ve touched Input and docked the Mic Preamp parameters over to the right side encoder and pressed Lock. Again, you can see that the Track Scroller at the bottom of the Home page is centered around the tracks we’ve been working with. We can touch back to LD Vox Main from here (blue outline indicates Attention), and we get 2 bands of EQ controls on the left - but since we locked Sends to the right, those take precedence. Let’s touch back to LD Rev vox using the Tracks Scroller at the bottom and you can see that once again, EQ does not exist on this track, so DYN is brought up with Threshold, Ratio, Attack and Release always showing up justified on the bottom-left docked encoders. Our preserved Mic Preamp and Input controls are available as a result of the Lock on the right side encoders.

A few thoughts about preserving these settings once you’ve settled on an appropriate collection of them for your workflow. I would recommend navigating to Settings > User and touching Save to create an actual file containing these settings. You can either save this to the local S6 SSD, or pop a flash drive in one of the USB jacks on the back of the touch-screen and save it to your jump drive for portability. In the event that you are moving around between rooms, rigs and facilities, you can take advantage of the Auto-Load preferences under Settings > System and tick the User Preferences box. This will ensure that when the Pro Tools session is loaded, (assuming you’ve correctly targeted the Workstation with the Blue Star) it will also restore your operator-specific console preferences.

Preferences can be a bit intimidating for the novice and advanced S6 user alike. Experiment with the settings above and we will circle back with additional preferences and workflows to explore down the road.

[creativecontrol]

Let's explore the idea of integrating an intelligent KVM solution into the S6 environment. A KVM system can provide improved workflow, single point access to any workstation within a facility, as well permission-based security for limiting access to sensitive systems. We currently support KVM solutions from IHSE, Gefen, G&D, and are working on adding additional products into the mix.

For this example, we will be exploring a Draco Tera system from IHSE, which is undoubtedly the most flexible and powerful KVM solution available offering S6 integration. Here's a few links to explore the product families and capabilities from IHSE directly:

https://www.ihse.com/draco-tera-compact/
https://www.ihse.com/case-studies/br...st-production/
https://www.ihse.com/wp-content/uplo...chure-avid.pdf

Let's first define the configuration that we will be using. I've connected a Draco Tera compact 1-U rack which includes connections for 4 CPU's, and has an integrated 16-port matrix switch. I'm leveraging a Draco vario for my 2 console connections which is connected to the same switch. Here's the breakdown of the workstations (CPU's) and displays (Consoles):

CPU'S
HDX_CHEESE: HDX System running on legacy Mac Pro Cheese Grater
HDN_MINI: HD Native Thunderbolt running on i7 Mac Mini
MBPRO_LOGIC: Logic Pro X running on MacBook Pro
DOLBY_RMU: Dolby Atmos Mastering Suite running on Dell Server (HTRMU)

CONSOLES
CONTROL_ROOM: Primary LG Panel on VESA arm of S6, Trackball, QWERTY
CONTROL_TWO: 2nd Display Panel (often a mirror) + peripherals

Starting on the Workstations page, you can see the 4 systems running WSControl that have been discovered on the network. We'll first travel to the System settings page under KVM Switch where we can tick Support Enabled. This creates a new primary menu header at the top of the Master Module labeled KVM. From this page we can tell the S6 which type and brand of KVM we are using. Since we are using an IP-based solution from IHSE, we'll select IHSE Draco Tera (Ethernet). You should now see Workstation Inputs, Terminal Outputs, as well as the KVM Assignments on the right side of the interface. We need to make associations or pairings between Workstations, CPU's and Consoles. But first, we need to input the IP address of the IHSE Matrix. This can be found on the Status page of the On-Screen Display. Press Sync KVM and you should see the CPU and CON units appear in the proper columns. The naming conventions are completely up to you, and can be defined within the configuration pages of the IHSE settings.

Next, let's make those assignments between the CPU and CON units. We're dragging the HDX system to pair with the primary display in the Control Room for the S6. We'll do the same for the HD Native system - assigning it to the primary Control Room console. For the MacBook Pro and Logic, let's try something different. For this rig I would like to mirror the monitor on both the primary S6 VESA arm as well as a secondary (CONTROL_TWO) panel. We can do this by simply adding two Terminal Outputs paired with the one Workstation. Lastly, we'll drag over the Dolby RMU and have that paired only with the 2nd display console. From the Workstation page, let's drag our 4 systems over to the Connected column so we can start working with them.

