USER MANUAL

The information in this document has been carefully verified and is assumed to be correct. However, the AD SYSTEME company reserves the right to modify the product described in this manual at any time with a view to its improvement. This document is the property of the AD SYSTEME company and may not be copied or reproduced by any method whatsoever, whether in part or in full, without the written authorization of the AD SYSTEME company. (c) COPYRIGHT 1992-93-94-95 AD SYSTEME - All rights reserved Manual version 1.3- January 1995 Software OPTIFILE TETRA version 1.1T

CONTENTS

INTRODUCTION.......1 BEFORE YOU START.......2 THE OPTIFILE TETRA SCREEN.......2 KEYBOARDS.......3 QUICK KEYS.......3

QUICKSTART.......5 START HERE.......5 THE FIRST BALANCE.......5 GROUPS.......6 MASTER STATUS.......6 INDIVIDUAL STATUS.......7 MOV7E STATUS.......8 SETTING THE STATUS.......9 THE LOCAL STATUS MODULE.......10 THE MIX.......10 MODIFYING (UPDATING) THE MIX.......11 AUTODROP.......12

SYSTEM ARCHITECTURE.......14 POWERING THE SYSTEM.......15 DISPLAY CONSOLE ZONE.......15 FADERS.......16 MUTES.......16 CONTROL ZONE.......17 GROUPS.......17 PC TYPE KEYBOARD.......19 POWER KEYBOARD.......20

ALL ABOUT DISKS.......21 FORMATTING DISKS.......21 PROTECTING DISKS.......22

TIME CODE.......23 ENTERING TIME CODE VALUES.......24 TIME CODE STATUS INDICATOR.......24 OFFSET FUNCTION.......24

VCA SUB GROUPING.......25 CREATING A GROUP.......25 MODIFYING A GROUP.......26 DELETING A GROUP.......26

RAM BUFFERS.......27 STATUS.......28 MASTER STATUS.......28 FADER / MUTE STATUSES.......28 SETTING THE STATUS.......36 THE LOCAL STATUS MODULE.......37 AUTOREC.......38 AUTODROP.......38 KEEPING OR UNDOING MIX MODIFICATIONS.......39

CONTENTS

TITLE HANDLING.......41 SETTING A TITLE.......41 LOADING A TITLE.......42 COPYING TITLE.......42

MIX HANDLING.......43 DISPLAYING THE MIX LIST.......43 THE SAVE MIX COMMAND.......43 THE LOAD MIX COMMAND.......43 RENAME MIX.......43 DELETE MIX.......43 LOADING CONSOLE OR RESETTING MIX.......44

ADVANCED FEATURES.......45 COMPARING MIXES.......45 MERGING MIXES.......45

UTILITY COMMANDS.......47 SETTING THE DATE AND TIME.......47 DISPLAYING THE DATE AND TIME.......47 SETTING NEW TIME CODE.......47

EXTENDED SOFTWARE OPTION.......48 EXECUTE FUNCTION.......49 CUE LIST HANDLING.......51 CUE LIST HANDLING.......51 DISPLAYING THE CUE LIST.......51 THE HERE KEY.......51 ENTERING CUE POINT.......51 RENAMING A CUE POINT.......52 EDITING THE TIME CODE VALUE OF A CUE POINT.......52

TRACK HANDLING.......53 DISPLAYING THE TRACK LIST.......53 EDITING THE TRACK LIST.......53

APPENDIX.......54 COMMAND LINES.......A1 DIRECT COMMANDS.......A1 STATUS COMMANDS.......A2 GROUP COMMANDS.......A3 BUFFER MODIFICATION HANDLING COMMANDS.......A3 SET COMMANDS.......A3 SAVE COMMANDS.......A3 LOAD COMMANDS.......A4 DELETE COMMANDS.......A4 RENAME COMMANDS.......A4 COPY COMMANDS.......A4 LIST COMMANDS.......A4 LOCATOR COMMANDS.......A4 UTILITY COMMANDS.......A5

CONTENTS

QUICK KEYS AND MENU STRUCTURE.......A6 FROM CONSOLE MENU.......A6 FROM TITLE MENU.......A6 FROM MIX MENU.......A6 FROM CUE MENU.......A6 FROM TRACK MENU.......A7 BUFFER COMMANDS FROM CONSOLE PAGE.......A7 EXECUTE COMMANDS.......A7

THE UTILITY SOFTWARE.......B1 ADJUSTMENT.......B1 ADJUST - FADER UP ADJUSTMENT.......B2 ADJUST - MINUS 20 dB VCA GAIN ADJUSTMENT.......B2 ADJUST - 0 dB VCA GAIN ADJUSTMENT.......B2 ADJUST - FADER DOWN ADJUSTMENT.......B3 ADJUST - FADER MID ADJUSTMENT.......B3 ADJUST - FADER LINEARITY ADJUSTMENT.......B3 SYSTEM - FADER TRANSCODING TABLE.......B4 SYSTEM - SETTING THE NUMBER OF CHANNELS.......B5 SYSTEM - SETTING THE FADER LAW.......B5 SYSTEM - SETTING THE TIME CODE TYPE.......B6 SYSTEM - CHANGING THE NAME DISPLAYED ON THE CONSOLE PAGE.......B6 SYSTEM - SCALE - SCALE.......B7 SYSTEM - SCALE - LOOKUP.......B7 TEST - RAMP.......B8

LINEAR FADER ADJUSTMENT.......B9 COMPUTER PARAMETERS SELECTION.......B9 ADJUSTMENT OF THE POTENTIOMETERS.......B9

TECHNICAL INFORMATION.......C1 PINOUT OF THE TIME CODE CONNECTOR.......C1 PINOUT OF THE VCA CONNECTORS.......C1 RIBBON CABLE PINS AND LEADS IDENTIFICATION.......C2 PINOUT OF THE KEYBOARD CONNECTOR.......C3 SETTING THE KEYBOARD TYPE.......C3 VIDEO OUTPUT SPECIFICATIONS.......C4 PINOUT OF THE VIDEO CONNECTOR.......C4 GROUND TERMINAL CONNECTOR.......C5 MAINS AND FUSE.......C5

INTRODUCTION INTRODUCTION

OPTIFILE TETRA is a complete, integrated system with its own computer, keyboard and monitor interface requiring only a source of SMPTE to run it. The VCA cards fit directly into most popular mixing consoles without the need for modification, providing up to 64 channels of level and mute control. Additionally, the system may be fitted to many other types of console with minimum modification. Specially developed digital circuitry is used to read the fader position to a resolution of 0.18 dB and this data is then used to control the VCAs, which in turn, regulate the analogue signal level and provide mute switching. Sophisticated circuitry avoids the ‘zipper’ noise often associated with stepped gain control systems and ensures the mute switching is completely silent. Aside from straightforward level and mute control, Optifile Tetra also allows the creation of up to nine VCA subgroups. These subgroups may be controlled from any designated fader whether a part of the group or whether independent from it. Though technically very sophisticated, the OPTIFILE TETRA system has been designed for ease of use; the operating system is very intuitive and works in a way that will be largely familiar to those who regularly work with industry standard automated consoles. The high-resolution, colour display provides a graphic representation of the necessary console controls and their status as well as providing SMPTE location readouts and an area for command line entry. All four standard SMPTE formats can be read by Optifile Tetra, and 26 channels can be displayed on the monitor screen at any one time. Mixes are saved to inexpensive 3.5" floppy disks via the inbuilt disk drive, a double-sided, double-density drive capable of storing up to 720 kbytes of data per disk.

1

INTRODUCTION

BEFORE YOU START

Do not attempt to use High Density (HD) disks. OPTIFILE TETRA is not configured for HD disks and data loss will occur if you attempt to use them.

Ensure the system is correctly connected and the internal time code setting matches your time code source. The OPTIFILE TETRA unit should have the time code plugged into the rear of the unit and the code should be at the appropriate level. You should have a supply of 720K 3.5" floppy disks. Do not attempt to use High Density (HD) disks. Format a number of disks before you start, it’s much easier. See the formatting disk section of this manual. Familiarize yourself with the control screen, it tells you everything you need to know about the status of your mix. If you do not want to wade through this manual have a look at the quickeys desription and go straight to the Quickstart, which will guide you through your first mix.

THE OPTIFILE TETRA SCREEN The upper section of the screen is designed to simulate the control surface of a typical recording console with the fader, mute and group settings clearly shown. This Console Zone shows: • The actual fader position and its previously recorded position • The individual fader status • The mute states • Individual mute status • Group status The lower section is called the Control Zone and includes: The General Information Line showing the OPTIFILE TETRA name, the amount of memory used and the memory buffer status; the Record/Rehearse window; the HERE locator window, plus the SMPTE start and end locators used for automatic recording or for automatically entering

2

INTRODUCTION

record at the end of a previously recorded section. • The middle section shows the current SMPTE position in the right hand window and the border of this window shows red when the SMPTE time is within the limits set for the song. To the left is the command area where keyboard commands are shown. • The lower line is the menu bar or prompt line where prompts and messages from the computer are displayed.

KEYBOARDS Tetra needs to know when you want to type a command. Press the ALT key as you press the first letter of your command, with the power keyboard you need to first press the CMD key.

OPTIFILE TETRA is menu driven, the menu bar is on the bottom left hand of the screen. To the left of the command shown in blue is the qwerty key letter which will access that command. in this manual are direct All key commands represented as commands and either have a corresponding dedicated key or a key from the qwerty keyboard. All commands shown as LOAD TITLE are typed commands. To key must be pressed as you type the type a command in full the first letter of the command. If you have the power keyboard, first key, this removes the menu and allows direct press the commands to be entered from the > prompt. key. Should you wish to see the menu again just press the Most of the commands can be typed in full but in practice using the dedicated key is easier. All commands in this manual refer to the power keyboard, and unless stated otherwise it is assumed that you are in the console page.

QUICK KEYS The following qwerty keys (quick keys) access all the menus: accesses the Title menu accesses the Console page and menu accesses the Mixlist page and menu

Set / Load / Copy Console page Save / Load Rename / Delete

3

INTRODUCTION

accesses the Cue list page and menu accesses the Tracklist page and menu accesses the Mode menu

accesses the Group menu

Base Edit Tc / Edit NM Delete Edit Drop / Rec / Set - Start / + Start - End / + End Sets up group

The following qwerty keys are direct access commands and can be used whatever the menu displayed: accesses the Keep command accesses the Undo command accesses the Execute command

Keeps last modifications Deletes last modifications Executes a mix off-line

4

QUICKSTART

The next section takes the first time user through a simple recording session using the OPTIFILE automation system. Before starting, ensure that the system is correctly connected and that you have at least one floppy disk.

START HERE Format for entering time code is HH:MM:SS.FF and 0 digits can be omitted

Switch on the system. The information screen will show for around ten seconds while the computer runs through its automated checks, then it will be replaced by the work screen. (title), press (set). Insert a floppy disk in the drive and press The command SET TITLE FROM will show in the command line, and the prompt ‘Enter the title start time value or press HERE ’ will show. You can either use the key to load the current time code in or you could type the value in manually. and you can leave the tape running and use the key Press to define the end of the song7 or type the value in manually. If for example you wish to set the title from 0 to 5 mins., just press: The prompt «Press Y to validate » will show in the and the prompt «Insert a new disk prompt line. Press and press ENTER» will show. . If the disk has not been formatted the prompt: Press will «Do you want to format this disk? (Y/N)» show. and OPTIFILE will format and verify the disk. Press

THE FIRST BALANCE After setting the title, all the channel fader and mute status buttons should be shown as depressed with green I’s to indicate that they are in ISOLATE status and that the status is active. The mute buttons on screen should be showing green for all the channels turned on with an open fader. The memory used indicator should be coloured blue to show that no movements have been recorded in

5

QUICKSTART

memory. As soon as the time code received by OPTIFILE TETRA crosses or is beyond the start time, a red border appears around the time code window. It must be emphasised that it is easier to start using the system after you have a good initial balance.

OPTIFILE defaults to ISOLATE. The reason for this is that in these initial stages it will be easier for you to handle the mix without having to worry about the current status of the system, in other words mix as if you have no automation. Isolate is a status that disconnects the faders and mutes from the computer so you can carry on balancing your work.

GROUPS OPTIFILE TETRA has nine groups and it is simple to set them up or delete them. Using groups in the early stages will make your mix easier to manage. To create a group, press , the prompt «Enter the number of the group » will show. Type the group’s number as one digit from 1 to 9 and the numbers for the the members as two digits 0 1, 0 3, 0 4, 1 3, 1 5 etc. Press command MASTER will show, type the number of the master as two digits and press ENTER. A typical command might be:

MASTER STATUS Tetra has two master status settings : Rehearse and Record. There are also five individual status settings associated with the ABSOLUTE, SAFE, UPDATE, MOVE and ISOLATE commands. RECORD acts as a toggle flipping the system between the rehearse and record master status. When the system is set to REHEARSE, fader and mute movements are transmitted to the VCAs enabling the mix to be monitored, but the data is not stored. When the system is set to RECORD, mute and fader data is written

6

QUICKSTART

to the TEMPORARY buffer for those channels selected to ABSOLUTE, MOVE or UPDATE status. Channels set to SAFE or ISOLATE will not be updated. Channels set to SAFE will be controlled by existing mix data while channels set to ISOLATE will respond to manual fader and mute control without changing the data already recorded. When RECORD/REHEARSE is ready but not currently active, the text is displayed on a grey background; when the system is actually in Record, the background is red, whereas in Rehearse it is green. The five individual status settings can be activated or deactivated key. In other words, DROP acts like a safe/enable using the switch toggling between the two states. If a channel shows a depressed button with a colored character showing, that indicates the associated status is currently active.

INDIVIDUAL STATUS

Fader status

There are five different states which you can set for faders and three for mutes. The current status of the faders and mutes is shown in boxes beneath the fader display. Optifile Tetra has the ability to mix statuses on the faders and mutes. For instance you can have some faders in UPDATE others in MOVE, with a totally different set up on the mutes.

Mute switch

Here is how the different statuses work:

Mute status Group

ISOLATE Displayed as a 'I', disengages the fader from the computer. It is ideal for using the groups when tracking, for instance. You could use this status to save a fader pass, so that you can experiment without actually recording the data to the buffer. ABSOLUTE Displayed as a 'A'. This is the “actual ” or the absolute level of the fader. This status is for writing your moves as they happen. You can use this status to re-write a section, erasing any existing moves. Because the fader level may not actually be at the same place as the buffer, care must be taken to null the fader on

7

QUICKSTART

drop ins. Tetra’s intuitive interface helps here - the fader icon changes color from white to red. You can of course use this status for instant level jumps, even using the AUTO-RECORD function to skip level at a pre-set time. UPDATE Modifies data from the base buffer. As soon as you select fader(s) to UPDATE, they automatically null to the buffer shown by the red bars. If you change the level of the fader(s) they will accurately follow the movements previously recorded plus or minus the level difference. This is ideal for just pushing a vocal up 3dB in a particular section. Tetra’s dual buffer system allows updates to be dropped in/out at will. You do not have to decide whether to keep the pass, before rolling back the tape and dropping in. SAFE Reads back the mix from the buffer. You cannot modify your mix in this status. The faders will not function as they are not connected, so moving the faders will not damage your mix.

MOV7E STATUS MOVE is actually 3 statuses in one. MOVE ABSOLUTE If nothing has been written in the buffer, this status is the same as ABSOLUTE. On the first pass, after you have stopped, rolled back, and re-started - the difference becomes evident. The faders instantly go to MOVE FOLLOW and re-null to follow the previously recorded position, just like moving faders! Press the DROP key and all the faders flip status to MOVE ABSOLUTE, holding the current position. So no more time-consuming nulling, and no worries about the fader positions. MOVE READY This status is shown when the tape has stopped to remind you that as soon as you play, the status will flip to MOVE ABSOLUTE.

8

QUICKSTART

MOVE FOLLOW This is the status Tetra selects as soon as you re-start the tape from a portion of the mix already recorded. Tetra nulls the faders automatically for you. But this is the clever bit: as soon as you move a fader the status changes to MOVE ABSOLUTE but only on that fader. So you can carry on where you left off without ever having to worry about jumps in level . In addition, you can use the master DROP key or individual status keys (if fitted) to DROP the channel(s) in and out of record.

All the statuses can be set up individually so that you can mix and match them to make mixing even easier. You could for instance set the mutes in ABSOLUTE, some faders in MOVE, and others in UPDATE. Tetra intelligently recognizes where the recorded and non-recorded sections are, and automatically sets the appropriate status or drops in/out for you. This means that you no longer have to worry about what section you are working on.

SETTING THE STATUS To set the status of channels Tetra needs a command containing three elements. 1. Target or depending on which you wish to set. Type If you omit the target word, the command applies to both faders and mutes. 2. Status , , , or double click or Type either . 3. Address field The address field specifies which channel or channels will be affected. This address field can be a single number if only a single channel is being set, a list of numbers (each number nn nn where has 2 digits) or it can take7 the form several consecutive channels are being set. You can use the left and right arrow keys to add channels to a

9

QUICKSTART

command. To make it easier there is an ALL command. The ALL command can be accessed by double striking the status key. Typical commands might be: Fader Absolute1-4 Mute Safe 12-24 Mute absolute All ISOLATE There is no dedicated ISOLATE key. A double stroke of the or key gives the FADER ISOLATE or MUTE ISOLATE command, while a triple stroke gives the command FADER ISOLATE ALL or MUTE ISOLATE ALL. For safety reasons, once a fader or mute is set to ISOLATE it will no longer respond to the ALL command. To change globally from isolate to another status, you have to toggle through isolate. Typical commands might be: All faders in ISOLATE flip to ABSOLUTE Set all faders to Isolate

THE LOCAL STATUS MODULE The local status control makes life easier by giving you the status at the touch of the appropriate channel button. In essence, pressing the local button puts the Address field in the command for you automatically. All the commands stay on screen for four seconds after any key has been pressed.

THE MIX You are now ready for your first mix. Place all the faders in ABSOLUTE by pressing Place all the mutes in ABSOLUTE by pressing

. .

10

QUICKSTART

Press the

key.

Play the tape from the start, any fader movements made after this time will be recorded. The memory used indicator will immediately turn red to show that movements have been recorded in memory. If you are unhappy about any fader moves, stop the tape, OPTIFILE TETRA de-activates the individual status enabling . you to spin back and listen immediately to your previous movements. . If you move the faders between stopping the tape and dropping into record again you could end up with abrupt level changes as one set of mix settings suddenly switches to another. This may be the effect you are after, but you should be aware of it. The red bars showing the recorded movements are to enable quick matching of the fader to memory should you need it. The color of the fader icon will change to red when the fader is matched. The DROP key toggles from the active status to SAFE.

For safety reasons it is good practice to save your mix to disk. Your mix is stored in RAM so a power interruption will cause the loss of this data. Save regularly.

key to drop into write and carry on with your mix to Press the the end. You do not have to save until you are happy with your mix. Stop and start as you wish. Be careful that you do not wipe any sections of work that you are already happy with, for instance you may over-run a particular section you are working on wiping the movements that you are happy with in the next section. Once you have arrived at your initial mix settings, save the mix to disk, press and either name your mix and press or let TETRA . time it for you by just pressing

MODIFYING (UPDATING) THE MIX The system operates with buffers - a base buffer and a temporary buffer. All modifications to the mix are stored in the temporary buffer. When the data in both buffers is identical, the bargraph display (showing the percentage of memory used) will be blue, as soon as a change is made the display turns red. The procedure results in a current and previous mix being stored in RAM. This double buffer arrangement has the advantage of allowing mistakes to be simply overwritten by running the tape back and

11

QUICKSTART

dropping in. The KEEP command simply copies the temporary buffer to the base buffer and saving the mix to disk has the same effect. To keep and answer to the prompt. the modifications made, press Information stored in the temporary buffer can be deleted with the UNDO command - thus allowing modifications made since the last and keep or save to be erased. To undo the modifications, press to the prompt. answer Think of UPDATING as this: When there was only a 2 track available, engineers recorded the backing track on track one, added the vocal through the desk, and the result was put on track two.

During update the computer calculates moves relative to the base buffer and stores them in the temporary buffer (Obviously to operate correctly the base buffer must contain the current rather than the previous mix). To address this, the base buffer must be made current prior to an update by either keeping or saving the mix. Before starting an update you may want to reset your faders to a . On entering nominal point say 0. Then press update, the fader caps on the display should jump to the tops of the red lines showing the existing mix levels. This is regardless of their actual physical position, so long as they are above the - 30dB mark. UPDATE is only relevant to faders, not to mutes. Rewind the tape to the start and play. The new fader movements will be added to the existing mix data - if a fader is moved upwards from its starting position, then level will be added to the original fader data and, conversely, if the fader level is lowered, the fader level will be reduced correspondingly. key is used as before to activate or de-activate the status The and allows you to listen back to the mix modifications. The mix should be saved at the earliest opportunity.