If we touch a Workstation such as HDX_CHEESE it is Attentioned - framed in Blue to indicate the tracks from that system are now populated on the S6. It also shows a small Eye icon to indicate the focus of the KVM system. So in a single touch, we've brought the tracks onto the S6 for this workstation and we've switched the trackball, QWERTY and display to see it. Simply touch any of the 4 Workstations on the Master Module or from the MTM Soft Keys to change the S6 and KVM focus. It is also possible to keep the S6 track focus (again Blue Workstation outline) and simply change what the KVM is looking at. You can do this by holding the Shift key on the Master Module while touching any of the 4 Workstations. You will notice the Eye moving to indicate the current focus of the KVM.

One of the most powerful benefits of the KVM Integration is the ability for the system to automatically show the appropriate Workstation on attention while you are working. The following preferences under User settings make this possible:

Focus Workstation of Most Recently Attentioned Track is the most important setting to enable allowing the KVM focus to follow the Attentioned track. The following additional preferences provide further flexibility and workflows based on the same idea.

Attention Track of Most Recently Selected Solo
Attention Track of Most Recently Selected Function

Essentially we can now Solo, press an EQ or DYN function switch or press an Attention switch on a channelstrip and the IHSE KVM will automatically (in the blink of an eye) show us the appropriate workstation. We'll also enable the Show Track Number and Show Workstation Number options to help show which tracks belong to which workstations.

To take advantage of this functionality we can create and Recall an aggregate Track Layout composed of tracks from multiple workstations. We have 2 Pro Tools systems - HDX and HDN, plus a Logic Pro X system. We've recalled Layout named CompA which has a subset of the tracks from these 3 systems. Pressing Attention on any track within the layout will focus the appropriate Workstation and recall the pairing that we set up for the KVM CPU and Console. If we look at the Home page you can see track MX_5.1 which is Attentioned and (upper left) shows as Workstation #1, Track #3. Let's attention another from the same layout - Grouch.72 - Workstation #2, Track #4. Lastly, Big Room which is part of the Logic rig, Workstation #3, Track #1.

By integrating a KVM solution, such as the IHSE Draco Tera, the S6 starts to feel like you are driving a single audio workstation, however with the benefit of aggregating and controlling tracks from up to 8 different EUCON-based systems.

[creativecontrol]

Let's revisit some of the concepts associated with the Master Meter Module. On an M40 System, up to 2 Display Modules can be allocated as Master Meters. Master Meters can display from 8 up to 32 high-resolution meters on a single display, and can be assigned to show either Meters only or Waveforms and Meters. Meters have their own dedicated Layout Type as well as the ability to pair a Meter Layout with a Track Layout.

Master Meters can display meters from a single Pro Tools system, up to 8 Pro Tools systems (great for source machines and stem recorders), or a combination of Pro Tools, DADman, Logic and any other EUCON-enabled applications. From the System > Settings under Auto-Load from Titles and Sessions, Layouts and Meters is the data type that needs to be enabled to ensure that your Master Meter Layouts are restored when the Pro Tools session loads.

Let's start by examining a few different options for configuring a Master Meter Module. To change an existing Console Display Module into a Master Meter, go to Settings > Surface and choose Config then Display. Simply touch the Fader Module living in the same bucket at the Display Module you want to declare as a Master Meter. There's a subtle change with the icon representing the display on the Surface page that you will observe (straight vertical lines turn to to dashed vertical lines). To remove the Master Meter assignment, simply return back to the Surface page and choose Display > Clear.



It's also possible to add a Master Meter to your existing S6 configuration, either in a bucket with an optional Post Module (often used to correlate print tracks on the stem recorder), or simply by adding a completely blank module to the config. As you notice in the flow below, this meter is automatically added as a Master Meter since the bucket containing it does not include any Fader Modules. So, this is now a dedicated Master Meter Module that can recall collections of tracks from one more more attached workstations.



The Master Meter shown above is not bound in any way by the virtual blank bucket that we added to the system configuration. As you see below, I've added a dedicated Meter Module to my system in the same way, however mounted the panel to a side note desk that sits adjacent to my S6 frame. For my purposes, it's great to have a reference for MTRX monitor sources, stem inputs or metering on chains and submasters from Pro Tools. Here's a picture of the standard display module with the factory mounting bracket applied to some custom furniture. As long as you provide external Ethernet and 12v power you can make this work.



Finally, let's take a look at how to create a Meter Layout composed of sources and speaker outputs using MTRX and the DADman software. From the Tracks page, press Shift + Tracks to turn the bottom destination scroller into a Meters view. Press Assign to start making assignments for your Meter Layout. From the Local Options (Gear Icon) choose the number of Meters (8, 16, 24 or 32) and whether you want Meters only or Waveforms and Meters. Note that each individual Meter Layout can have distinct formatting settings which will be stored and recalled. Since we want to harvest Cue Monitors and Control Room sources and outputs, Application Switch over to DADman and notice the Tracks page is now populated with tracks from your currently loaded Monitor Profile (.dmprof file). I've chosen to add 16 meters, 2 rows, with my Control Room sources on the top row ending in the main Control Room output. The second row I'm populating with sources feeding the 4th Cue mix which is ultimately feeding out into a KLANG headphone DA via Dante. To finish the assignment, press Store, name the Meter Layout (and optionally link it to a Track Layout), then press Store once more.