AUTODROP Autodrop is implemented to automatically protect the already recorded portion of the mix. To do this, TETRA marks the recorded and non recorded portions. When the system encounters a non recorded portion, it drops the status and when it crosses a

12

QUICKSTART

recorded portion, it dedrops the status preventing inadvertent erasure. The autodrop function is enabled when the system is first key. This initialized and can be disabled if required using the mode is essential for the MOVE status (see MOVE later in this manual). You are now ready to try the OPTIFILE TETRA system on a real mix so you can familiarize yourself with its more advanced features.

13

SYSTEM SYSTEM ARCHITECTURE ARCHITECTURE

The OPTIFILE TETRA system has four components: • A 1U rack-mount computer with integral disk drive, • A control keyboard, • A display monitor • A VCA system of up to 64 channels. The VCA system must be installed in the mixing console by a qualified dealer while the other components are simply connected by means of the leads provided. Two mains sockets are required for the computer and monitor. At the rear of the computer are five (8 if the 64 channel upgrade is fitted) identical sockets which accept the cables from the VCA system in the console. Each socket controls eight VCA boards and it is essential that the cables are connected in the correct order as numbered to avoid confusion. There are two further multi-pin sockets: one for the remote keyboard and one for the monitor. It should be ensured that all connectors are properly locked in place during installation. Also on the rear panel is an IEC mains socket, the power switch and a balanced XLR input for connection to the time code output of the multitrack recorder. The computer should be fed from a clean source of mains power and in extremely adverse locations, a proprietary mains filter system and/or uninterruptable power supply is recommended. Because the remote keyboard is both small and light, it may be positioned almost anywhere that’s convenient, but take care to guard against liquid spillage or sources of extreme heat. Likewise, the best position for the monitor must be determined by the user, but avoid locations close to strong magnetic fields such as loudspeakers as these could adversely affect the display quality. Also ensure the monitor is not mounted so close to the console so as to radiate interference onto the mix busses. A minimum distance of 1.5 metres is recommended. All cabling should be tidied away wherever possible and care should be taken to ensure no undue strain is placed on any of the connectors.

14

POWERING THE SYSTEM

Once the system has been correctly connected up, it may be powered up, at which time it will run a series of diagnostic checks and load system parameters from the internal EPROMS. During this time, it will display: • The current date • Program copyright information, serial number and version • The number of channels connected • The type of fader (linear or logarithmic) • The SMPTE format Actual fader position

Previously recorded position

Individual fader status Mute state

Shortly afterwards, the screen will be updated to show the normal work screen. This is divided into two main areas, the top section of the screen showing the console settings (Console Zone) and the lower section - the Control Zone

DISPLAY CONSOLE ZONE The upper section of the screen is designed to simulate the control surface of a typical recording console in so far as the fader, mute and group settings may be clearly seen. This Console Zone shows: • The actual fader position and its previously recorded position • The individual fader status • The mute states • Individual mute status • Group status The display is designed to be intuitive, though some explanation is necessary to understand it fully. Only 26 channels can be seen on the display at one time so the up/down arrows allow the screen to be toggled to give access to all 64 channels (channels 1 to 26, channels 26 to 52, or channels 38 to 64).

Individual mute status Group status

15

POWERING THE SYSTEM

FADERS The actual fader position is shown on screen by an icon representing a fader cap with a yellow line across its centre. The yellow line depicts the fader position that will be stored when the console is in ABSOLUTE mode. In this mode, the displayed fader position will always correspond to the actual fader setting. If a previous mix is in the memory, the fader positions during that mix will be symbolized by a red bar occupying the fader position. These will vary in height (rather like a bargraph VU meter) in accordance with the changing VCA levels. To match an actual fader position to its previously recorded setting, it is only necessary to move the fader so the yellow line on the displayed fader cap rests on the top of the red line relating to that fader and the color of the fader cap changes from white to red. Each fader has an individual status display system which is positioned directly below the fader and organized as follows: • Channels individually set to ABSOLUTE show a red A • Channels individually set to UPDATE show a blue U • Channels individually set to ISOLATE show a green I • Channels individually set to MOVE show a yellow M • Channels selected to SAFE have no specific indication.

MUTES The mute button display line is located directly below the fader status display (the mute buttons being represented by square buttons engraved with the corresponding channel number). When a channel is muted, the button shows gray, while an ‘open’ channel shows green to indicate the channel is on. The mute status line, located directly below the mute buttons, follows the same format as the fader status line and works as follows: • Channel mutes in SAFE show no indication • Channel mutes in ABSOLUTE show a red A • Channel mutes in ISOLATE show a green I

16

POWERING THE SYSTEM

GROUPS The display also indicates any channels that have been assigned as part of a group. VCA sub grouping means that several channels can be controlled by one master fader without the channels having to be physically routed to a subgroup in the traditional way. This is a very powerful feature and a group may be controlled from any designated channel which may either be a member of the group or a totally independent channel fader. Obviously any fader assigned as a group master can no longer be used to independently control its channel level, so in most cases it makes sense to use one of the group’s member faders as the master. Group status is shown below the mute information display lines. The display shows: • Channels not assigned to a group as unmarked • Channels assigned to a group with a gray/blue group button in the depressed position. • The master channel controlling a group ss a blue group button in depressed position.

CONTROL ZONE Memory used window

Menu/prompt line

RECORD/REHEARSE HERE window register

Command area

SMPTE start register

SMPTE end register

Current SMPTE position

The lower quarter of the display window is called the Control Zone and includes a general information line, the SMPTE readout window, a command zone and a prompt line. The upper line of the Control Zone is the General Information Line and shows the OPTIFILE TETRA name, a bargraph indicating the

17

POWERING THE SYSTEM

amount of memory used and the memory buffer status, the Record/ Rehearse window, plus the SMPTE start and end locators used for automatic recording or for automatically entering record at the end of a previously recorded section. The middle section shows the current SMPTE position in the right hand window and the border of this window shows red when the SMPTE time is within the limits set for the song. If the border flashes, it indicates an incorrect SMPTE format or a SMPTE read error. To the left is the command area where keyboard commands are shown as they are entered. The lower line is the menu bar or prompt line where prompts and messages from the computer are displayed.

18

POWERING THE SYSTEM

PC TYPE KEYBOARD There are two keyboards: the standard mini PC type keyboard and the power keyboard. The PC type keyboard has a number of dedicated keys at the top of the keyboard. It does not provide access to some of the machine control functions. It features: • A 6 key individual status section for selection of different statuses. The key and the key are used in conjunction with the , , and keys to select the fader and mute status. • A 2 key address field section. The and keys are used when selecting a group of consecutive channels or when entering two time code limits. key may be used ‘on the fly’ to load a current SMPTE location into the here locator The register or into a command line. • A 3 key locator command section & cue. , and . The key is used to select a cue point. • The key is used to enable or disable the autodrop or autorecord mode. • A 2 key record & drop master status section. : Enables or disables the recording of fader or mute changes. : This functions as a master enable/disable key for whichever status is currently set. Using the standard PC keyboard, hold the key down while typing the first character of the command.

19

POWERING THE SYSTEM

POWER KEYBOARD The power keyboard is a compact QWERTY unit with full size keys and 7 dedicated sections. It features: • A 27 key qwerty section for direct commands over almost all functions. • A 12 key numeric section used to enter numerical values. In conjunction with the(:) key and the full stop (.) key, they are used to enter smpte time code location. • An 8 key individual status section for selection of different statuses. The FADER key and the MUTE key are used in conjunction with theSAFE, ABSOLUTE, UPDATE and MOVE keys to select the fader and mute status. MODE is used to enable or disable the autodrop or autorecord mode. • Direct commands are entered by first pressing the CMD key. • A 2 key RECORD and DROP master status section. • A 4 key arrow section for navigating text. • A 12 key locator command section (including the ESC, ALT, ENTER keys). The FROM and TO keys are used when selecting a group of consecutive channels or when entering two time code limits. The HERE key may be used ‘on the fly’ to load a current SMPTE location into the here locator register or into a command line. The ENTER key is used at the end of a command line. An entire line may be deleted using the ESC key. • The 12 tape command keys are used for entering cues and controlling the tape machine via the machine control software. • A 5 key tape transport section.

20

ALL ALL ABOUT DISKS

Disks must be inserted into the drive with the metal shutter first, label side up. Do not force the disk - it should slide in easily and then lock into place with a gentle click. To remove a disk from the drive, it is only necessary to press the release button adjacent to the disk slot, though this should only be attempted when the Tetra is not writing information to disk. Disks are surprisingly tough, but it is still wise to take good care of them. They are easily damaged by excess heat, by dust getting into the works or by any form of liquid spilled on them. Also avoid the extremes of humidity and cold and keep the disks away from strong magnetic fields such as video monitors, loudspeakers, power transformers and tape degaussers. Disks may also sustain damage if you attempt to withdraw them from the disk drive while the disk is rotating. Note that the OPTIFILE TETRA is configured for double side, double density disks and that the disk drive is not compatible with 1.44 Mbyte, HD high density disks. Data loss will occur if you attempt to use them.

FORMATTING DISKS

Do not attempt to use 1.44 Mybyte HD disks, Tetra is not configured for these disks.

Disks can be formatted before use and this is achieved by inserting a blank disk and typing the FORMAT command. If your Tetra key, and computer has the power keyboard option, press the . With the standard PC keyboard, hold the type FORMAT key down while you are typing the first character of the command key. and press the A message will then appear at the bottom of the display asking you to confirm that you really want to format the disk. Type followed by to continue or followed by to abort the procedure. Formatting takes a couple of minutes so it is worthwhile formatting a number of disks in advance of a session. Do not worry if you forget to format, OPTIFILE will warn you if you try to use a non-formatted disk, it will then take you through the formatting procedure above.

21

ALL ABOUT DISKS

During formatting, the disk track numbers will increment and then the disk will be verified. If for any reason the disk is faulty, a format error message will be displayed in red at the point in the verify procedure where the error is found. Faulty disks should be discarded.

You can use a PC computer to make clones of your disks for safety

Depending on the complexity of the mix a disk will hold approximately between 40 and 50 mix versions of the same song. It is prudent to save mixes regularly, even if they require further editing, as a power cut or supply glitch could corrupt the mix data held in memory rendering it unusable. As a safety precaution, back up important mixes by loading them into the computer, then saving them to a new, formatted disk using the COPY TITLE command. It is also possible to copy the disks directly if you have access to a PC (or compatible) computer system with twin 3.5" disk drives.

PROTECTING DISKS If it is necessary to protect the disk from accidental modification (file deletion, re-formatting and so on), the protection tab should be slid back leaving a small, square hole visible through the disk case. When this tab is closed, the disk may be modified, though you don’t have to worry about inadvertently writing over files as you do with, say, cassette tapes. The only way you can lose files is to physically delete them, using the delete sequence from the keyboard, or by formatting the disk in which case all data will be lost. Saving a new mix to disk will not overwrite existing mixes.

22

TIME CODE

OPTIFILE TETRA is designed to work with the standard SMPTE code formats already in day to day studio use so no additional code generator is provided. Generally, a SMPTE code will be written to the highest numbered track of the multitrack machine and this subsequently will be used to run the OPTIFILE TETRA automation system as well as other external devices such as MIDI sequencers, SMPTE-based video systems and machine synchronizers. The OPTIFILE can read the following formats: • 24-frame/sec (Cinema) • 25-frame/sec (EBU European TV and video) • 30-frame/sec (NTSC TV) • 30-drop-frame (29.94 frame\sec) Incorporated in the OPTIFILE TETRA computer is a sophisticated SMPTE reader which can compensate for occasional read errors or drop outs shorter than five frames. The reader checks the validity of the code after three consecutive frames, but will stop if the code is discontinuous or if a drop out lasts longer than five frames.

If the border around the time code display is flashing, you have the wrong time code set or there is another problem with the code

The OPTIFILE TETRA cannot operate while reading a time code with the following points: • Discontinuous time code. • Drop-out longer than 5 frames. • Transition from 23:59:59 to 00:00:00 hr. To ensure reliable pickup of the code at the beginning of a song, the code on tape should start at least ten seconds prior to the start of the mix. Before commencing work, ensure that the time code format you are using agrees with that set up in the computer unit (See technical information). The current SMPTE format is displayed on power-up before the work screen replaces the start-up screen.

23

TIME CODE

ENTERING TIME CODE VALUES SMPTE values are normally entered using the format hh:mm:ss.ff corresponding to hours, minutes, seconds and frames. However, there are short cuts: Enters 01:00:00.00 (1 hour) Enters 00:12:00.00 (12 minutes) Enters 00:00:23.00 (23 seconds) Enters 00:00:00.15 (15 frames) Enters 01:00:12.00 (1 hour and 12 seconds) Enters 00:02:10.00 (2 minutes and 10 seconds) Enters 00:03:00.14 (3 minutes and 14 frames) Enters 01:00:03.27 (1 hour, 3 seconds and 27 frames) and so on.

TIME CODE STATUS INDICATOR

Check the time code setting on the startup screen, and change with the Utility disk if necessary

The border around the time code window acts as a time code status indicator. A steady red border indicates the system is receiving the correct time code and that the mix is operating within the initialized parameters set. If the border is flashing it could be: • Discontinuous time code • Not enough time code level • The wrong time code type. In the unlikely event of the border being blue, it indicates that there is not enough memory available. If this occurs, it will be necessary to split the mix up into smaller sections.

OFFSET FUNCTION The offset function allows you to change the start time of the mix: OFFSET hh:mm:ss (new start time)

24

VCA SUB GROUPING

One of the most powerful features of an automated console is the ability to provide VCA subgroups. This is achieved without the need to route signals to physical subgroups resulting in a simpler signal path and ultimately better signal quality. OPTIFILE TETRA can handle up to nine such subgroups and these may be controlled by any fader designated as a master. It is not possible to include the same channel in more than one group and any attempt to do so will cause the channel to be included only in the last group created. When the master fader of a group is moved, the computer calculates the corresponding positions for other faders in the group and their level changes accordingly. In order that the master fader has sufficient control range, a fader must be set above its 30dB position before it can be assigned as a master. The above calculations are stored in the TEMPORARY buffer allowing a group assignment to be deleted after use and a new group created containing faders which may have been a part of the previous group. Faders belonging to a group can be identified by the group’s number displayed in the corresponding group buttons. The master of the group will show up as a blue, depressed button.

CREATING A GROUP

Faders below the -30 dB mark cannot be selected as master fader.

To create a group, press . The prompt ‘Enter the number of the group ’ will show. Type the group’s number (one digit from 1 to 9). • This should be followed by the list of numbers of the faders required to make up the group (two digits from 01 to 64). • If the channels required to make up the group are consecutive, the command line takes the form: n nn nn. • If the channels are non-consecutive, then each channel must be assigned to the group individually in the form: n (group number) nn (1st channel) nn (2nd channel). After all the group members have been assigned, assign a master channel to this group, by keying: nn .

25

VCA SUB GROUPING

If the master fader is set below the 30dB mark, an error message will be displayed informing you that this channel cannot be assigned as a master.

MODIFYING A GROUP To change the master channel of a group, key: n nn (nn is the new master channel number). To remove a channel from a group, it is only necessary to assign the channel to group 0, (a non-existent group). For example, to remove channel 12 from a group, key .

DELETING A GROUP To delete an entire group, key:

n

.

26

RAM RAM BUFFERS

OPTIFILE TETRA has an internal RAM buffer to store mix data before it is saved to disk. This memory also holds any mix data retrieved from disk. In fact there are two distinct buffer areas within the OPTIFILE system, and though these are largely transparent to the user, it is worth while obtaining a basic understanding of their function. The two buffer areas are: The BASE buffer which stores initial mix data, and the TEMPORARY buffer which stores modifications to the original mix. When a mix is run through in active SAFE status or deactivated status, the computer accesses both buffers in order to control the VCAs with the latest modified version of the mix. In the ABSOLUTE status, the actual fader and mute button positions are stored in the TEMPORARY buffer as well as being passed on to the VCAs so that the mix can be monitored. When a mix is being updated, the original mix is loaded into the BASE buffer and any subsequent fader movements are summed with the values in the BASE buffer, then stored in the TEMPORARY buffer. The summing process takes the fader’s starting position as zero and so gain can be either added or subtracted from the original mix values as required. During any operation in which the contents of the BASE buffer and TEMPORARY buffer are different, the memory used display shows in red. When the two buffers hold identical information, the percentage readout is shown in blue. Before making an update to the mix, ensure that the percentage readout is showing blue which tells you that no previously recorded data is being overwritten. The memory used indicator gradually fills up as the buffer memory is used up. A full indicator indicates that no more mix data can be stored. In practice, this is unlikely to happen, but it is possible if the mix is very long or extraordinarily busy.

27

STATUS

MASTER STATUS There are two master status settings for OPTIFILE TETRA: REHEARSE and RECORD. There are also four individual status settings associated with the ABSOLUTE, SAFE, UPDATE MOVE and ISOLATE commands. RECORD acts as a toggle flipping the system between the rehearse and record master status.

When the system is set to REHEARSE, fader and mute movements are transmitted to the VCAs enabling the mix to be monitored, but the data is not stored. When the system is set to RECORD, mute and fader data is written to the TEMPORARY buffer for those channels selected to ABSOLUTE, MOVE or UPDATE statuses. Channels set to SAFE or ISOLATE will not be updated. Channels set to SAFE will be controlled by existing mix data while channels set to ISOLATE will respond to manual fader and mute control without changing the data already recorded. When RECORD/REHEARSE is ready but not currently active, the text is displayed on a gray background; when the system is actually in Record, the background is red whereas in Rehearse, it is green.

FADER / MUTE STATUSES The four individual status settings can be activated or deactivated using the DROP command. In other words, DROP acts like a safe/ enable switch toggling between the two states. If a channel shows a depressed button with a colored character showing, that indicates that the associated status is currently active.

28

STATUS

Here is how the different status work: ISOLATE Disengages the fader from the computer. It is ideal for using the groups when tracking, for instance. You could use this status to save a fader pass, so that you can experiment without actually recording the data to the buffer

The VCA signal is fed from the fader, whatever the DROP or RECORD state. The on screen fader will show the fader position.

SAFE Reads back the mix from the buffer. You cannot modify your mix in this status. The faders will not function as they are not connected, so moving the faders will not damage your mix.

The VCA signal is fed from TEMPORARY BUFFER, whatever the DROP or RECORD status. The on-screen fader shows the fader position, while the red bar shows what you are hearing (the VCA).

29

STATUS

ABSOLUTE This is the “actual” or the absolute level of the fader. This status is for writing your moves as they happen. You can use this status to rewrite a section, erasing any existing moves. Because the fader level may not actually be at the same place as the buffer, care must be taken to null the fader on drop ins. TETRA’s intuitive interface helps here - the fader icon changes color from white to red. You can of course use this status for instant level jumps, even using the AUTO-RECORD function to skip level at a preset time.

If the status is non dropped, the VCA signal is fed from the TEMPORARY BUFFER (shown by the red bar). Pressing the DROP key flips the control of the VCA from the TEMPORARY BUFFER to the fader and the RECORD key pressed memorizes that signal in the TEMPORARY BUFFER.

UPDATE modifies data from the base buffer. As soon as you select fader(s) to UPDATE, they automatically null to the buffer shown by the red bars. If you change the level of the fader(s), they will accurately follow the movements previously recorded plus or minus the level difference. This is ideal for just pushing a vocal up say 3 dB in a particular section. TETRA’s dual buffer system allows updates to be dropped in/out at will. You do not have to decide whether to keep the pass before rolling back the tape and dropping in.

30

STATUS

The UPDATE status operates as follows:

At the moment when a fader status switches to UPDATE, the processor stores the absolute position of this fader as INITIAL POSITION. Every time the Tetra computer must record a new value for this fader, it calculates the difference between the FADER POSITION and the INITIAL POSITION. This difference, which can be positive or negative, is then added to or taken from the position recorded in the BASE BUFFER. If the status is non dropped, the VCA signal is fed from the TEMPORARY BUFFER (shown by the red bar) and you listen to what was recorded in the previous pass. Pressing the DROP key sends the update signal (shown on the screen by the fader icon) to the VCA. The RECORD key puts the changes into the TEMPORARY BUFFER.

A fader must be open above the 30 dB position before it can be switched into individual UPDATE status. Note: When using the DROP command to audition an update which has just been carried out, the position of any faders set to individual

31

STATUS

UPDATE status is not affected. Similarly, if a fader (or faders) is already in individual UPDATE status, typing the command will not affect it.

MOVE is actually 3 states in one. MOVE ABSOLUTE If nothing has been written in the buffer, this status is the same as ABSOLUTE. On the first pass, after you have stopped, rolled back and restarted - the difference becomes evident. The faders instantly go to MOVE FOLLOW and re-null to follow the previously recorded position, just like moving faders! Press the key and all the faders flip status to MOVE ABSOLUTE , holding the current position. So no more time-consuming nulling and no worries about the fader positions. MOVE READY This status is shown only when the tape is stopped to remind you that as soon as you play, the status will flip to MOVE ABSOLUTE.