[creativecontrol]

Let's return back to the topic of S6 Console Preferences, and how best to manage them. In the previous Prefs entry, I mentioned that it is highly recommended to used the Load/Save functions at the bottom of the Settings > User page to create and maintain a saved state for each individual console operator. Although there is a way to also save console preferences and have them travel with the Pro Tools Session File (Auto-Load Settings), this can be dicey if your workflow and the way you approach the console evolves over time. It's possible that you may recall a legacy session and realize you've completely changed your approach to Banking, Spill Zone Justification and more. For this reason, I would recommend creating appropriately named and dated user-based preference files, and save them everywhere: locally on the S6 SSD, on your jump drive shuttle that gravitates to the back of the S6, and perhaps even within a subfolder of your Pro Tools session hierarchy.

The Console Preferences saved include, not just the Settings > User page items, but also the options contained within the Local Options (Gear Icon) of the Tracks, Home, and Workstation pages. It can be challenging to remember all of the various locations of where to find specific Prefs. I would recommend taking a look at the QuickJump for Preferences that can be recalled by holding a Shift switch on any Fader Module while pressing the Asterisk (*) on the numeric section of the Automation Module. This gives you single page access to all of the important preferences sourced from multiple S6 pages. The Home and Tracks pages have their own columns, while Strips and Attention options are classified and color-coded individually. Auto-Load (System settings) and Auto-Expand (User settings) options have dedicated submenus that can be accessed from the main Preferences page as well. Hopefully, by leveraging the Soft Keys QuickJump, you will find a better way to toggle and manage your S6 Console Preferences.

[creativecontrol]

Let's take a look at a comprehensive view of the functions which can be accessed by using the Shift switch on the Master Module.



Shift + WS: Access the Workstations page on the Master Module
Shift + Layout Mode: Recall the last opened Layout & enter Layout mode
Shift + Tracks: Access the Master Meter Module arrangement
Shift + L Spill: Close the Left Spill Zone
Shift + R Spill: Close the Right Spill Zone
Shift + <: Toggle Mix / Edit Window
Shift + >: Close the most foreground Window
Shift + <<: Bank to the First Track (Home)
Shift + >>: Bank to the Last Track (End)
Shift + Flip: Exit out of Flip Mode (without having to cycle)
Shift + Display 1: Next Display Module Preset (global)
Shift + Display 2: Previous Display Module Presets (global)

Shift + Assign (MTM): Assign tracks to the Post Module


Jeff

[creativecontrol]

Happy New Year!

For this TOD I wanted to dive a bit deeper into controlling EQ plug-ins on the console. For this example, we are using the new Pro-Q3 plug-in from Fabfilter which is quite excellent. Let's discuss the various ways to get your hands on an EQ plug-in from the S6:



Channelstrip: A Vertical orientation, traditional console-style view capable of displaying the most controls in the least amount of real estate. If you've got a 5-knob configuration, you can see controls for 2-bands of EQ per strip at a time. With a 9-knob configuration, you've got 4-bands per strip, before you start hitting the Page buttons. I recommend enabling the preference under Settings > User for Reverse Function Pages for 5-Knob Strips so that the orientation starting on the first page builds from the Low Band, and up to High Band, then ending with Filters and I/O.



Expand: A Horizontal orientation, single page, dedicated and predictable, with fixed columns of data representing each individual band. Expand view is definitely recommended if you are just getting your bearings on the console. Having a single page with fixed parameters translates into a consistent interface regardless of how many bands the Avid or 3rd Party plug-in you choose happens to have.

Insert Parameters: When accessing an EQ plug-in (in Expand or Channel view) from Inserts View (Teal) -> then diving into Insert: Parameters View, you have the ability to access advanced parameters populated by the plug-in manufacturer that are not otherwise accessible from the dedicated EQ views. Fabfilter Pro-Q3 now offers dynamics control for each of the 24 EQ bands in the plug-in. The Expanded Insert Parameters pagetable for this plug-in (Teal) offers interleaved columns of EQ Bands (1-24) with their associated Dynamics controls paired together. This allows you to access Dynamic Range, Threshold and Dynamics enable functions for each of the different EQ bands.

As always, every 3rd Party Developer is responsible for their own implementation of the pagetables which inform the S6 on how to display the parameters from the EQ plug-in. Fabfilter has done an excellent job of formatting their Pro-Q3 plug-in for both compatibility and advanced control.

https://www.dropbox.com/s/cu03r2e7ga...10319.MOV?dl=0