For the Move status to work, the AUTODROP function must be armed. This is shown by the word AUTODROP in the left hand window above the timecode reader.

MOVE FOLLOW This is the status Tetra selects as soon as you re-start the tape from a portion of the mix already recorded. Tetra nulls the faders automatically for you. But this is the clever bit: as soon as you move a fader, the status changes to MOVE ABSOLUTE on that fader only. So you can carry on where you left off without ever having to worry about jumps in level. In addition, you can use the master key or individual status keys (if fitted) to DROP the channel(s) in and out of record. TETRA intelligently recognizes where the recorded and non-recorded sections are and automatically sets the appropriate status or drops in/out for you. In a nutshell, this means that you no longer have to think about what section you are working on.

32

STATUS

In MOVE FOLLOW (Fig 1), the computer stores in the DELTA box the difference between the absolute position of the fader and the position recorded in the TEMPORARY BUFFER. So it does not matter where the fader physically is when you select this status because TETRA renulls the fader instantly. In MOVE FOLLOW, the VCA is controlled by the TEMPORARY BUFFER (red bars & fader icons). Pressing the DROP key or entering a non recorded portion of the mix flips the status to MOVE ABSOLUTE

In MOVE ABSOLUTE (Fig 2), the VCA position is calculated by adding the current fader absolute position and the value stored in the DELTA box. This means that the VCA position is relative to the position in the TEMPORARY BUFFER at the moment the channel flipped from MOVE FOLLOW to MOVE ABSOLUTE. Pressing the RECORD key records the changes in the TEMPORARY BUFFER. Pressing the DROP key or leaving a non recorded portion to enter an already recorded portion of the mix flips the status to MOVE FOLLOW.

Figure 1 MOVE FOLLOW

Figure 2 MOVE ABSOLUTE

33

STATUS

USING MOVE STATUS

Scenario 1 You are in MOVE status and status is non dropped. • Start the tape in the middle of a recorded portion. The status flips to MOVE FOLLOW and the fader follows the previously recorded data. • At the end of the recorded portion of the mix, the status flips to MOVE ABSOLUTE and the fader holds the position of the last recorded frame.

Scenario 2 You are in MOVE status and status is non dropped. • Start the tape in the middle of a recorded portion. The status flips to MOVE FOLLOW and the fader follows the previously recorded data. • Press the DROP key, the status flips to MOVE ABSOLUTE and the fader holds the position of the last recorded frame.

34

STATUS

Scenario 3 You are in MOVE status and status is non dropped. • Start the tape in the middle of a recorded portion. The status flips to MOVE FOLLOW and the fader follows the previously recorded data. • Move a fader, the status flips to MOVE ABSOLUTE and the fader starts erasing movements recorded during the previous pass.

Scenario 4 You are in MOVE READY status. • Start the tape and immediately the status flips to MOVE ABSOLUTE. The fader holds the position at the exact frame you started the tape and erases movements recorded during the previous pass.

35

STATUS

SETTING THE STATUS To set the status of channels OPTIFILE TETRA needs a command containing three elements. 1. Target 2. Status 3. Address 1. Target Type FADER or MUTE depending on which you wish to set. If you omit the target element, the command applies to both faders and mutes.

A fader must be open above the 30dB position before it can be switched into individual UPDATE status.

2. Status Type ABSOLUTE, SAFE, UPDATE or MOVE. Double striking any of the above a omits the need for a target, it applies the status to both mutes and faders as long as they are not in ISOLATE ( see later). 3. Address field The address field which specifies which channel or channels will be affected. This address field can be a single number if only a single channel is being set, a list of numbers (2 digits) or takes the form nn nn where several consecutive channels are being set. You can use the keys to add channels to a command To make it easier there is an ALL command. The ALL command can be accessed by double striking the status key. The complete command will be: [TARGET],[STATUS],[ADDRESS] Typical commands might be: Fader Absolute1-4 Mute Safe 12-24 Mute Absolute All

36

STATUS

ISOLATE

There is no dedicated ISOLATE key. A double stroke of the or key gives the FADER ISOLATE or MUTE ISOLATE command, while a triple stroke gives the command FADER ISOLATE ALL (or MUTE ISOLATE ALL). Once a fader or mute is set to ISOLATE it will no longer respond to the ALL command. To change status globally from ISOLATE to another status you have to include ISOLATE in the command. So double strike the status forISOLATE and then add the new status.

To prevent inadvertent switching, any faders or mutes set to ISOLATE will not respond to an ALL command. To change globally from isolate to another status you have to toggle through isolate. For example, keying will change any faders currently set to ISOLATE into ABSOLUTE status. No is required at the end of this command line. All the states can be set up individually so that you can mix and match them to make mixing even easier. You could for instance set the mutes in ABSOLUTE , some faders in MOVE, and others in UPDATE.

THE LOCAL STATUS MODULE The local status control makes life easier by giving you the status at the touch of the appropriate channel button. In essence pressing the local button puts the Address field in the command for you automatically. All the commands stay on screen for four seconds after any key has been pressed. A typical command might be: [individual buttons as needed]

After 4 seconds, the status command disappears from the command line and the local status becomes an individual DROP key.

37

STATUS

AUTODROP Autodrop is implemented to automatically protect the already recorded portion of the mix. To do this, OPTIFILE marks the recorded and non recorded portions. When the system encounters a non recorded portion, it drops the status and when it crosses a recorded portion, it dedrops the status preventing inadvertent erasure. When the autdrop mode is on, 'AUTODROP' is displayed in green above the time code window. The autodrop function is enabled when the system is first initialized and can be disabled if required using the MODE key. This mode is essential in the MOVE status. With it you can mix from anywhere to anywhere without worrying about whether you will overrun a section and accidentally wipe an already finished section.

AUTOREC Auto record can automate the drop in, drop out function to a frame. In rehearse status, you can use autorec to set the in and out point of a section of the mix to be rewritten before committing it to the temporary buffer in record master status. To switch the AUTOREC mode on, key in: (REC) When the autorec mode is on, the start and end positions are shown in blue above the time code window. The autorec in and out time code value are updated automatically each time you use the key. If you drop in the mix to rewrite a section, the corresponding time code value is copied in the autorec start register, and when you dedrop, the time code value is copied in the autorec end register You can now use the and keys to respectively decrease or increase by one frame the start register value and the and keys to respectively decrease or increase by one frame the end register value.

38

STATUS

The start and end registers can be set manually by using theSET AUTOREC command: (SET) [start time] [end time] The start time can be of the form: • If no start time is specified [SET AUTOREC TO], then the current autorec start time value is used. • hh:mm:ss with a discrete time code value specified. • . HERE is the time code value previously captured on the fly and displayed in blue colour in the HERE window of the general information line. n. n is one cue point from the cue list. • • . START is starting time of the title. The end time can be of the form: • If no end time is specified [SET AUTOREC n ], then the current autorec end time value is used. • hh:mm:ss with a discrete time code value specified. • . HERE is the time code value previously captured on the fly and displayed in blue color in the HERE window of the general information line. • n. n is one cue point from the cue list.

KEEPING OR UNDOING MIX MODIFICATIONS Whenever a mix is modified, the user has the choice of keeping those modifications or discarding them. There are two ways in which mix modifications may be ‘kept’: • The simplest being to type (KEEP) on the keyboard and answer to the computer prompt ‘Do you want to keep last modifications (Y/N) ’. This transfers any data in the TEMPORARY buffer to BASE buffer, thus freeing the TEMPORARY buffer for further work. Keeping doesn’t save the mix to disk and a power cut or a supply glitch could corrupt the mix data held in memory rendering it unusable.

39

STATUS

• Saving a mix to disk also includes any update information held in the TEMPORARY buffer and a dialogue message ‘Updating Memory ’ will be displayed. To discard any unwanted mix modifications, type (UNDO) on the keyboard and answer to the computer prompt ‘Do you want to undo last modifications (Y/N) ’. It is not possible to undo a mix modification once it has been kept or saved - the best you can do in such instances is return to the previously saved version and resume work from there.

40

TITLE HANDLING

SETTING A TITLE Before the OPTIFILE TETRA system can be used, the time code values for the start and end of the song you are working on must be initialized. This tells the system the limits of the current song.

You must note that Setting a new title will erase the title previously saved on that disk, even if time code limits are the same.

Directly after starting up the system, key in: (SET TITLE) hh:mm:ss hh:mm:ss

.

The time code value may be entered manually or theHERE key may be used to enter values ‘on the fly’. It is advisable to enter a start value at least ten seconds before the song actually starts to ensure reliable lockup to the code. Once mute or fader movements have been recorded for a song, the end limits cannot subsequently be moved. The computer will display ‘Initiate mix ’ and transfer the necessary data to disk. You must note that setting a new title will erase the title previously saved on that disk even if time code limits are the same. The memory used indicator should show blue and, because no mix has been recorded at this time, the indicator should show a minimum reading (depending on the length of the mix). Run the multitrack tape and you should notice the border around the main time code window turn red when the code is between the limits initialized for the song. If the border blinks or flashes regularly, then either the time code format on tape is not the same as that set up in the OPTIFILE or there is a code read error. Error Messages: If the start and end times are the same, or the end time programmed before the start time, an error message will be displayed pointing out the error. There will also be an error message if the title being initialized is too long, but as the maximum length of a title is more than one hour, this is unlikely to occur except by error. The exact maximum time depends on how many channels the system has and on the format of the time code being used.

41

TITLE HANDLING

LOADING A TITLE

You can use a standard PC computer to make clones of your disks

If you are resuming a mix previously saved to disk, key in (LOAD TITLE), provided that you are not already on the title menu. The computer will then load in the SMPTE limits for that song along with other initialization data.

COPYING TITLE If a disk becomes full when you are working on a project, you can insert a new disk and key in (COPY TITLE). OPTIFILE TETRA will initialize the new disk with the current title and save the current mix under a default date/time title. If you insert a disk that has been formatted on a different computer or not formatted at all, you’ll be presented with a message asking if you want to format the disk. Think carefully before doing this as you might be just about to wipe out last month’s accounts!

42

MIX HANDLING

DISPLAYING THE MIX LIST To display the mix list page, key in provided that a title has been loaded or set and that you are not already on the mix menu.

THE SAVE MIX COMMAND Whenever you wish to save mix data to disk, key in: [name] (SAVE MIX). The name may be up to 21 characters long and must start with a letter, not a number. If you save a mix without naming it, the computer will create a default name containing the date and time. Should you attempt to use the name of a previous mix, you will be informed that this name already exists and you’ll need to give your mix a new name before you can save it. You can’t save over an existing name - the only way a mix can be removed is by deleting it.

THE LOAD MIX COMMAND To load a previously saved mix from disk, key in: [name] or [mix number] .

RENAME MIX You can also rename a mix that has been saved to disk by keying: [old mix number] [new title] followed by .

DELETE MIX Remember to save your mixes regularly - don’t worry about filling up your disks because you can always delete earlier versions if you run short of space. To delete an unwanted mix key in: [mix name] or [mix number] followed by . To delete several consecutive mix versions, provided that you are not already on the mix menu, key in: [mix number nn] [mix number nn] .

43

MIX HANDLING

LOADING CONSOLE OR RESETTING MIX Loading console wipes anything in the temporary buffer and replaces it with the current fader and mute settings.

Before recording the first mix, you can record fader levels and cut settings throughout the mix without having to roll the tape or use the EXECUTE command. To load the console setting, use the KEEP command, provided that there is no modifications in the Temporary buffer (memory used window in blue). Key in: . To erase all movements stored in the Temporary buffer, use the UNDO command, provided that there is no modifications in the Temporary buffer. Reset keeps the current mix in the Base buffer. To reset the mix, key in: .

44

ADVANCED FEATURES

COMPARING MIXES It is obviously useful to be able to compare the current mix with one previously saved on disk, and the OPTIFILE system provides this facility. This makes use of the two RAM buffers in the computer by allowing the current mix to reside in the TEMPORARY buffer and the mix from disk to be loaded into the BASE buffer. The key then toggles between the two mixes for comparison. The procedure is: [mix name or mix number] - this loads the mix from disk into the BASE buffer. Select REHEARSE Set all faders and mutes to SAFE Next, put any faders and mutes you wish to compare into UPDATE status. This may be all channels or you may wish to compare only specific channels. The key will now toggle between the two mixes

MERGING MIXES

Mixes merged in this way must belong to the same title; it would not make sense to transfer mix data from a different song or arrangement or version of the song so this is not permitted. Likewise, the SMPTE points at which the insert starts and ends are the same for both mix files.

The MERGE feature allows a section from one mix to be inserted into the current one. For example, on one version, everything might be mixed perfectly apart from the instrumental solo, but a suitably mixed solo is available on another version of the mix. The procedure is as follows: [mix name or mix number] to load the selected mix into the BASE buffer. Set the system to REHEARSE. Set all faders and mutes to read status If you wish to replace all fader and mute settings, then select ALL faders and mutes to UPDATE. Conversely, specific faders and mutes can be selected if required. [time] [time] to define the areas where you want the new section to start and end. If preferred, this procedure may be

45

ADVANCED FEATURES

initiated manually using the CORD mode.

key to enter and leave the RE-

The merge point may now be checked in REHEARSE mode to ensure that it sounds right. If the REHEARSE pass is satisfactory, set the system to RECORD and run the mix from the top or use the EXECUTE function. The marked section from the previous mix will now replace the corresponding section in the current mix. This new mix should then be saved.

46

UTILITY COMMANDS

SETTING THE DATE AND TIME The OPTIFILE computer contains a battery backed up section of memory which stores data and time information, and this must be entered when the system is first installed. The time setting will also need to be changed to correspond to daylight saving time when applicable. These commands are disabled if the timeout function is ON. To set up the date SET DATE [DD/MM/YY] Using power keyboard, the / character can be accessed by pressing key down. the key while holding the To set the current time, SET TIME [HH:MM:SS]

.

The clock will start running from the time as entered when the key is pressed.

DISPLAYING THE DATE AND TIME To display the current date or time, DATE or TIME as required and press . The requested information will appear in the lower corner of the screen for approximately five seconds.

SETTING NEW TIME CODE The SET TC commands allow you temporarily to change the time code setting without permanently changing the setting stored in EEPROM: SET TC24 to set the time code to 24 frames. SET TC25 to set the time code to 25 frames. SET TC30 to set the time code to 30 non drop frames. SET TC30DF to set the time code to 30 drop frames.

47

EXTENDED SOFTWARE OPTION

48

EXECUTE EXECUTE FUNCTION

The execute function simulates a running time code and calculates, for each fader, the operation corresponding to the individual status: • If a fader is in read status, the value of the TEMPORARY buffer stays unchanged. • If a fader is in write status, the absolute value of that fader is copied in the TEMPORARY buffer. • If a fader is in update status, the value in the BASE buffer corresponding to that fader is copied in the TEMPORARY buffer. • If a fader is in isolate status, that fader is not affected by the execute function. Think of execute as a quick way to calculate a fader or many fader levels in a static position. So for instance you can re-write or update a fader at a different level without running the tape. At the start of a mix after you have a balance, you could use EXECUTE to set all the fader levels. Another good example would be that you have finished a mix but the vocal in verse 1 is a little low. Select the vocal fader to UPDATE move the fader to the new position and then EXECUTE from cue verse1 to say cue chorus 1, the new vocal fader position is now calculated. When you play the mix you will hear the new level. The start value and the end value of the time code run can be defined in the command: EXECUTE [start time] [end time] or using the quick keys: [start time] [end time] The start time can be of the form: • If no start time is specified [EXECUTE ], then the autodrop end time locator is used as start time of the run. • hh:mm:ss with a discrete time code value specified. • . HERE is the time code value previously captured on the fly and displayed in blue color in the HERE window of the general information line. • n. n is one cue point from the cue list.

49

EXECUTE FUNCTION

The end time can be of the form: • If no end time is specified [EXECUTE n ], then the end time of the title is used as end time for the run. hh:mm:ss with a discrete time code value specified. • • . HERE is the time code value previously captured on the fly and displayed in blue color in the HERE window of the general information line. • n. n is one cue point from the cue list.

50

CUE LIST HANDLING

CUE LIST HANDLING The cue list is a powerful feature of the OPTIFILE TETRA system and can be used in a variety of ways. Think of it as a map of your track. A good example of its use would be when you are using the execute function: instead of having to type the timecode values in, you can use cue points like EXECUTE . With the machine control option, you get 2 extra features: • A moving pointer showing you the current position of the tape. • Timecode display that will always read the current time, even when spooling.

DISPLAYING THE CUE LIST To display the cue list page, key in loaded or set.

provided that a title has been

THE HERE KEY The key can be used to capture the current timecode in the HERE register. The HERE register is always displayed in blue in the general information line. Later, you can use the HERE value as a cue point.

ENTERING CUE POINT Cue points can be entered 'on the fly' by keying in [cue name] . As soon as you press the key, OPTIFILE TETRA captures the current timecode and inserts it in the cue list. You can enter a cue point without naming it and use the edit name function to rename it later. As soon as you stop the tape, OPTIFILE TETRA saves the cue list on disk. You don’t have to worry about the cue list. Loading is automatic when you load a title and it is saved when you modify the cue list.

51

CUE LIST HANDLING

RENAMING A CUE POINT Provided OPTIFILE TETRA is displaying the cue page, cue point names can be edited by pressing the key. This gives you access to the cue point name editor: • The alphabetical keys are used to over-write the character pointed by the cursor. • The and keys are used to select the name you want to edit. • The and keys are used to move the cursor to the character you want to edit. key is used to exit from the cue point name editor. • The

EDITING THE TIME CODE VALUE OF A CUE POINT Provided OPTIFILE is displaying the cue page, cue point timecode values can be edited by pressing the key. This gives you access to the timecode editor: • The numerical keys are used to over-write the digit pointed to by the cursor. • The and keys are used to select the cue point you want to edit. • The and keys are used to move the cursor to the digit you want to edit. • The key is used to exit from the cue point timecode value editor.

52

TRACK HANDLING

DISPLAYING THE TRACK LIST To display the track list page, key in been loaded or set.

provided that a title has

EDITING THE TRACK LIST Provided OPTIFILE TETRA is displaying the track list page, the track name can be edited by pressing the key. This gives you access to the track list editor: • The alphabetical and numerical keys are used to over-write the character pointed to by the cursor. • The and keys are used to select the track you want to edit. • The and keys are used to move the cursor to the character you want to edit. • The key is used to exit from the track list editor. You don’t have to worry about the track list, loading is automatic when you load a title and it is saved when you modify a track name.

53

APPENDIX

COMMAND COMMAND LINES

The command structure has been designed to be as simple and logical as possible. Each word can be made up using the QWERTY keys (accessed by pressing first the CMD key if power keyboard option is fitted or by pressing either the ALT or CTRL key at the same time as the first character of the command using standard keyboard), or keying one of the dedicated command keys, quick keys or menu keys. To correct errors when typing a command line, press the← (left arrow) key to erase each previous character or press theESC key to erase the complete line Individual command words should be separated by a space and a completed line followed by ENTER. The following list shows words reserved by the computer. These words will be recognized according to their definitions in OPTIFILE TETRA’s operating system and so should not be used in any other context. The reserved words are: DROP RECORD MODE FADER MUTE GROUP SET SAVE LOAD COPY DELETE RENAME LIST

KEEP UNDO CUE GOTO PLAY CYCLE HERE AGAIN EXECUTE FORMAT

UPDATE ISOLATE MASTER MIX BASE START CUE HERE TIME DATE

ABSOLUTE SAFE

FROM TO

Here are examples of the commonly used commands and their structure. The letters nn are used to denote that a numerical value must be entered at this point in the command line.

DIRECT COMMANDS DROP RECORD MODE CUE HERE

A-1

COMMAND LINES

STATUS COMMANDS FADER ABSOLUTE ABSOLUTE FADER ABSOLUTE ALL FADER ABSOLUTE nn FADER ABSOLUTE FROM nn TO nn FADER SAFE SAFE FADER SAFE ALL FADER SAFE nn FADER SAFE FROM nn TO nn FADER UPDATE UPDATE FADER UPDATE ALL FADER UPDATE nn FADER UPDATE FROM nn TO nn FADER ISOLATE ISOLATE FADER ISOLATE ALL FADER ISOLATE nn FADER ISOLATE FROM nn TO nn FADER ISOLATE ABSOLUTE FADER ISOLATE SAFE FADER ISOLATE UPDATE FADER ISOLATE MOVE MUTE ABSOLUTE ABSOLUTE MUTE ABSOLUTE ALL MUTE ABSOLUTE nn MUTE ABSOLUTE FROM nn TO nn MUTE SAFE SAFE MUTE SAFE ALL MUTE SAFE nn MUTE SAFE FROM nn TO nn MUTE ISOLATE ISOLATE MUTE ISOLATE ALL MUTE ISOLATE nn MUTE ISOLATE FROM nn TO nn MUTE ISOLATE ABSOLUTE MUTE ISOLATE SAFE

A-2

COMMAND LINES

GROUP COMMANDS GROUP n (group number) nn (list of faders) [or using quick keys G n nn] GROUP n (group number) MASTER nn (fader) [or using quick keys G n M nn] GROUP n (group number) DELETE [or using quick keys G n D]

BUFFER MODIFICATION HANDLING COMMANDS KEEP [or using quick key K] UNDO [or using quick key U] EXECUTE [or using quick key X] EXECUTE FROM hh:mm:ss (time) EXECUTE FROM HERE EXECUTE FROM CUE n (number of cue) EXECUTE TO hh:mm:ss (time) EXECUTE TO HERE EXECUTE TO CUE n (number of cue) EXECUTE FROM hh:mm:ss (time) TO hh:mm:ss (time) EXECUTE FROM hh:mm:ss (time) TO HERE EXECUTE FROM hh:mm:ss (time) TO CUE n (number of cue) EXECUTE FROM HERE TO hh:mm:ss (time) EXECUTE FROM HERE TO CUE n (number of cue) EXECUTE FROM CUE n (number of cue) TO hh:mm:ss (time) EXECUTE FROM CUE n (number of cue) TO HERE EXECUTE FROM CUE n (number of cue) TO CUE n (number of cue)

SET COMMANDS SET TITLE FROM hh:mm:ss TO hh:mm:ss (Time code locations); enter numbers manually or use HERE button ‘on the fly’. SET AUTODROP SET AUTOREC SET AUTOREC FROM hh:mm:ss.ff TO hh:mm:ss.ff (Time code locations) SET DATE dd/mm/yy (date) SET TIME hh:mm:ss (time)

SAVE COMMANDS SAVE MIX (mix name)

A-3

COMMAND LINES

LOAD COMMANDS LOAD TITLE LOAD MIX (mix name) LOAD MIX nn (mix number) LOAD BASE (mix name) LOAD BASE nn (mix number)

DELETE COMMANDS DELETE MIX (mix name) DELETE MIX (nn of mix) DELETE MIX FROM (nn of mix) TO (nn of mix)

RENAME COMMANDS RENAME MIX (mix nn) TO (new name)

COPY COMMANDS COPY TITLE

LIST COMMANDS LIST LIST MIX [or using quick key M] LIST CUE [or using quick key Q] LIST TRACK [or using quick key L]

LOCATOR COMMANDS GOTO [time code value] GOTO START GOTO HERE GOTO CUE [cue number] GOTO CUE [cue name] PLAY FROM [time code value] PLAY FROM START PLAY FROM HERE PLAY FROM CUE [cue number] PLAY FROM CUE [cue name]

A-4

COMMAND LINES

CYCLE FROM [time code value] TO [time code value] CYCLE FROM START TO [time code value] CYCLE FROM START TO HERE CYCLE FROM START TO CUE [cue number] CYCLE FROM START TO CUE [cue name] CYCLE FROM HERE TO [time code value] CYCLE FROM HERE TO CUE [cue number] CYCLE FROM HERE TO CUE [cue name] CYCLE FROM CUE [cue number] TO [time code value] CYCLE FROM CUE [cue number] TO HERE CYCLE FROM CUE [cue number] TO CUE [cue number] CYCLE FROM CUE [cue number] TO CUE [cue name] CYCLE FROM CUE [cue name] TO [time code value] CYCLE FROM CUE [cue name] TO HERE CYCLE FROM CUE [cue name] TO CUE [cue number] CYCLE FROM CUE [cue name] TO CUE [cue name]

UTILITY COMMANDS FORMAT SET DATE DATE SET TIME TIME

A-5

QUICK KEYS AND MENU STRUCTURE

Quick key C give access to console menu Quick key T give access to title menu Quick key M give access to mix menu Quick key Q give access to cue menu Quick key L give access to track menu

FROM CONSOLE MENU G n (group number) nn (list of faders) [GROUP n nn] G n (group number) M nn (fader) [GROUP n MASTER nn] G n (group number) D [DELETE GROUP n] D D [SET AUTODROP] D R [SET AUTOREC] D S start time TO end time [SET AUTOREC FROM hh:mm:ss.ff TO hh:mm:ss.ff] D U [SET AUTOREC START -] D I [SET AUTOREC START +] D O [SET AUTOREC END -] D P [SET AUTOREC END +]

FROM TITLE MENU S hh:mm:ss TO hh:mm:ss [SET TITLE FROM] L [LOAD TITLE] C [COPY TITLE]

FROM MIX MENU S (mix name) [SAVE MIX] L (mix name) [LOAD MIX] L nn (mix number) [LOAD MIX] B (mix name) [LOAD BASE] B nn (mix number) [LOAD BASE] D (mix name) [DELETE MIX] D nn (mix name) [DELETE MIX] D FROM nn (mix number) TO nn (mix number) [DELETE MIX] R nn (mix number) TO (new name) [RENAME MIX]

FROM CUE MENU E (time code value) [EDIT TC tc value] N (cue name) [EDIT NAME name] D n (cue number) [DELETE CUE nn]

A-6

QUICK KEYS AND MENU STRUCTURE

FROM TRACK MENU E [EDIT]

BUFFER COMMANDS FROM CONSOLE PAGE I [KEEP] U [UNDO]

EXECUTE COMMANDS X X FROM hh:mm:ss (time) X FROM HERE X FROM CUE n (number of cue) X TO hh:mm:ss (time) X TO HERE X TO CUE n (number of cue) X FROM hh:mm:ss (time) TO hh:mm:ss (time) X FROM hh:mm:ss (time) TO HERE X FROM hh:mm:ss (time) TO CUE n (number of cue) X FROM HERE TO hh:mm:ss (time) X FROM HERE TO CUE n (number of cue) X FROM CUE n (number of cue) TO hh:mm:ss (time) X FROM CUE n (number of cue) TO HERE X FROM CUE n (number of cue) TO CUE n (number of cue)

A-7

THE THEUTILITY UTILITY SOFTWARE

The utility program is used for 3 different purposes: • Adjusting the VCA gain and scaling of OPTIFILE TETRA. • Modifying system parameters: Physical VCA position to computer logical numbering. Setting the number of channels handled by the system. Setting the type of fader (lin or log) handled by the computer. Setting the type of time code handled by the computer. Modifying the name displayed on the console screen. • Testing some hardware parts. To access the utility software, press the key (or press while typing the first character of the command), type the command UTILITY and press the key. The computer displays the utility menu. You go back to the console using the key. From the utility menu, you can access sub menus by pressing the corresponding letter and from these sub menus, you go back to the utility menu using the key.

ADJUSTMENT NOTE: All these adjustments apply only if the system is set for log faders.

POT 4

POT 1

POT 5

To access the adjustment menu from the main menu, press the (ADJUST) key. The ADJUST menu gives access to the following routines: 1) 0 dB VCA gain adjustment. 2) -20 dB gain adjustment. 3) Fader up adjustment. 4) Fader down adjustment. 5) Fader in mid position adjustPOT 3 ment. 6) Fader linearity adjustment. Adjustments 1 and 2 are used to match the output voltage of the POT 2 computer to the VCA inputs. Adjustments 3 to 6 are used to

B-1

THE UTILITY SOFTWARE

match the scale of the fader to the computer scale.

ADJUST - 0 dB VCA GAIN ADJUSTMENT NOTE: Adjustment 0 dB and -20 dB have already been made in the factory and are usually not affected by the installation.

This routine controls all the VCAs with a DC voltage corresponding to unity gain (0 volts) and is used to adjust the gain adjustment potentiometer of the VCA boards. Press to select the 0 dB VCA gain adjustment and feed the channel under adjustment with a 1 KHz tone: • Using a millivoltmeter, adjust the GAIN pot on every VCA board until a unity gain can be measured between the input and the output of the VCA. • To exit the 0 dB adjustment, press any key.

ADJUST - MINUS 20 dB VCA GAIN ADJUSTMENT This routine controls all the VCAs with a DC voltage corresponding to -20 dB gain (around 1.6 volts) and is used to adjust the voltage range of the D to A converter of the CPU board. Press to select the -20 dB VCA gain adjustment and feed channel 1 with a 1 KHz tone: • Using a millivoltmeter, adjust POT3 on the CPU board until a 20 dB attenuation can be measured between the input and the output of VCA number 1. • This adjustment applies to all channels and is expected to be the same for all of them. • To exit the -20 dB adjustment, press any key.

ADJUST - FADER UP ADJUSTMENT When OPTIFLE TETRA is in circuit, the fader no longer directly controls the audio signal but a continuous reference voltage (8 volts) supplied by the computer. This routine is used to adjust the voltage range of the logarithmic A to D converter to the 8 volt reference voltage.

B-2

THE UTILITY SOFTWARE

Place all the console faders in the upper position and press to select the fader up adjustment: • Turn POT5 fully counter clockwise (or in a position so that the reading on the screen is 01 or 02) and then increase POT5 to obtain a reading of 00 for each fader and continue by half a turn. • To exit the fader up adjustment, press any key.

ADJUST - FADER DOWN ADJUSTMENT When the faders are down, the DC voltage received by the computer is 0 volts. Because the system uses logarithmic faders (DC voltage received by the computer is only 8 mV when the cursor is 60 dB below top), the DC voltage on the audio ground due to the current consumption of the integrated circuits of the console acts like an error voltage compared with voltage from the faders. The fader down is a general offset used to cancel error voltages. Place all faders in the lower position and fader 1 in the upper position. Press to select the fader down adjustment: • Turn POT1 fully clockwise and then decrease POT1 to obtain a reading of FF for each fader except fader 1. • To exit the fader down adjustment, press any key.

ADJUST - FADER MID ADJUSTMENT This routine adjusts the slope of the logarithmic A to D converter. Place all faders 20 dB below top position and press to select the fader mid adjustment: • Adjust POT4 to obtain an average reading of 32 for each fader. • To exit the fader mid adjustment, press any key.

ADJUST - FADER LINEARITY ADJUSTMENT To increase its precision in the lower part of the range, the logarithmic A to D converter has 2 range of measurement: From top to 22 dB below top, the measurement is direct (with no gain).

B-3

THE UTILITY SOFTWARE

From 22 dB below top to minus infinity, the measurement is made with 20 dB gain. This routine adjusts the matching of the 2 ranges. • Repeat the complete procedure again to verify the correct adjustment, and press ESC to go back to the utility menu.

Press to select the fader linearity adjustment and move fader 1 until the adjustment window square is illuminated (approx. -12 dB on the fader scale). • Adjust POT2 to obtain the same direct and adjustable value. • To exit the fader linearity adjustment, press any key.

SYSTEM - FADER TRANSCODING TABLE When installing the TETRA system on a console, it may be that the VCAs are not physically connected in the sequence of the console channels. The console layout is as follows: Faders 1 to 28. Master faders right and left. Faders 29 to 32. The channels are connected as follows to the VCAs: Faders 1 to 28 to VCAs 1 to 28. Master fader right and left to VCAs 29 and 30. Faders 29 to 32 to VCAs 31 to 34. To get the channels in the normal screen order, a transcoding table needs to be used which, in our case, will make channel 29 on the screen correspond to VCA number 31, etc. • •

Press to select the SYSTEM menu Press the key to select the VCA function. The computer displays the fader transcoding table. For each channel (number in yellow) it displays the corresponding VCA number (in red). • Enter the correspondence between channel numbers and the VCA numbers by using the following keys: The digit keys from 1 to 9 are used to enter the VCA numbers. The and keys are used to go to the next or the previous line. The and keys are used to go to the next or the previous column.

B-4

THE UTILITY SOFTWARE

When the transcoding table is updated, press to save it in the EEPROM or to leave the CHANNEL function without modifying the transcoding table. The table can be initialized with default values (incremented linearly from 1 to 40) by pressing the key. The resulting table of our example is: 01 02 03 04 05 06 07 08

01 02 03 04 05 06 07 08

09 10 11 12 13 14 15 16

09 10 11 12 13 14 15 16

17 18 19 20 21 22 23 24

17 18 19 20 21 22 23 24

25 26 27 28 29 30 31 32

25 26 27 28 31 32 33 34

33 34 35 36 37 38 39 40

35 36 29 30 37 38 39 40

SYSTEM - SETTING THE NUMBER OF CHANNELS Select the system menu by pressing . Press to select the number of channel menu and set the exact number of channels connected to the system. Press to validate.

SYSTEM - SETTING THE FADER LAW

FADER LOG SETTING

FADER LIN SETTING

B-5

THE UTILITY SOFTWARE

OPTIFILE TETRA can be interfaced with console equipped with logarithmic faders, using OPTIFILE’s VCAs or linear faders in the case of already VCA equipped consoles. To change the fader law, change a jumper setting on the CPU board and select the correct software using the fader law routine. Press to select the fader law routine. The computer displays the current selection and asks for the new one. To select fader log, press . To select fader lin, press . To select reversed fader lin, press The fader law setting is memorized in an EEPROM in the computer. The jumper on the CPU board must be set according to the software setting:

SYSTEM - SETTING THE TIME CODE TYPE To select the type of time code used by OPTIFILE TETRA, press . The computer displays the current selection and asks for the new one. Press , to select 24 frames per second. Press , to select 25 frames per second. Press , to select 30 drop frames per second. Press , to select 30 non drop frames per second. The time code type setting is memorized in an EEPROM in the computer.

SYSTEM - CHANGING THE NAME DISPLAYED ON THE CONSOLE PAGE To change the name displayed in the information line of the console page (default one is OPTIFILE TETRA), press . The computer displays the current name with the cursor on the first character. Type your new name and press to memorize it in the computer’s EEPROM.

B-6

THE UTILITY SOFTWARE

SYSTEM - SCALE - SCALE The fader scales on the left and right side of the console screen can be changed. There is a selection to choose from to match most faders: Type UTILITY while holding down the U key to access the Utility menu Type to access the system menu. Type to access the scale menu. Type to access the fader scale function. Select the indication you want at the top of the scale: to have a +16 dB scale to have a +15 dB scale to have a +12 dB scale to have a +10 dB scale to have a +5 dB scale to have a +0 dB scale

SYSTEM - SCALE - LOOKUP For some consoles, the fader law does not match the law of our VCAs. The lookup function allows you to select fader laws that are optimized to match Tetra more closely. Type UTILITY while holding down the U key to access the Utility menu Type to access the system menu. Type to access the scale menu. Type to access the lookup function. Select the fader law corresponding to your console: Optifile VCAs 00 Amek Angela fitted with GL53 VCA board 01 Trident Ventura 02 Amek 2500 03 Westec 3000 04 Harrison 2824 05

B-7

THE UTILITY SOFTWARE

TEST - RAMP This routine is used to verify the D to A converter and output port to the VCAs. Press .and the computer generates a linear ramp starting at 0 volts and ending at around 8 volts on each even pin (20, 18, 16, 14, 12, 10, 8, 6, and 4) of the 20 pin male connector on the back of OPTIFILE TETRA. If fader movements can be seen on the TETRA screen but the computer seems not to be controlling the VCAs, use that routine to check the computer’s output and verify that the trouble is not on the VCA part of the system. To exit the routine, press any key.

B-8

LINEAR FADER ADJUSTMENT

COMPUTER PARAMETERS SELECTION Using the UTILITY software, select linear fader law and the fader scale. • Type the UTILITY command (accessed by pressing the D key if the power keyboard is fitted or by pressing the M key at the same time as the first character of the command using the standard keyboard) • Validate by pressing . • Select the SYSTEM menu • Select the FDRLAW menu • Select the lin fader law by pressing • Select the SCALE menu • Select the 2nd SCALE menu • Select the scale corresponding to the console fader scale • Press the key three times, to return to the console page.

ADJUSTMENT OF THE POTENTIOMETERS The only active potentiometers are: POT1 to adjust the A to D converter offset. POT3 to adjust the A to D converter range. • Place all the console faders in the upper position. • Turn POT1 clockwise until all faders start to decrease in level, turn POT 1 counter clockwise to move all fader icons at the top of the scale, continue by a quarter of a turn. • Place all the console faders 40 dB below top position. • Adjust POT3 so all the icons on the screen are at 40 dB below top.

B-9

TECHNICAL INFORMATION

PINOUT OF THE TIME CODE CONNECTOR XLR type 3 pin female connector. Electronically balanced input, impedance 20 Kohms. Operating level between -15 dB and -5 dB VU.

Ground + input - input

1 2 3

Use a screened audio cable and connect the screen only at one side of the cable to avoid ground loops.

PINOUT OF THE VCA CONNECTORS Ribbon cable type 20 pin male connector GND GND + 8 V ref + 8 V ref IN 8/16/24/32/40 OUT 8/16/24/32/40 IN 7/15/23/31/39 OUT 7/15/23/31/39 IN 6/14/22/30/38 OUT 6/14/22/30/38

1 2 3 4 5 6 7 8 9 10

IN 5/13/21/29/37 OUT 5/13/21/29/37 IN 4/12/20/28/36 OUT 4/12/20/28/36 IN 3/11/19/27/35 OUT 3/11/19/27/35 IN 2/10/18/26/34 OUT 2/10/18/26/34 IN 1/9/17/25/33 OUT 1/9/17/25/33

11 12 13 14 15 16 17 18 19 20

C-1

TECHNICAL INFORMATION

RIBBON CABLE PINS AND LEADS IDENTIFICATION

C-2

TECHNICAL INFORMATION

PINOUT OF THE KEYBOARD CONNECTOR D-sub type 9 pin male connector and connection to the mini PC keyboard:

+ 5V Not used Clock Serial in GND Not used Not used Not used

1 2 3 4 5 6 7 8

Not used

9

DIN 5 pin connector # 4 DIN 5 pin connector # 1 DIN 5 pin connector # 3 DIN 5 pin connector # 2

SETTING THE KEYBOARD TYPE To select the keyboard type, place the jumper J9 as mentioned on the following drawing:

Standard PC keyboard

Power keyboard

C-3

TECHNICAL INFORMATION

PINOUT OF THE VIDEO CONNECTOR D-sub 9 pin female connector and connection to the Philips

RGB monitor (D-sub 9 pin female) OPTIFILE pinout Red Green Blue + 12 Volts Composite sync GND GND GND

1 2 3 4 5 6 7 8

+ 1 Volt - 75 ohms

9

PHILIPS MAGNAVOX pinout 3 4 5 7 1 2

SCART pinout 15 11 7 8 20 13 + 17 9 5 16

VIDEO OUTPUT SPECIFICATIONS The video signal is non interlaced and as the following timing and characteristics: Line frequency: 15,625 KHz Raster frequency: 50 Hz RGB video output level:

C-4

TECHNICAL INFORMATION

1 V p.p on a 75 ohms termination Composite sync output level: 1 V p.p on a 75 ohms termination

GROUND TERMINAL CONNECTOR The ground terminal connector is internally connected to the multiplex ground and must be connected to the console ground. To avoid digital noise in the console and to guarantee that the A to D converter works properly, this connection must be the only ground connection between the computer and the console.

MAINS AND FUSE The computer is powered by a switching power supply which can handle AC voltage in the range of 100 Volts to 240 Volts. The power consumption is less than 40W. For replacement, use the following fuse: 220 to 240 Volt 500 mA Slow Blow 100 to 120 Volts 1 A Slow Blow

C-5

TECHNICAL INFORMATION

INSTALLATION OF NEW SOFTWARE VERSION When installing EPROMs, one must be careful to avoid the build up of static electricity. Should such a build up come into contact with the pins of the EPROM (for example, from your fingers), then the EPROM can be seriously damaged. Therefore, before removing EPROMS from their plastic case, take hold of the chassis of the OPTIFILE to ensure that you and the chassis are at approximately the same potential. From now until the EPROMs are installed, try not to shuffle your feet or do any of the things which can create static electricity. Be particularly careful in cold climates, where the air tends to be very dry in heated buildings. • Turn OFF the power and disconnect the power cord. • Remove the screw attaching the top panel to the chassis and slide off the panel. • At the front right of the main circuit board (just near the floppy disk drive ribbon cable), you will find 2 EPROMs installed. These are 32 pin chips (or 28 pin for old issue) which have paper labels identifying which software revision they contain, ex: TETRA TETRA 1.1C I 1.1C P • Carefully remove the installed EPROMs from the OPTIFILE main board sockets. • Install the new EPROM marked ‘P’ in socket (IC48 EVEN) near to the edge of the board and the new EPROM marked ‘I’ in second socket (IC49 - ODD).

The notch in the end of the EPROM body must face towards the rear of the unit. Installing the EPROMs around the wrong way (i.e. notch to the front) will result in the destruction of the EPROM !

C-6