Local/MADI Configuration is where you define I/O names and settings for local and MADI connections. These settings are saved with the showfile.
To open this menu go to Menu > Setup > I/O then tap Local/MADI Configuration.
Each column represents a different I/O card type:
Each port will auto-detect SSL Live stageboxes. MADI and Blacklight ports provide exactly the same configuration options.Note: The two BLII lists can be scrolled by swiping the screen up or down.
You may also pre-configure I/O before it is connected (with SOLSA offline software for example):
Touch the dark grey box in the top of the port and select the required device type.Note: To change to a different device, you will need to confirm the change from the detail pane beneath the list of MADI and BLII ports.
If the defined device doesn't match what the port detects, the box's background will go red; check your connections or change the device type manually. Confirm the device you wish to use from the Detail pane beneath the list of MADI and BLII ports.Note: If you change to a different device once you have based further settings on the original configuration, your settings may no longer work.
The device options are as follows:
The two LEDs beneath each port's number indicate the lock and redundancy status of the port:
If the upper LED is green, the port's I/O unit is correctly locked; if it is red, it isn't locked.
If the lower light is lit, it means that it is part of a redundant pair (described below).Note: If using a 16-port Blacklight MADI concentrator, there will be four lights; one pair for each redundant hardware connection.
Each MADI port can function as part of a redundant pair. Ports are always in Odd/Even pairs – Port 1 will always pair with Port 2 for example.
To define a redundant pair:
Touch one of the Ports' box to open its detail dialogue.
Touch the Redundancy Status button to its left. It will light to indicate that the Port is now part of a redundant pair and a red box will appear around both Ports to indicate they are linked. The lower status lights of the two ports indicate which is the currently active port; green for the active port and red for the backup port.
The first port's settings will now be applied to the pair of ports.Notes:
Touching on the box for a port or connection brings up that port's settings in the Detail dialogue in the lower half of the page.
For stageboxes, the page buttons on the right (Setup, Inputs and Outputs, or AES I/O for the the local AES I/O) allow you to page through the port's settings:
Double-tapping the black name box brings up a keyboard on which you can enter a name for the port.
The Set Names button can be used to select a preset name for the device. Note that this does not affect the names of individual inputs and outputs; only the device name itself.
The Output Trim slider introduces a global level trim on all analogue line outputs from the stagebox, relative to the console's Operating Level (set in Menu > Setup > System). Note this does not affect the optional mic split outputs (if fitted), which are always at mic level.
The Clear Attention button clears all of the Att lights on the local I/O. The rest of the page displays format and clocking information.
Touching the Inputs or Outputs button brings up a display showing all of the individual connections within the stagebox. Each connection's box displays its name and essential settings. Use the Show Settings and Show Routes buttons to toggle the display between showing preamp settings and routing information.
Touching a connection box will display controls on the right of the screen.
To name a connection:
To control a preamp (analogue inputs only):
All AES IO have sample rate converters (SRC's) available, and they are engaged by default.
Touching the AES I/O (Internal) or Inputs/Outputs (D32.32) button brings up a display showing all of the individual AES connections within the unit. Each connection's box displays its name and essential settings. Use the Show Settings and Show Routes buttons to toggle the display between showing SRC settings and routing information.
Touching a connection box will display controls on the right of the screen.
When selecting an AES input you will be presented with a single SRC In button in the top right corner of the detail section. The console supports the input rates listed in the Input Rate column in the table below and will convert the incoming audio to 96 kHz for use within the Live system.
The table below also shows the sample rates available for AES/EBU outputs. There are some additional controls for output connections.
Detail Dialogues are available for other I/O ports as well:
The Internal Detail Dialogue provides an ANA OUT Trim slider, which introduces a global level trim on all local analogue outputs, relative to the console's Operating Level (set in Menu > Setup > System). The Clear Attention button clears all of the Att lights on the local I/O.
In the right side of the window, there are boxes for each local AES connection. Touching these provides access to essential AES settings, as described for AES I/O above.
The remaining I/O detail dialogues simply display essential information about the card or port.
The Live Recorder is intended to be used to record live events and has the ability to play back the recording for rehearsal mode 'virtual soundcheck' purposes. Any MADI device can be set as Live Recorder for this purpose.
Sends and returns to the Live Recorder are automatically routed to Input Channels pre-digital trim. Each Live Recorder must be assigned a device number from the detail dialogue. Since each MADI stream can carry 32 channels of audio (at 96 kHz), Live Recorder ID 1 will be routed to & from the first block of channels equalling 32 mono audio streams. Live Recorder ID 2 will be routed to & from the next block of 32 channels and so on. Stereo channels will take 2 of the 32 streams available, LCR channels will take 3, etc.
Once all full channel paths have been used, dry channels will be assigned to subsequent Live Recorder streams.
Up to eight Live Recorder MADI devices may be added to the I/O page, totalling 256 audio streams (up to 208 Full Processing Input Channels + 48 Dry Input Channels). The Live Recorder I/O pages show
At 48 kHz, the number of channels routed to each Live Recorder device doubles to 64.Note: The audio streams recorded correspond to the channel order by channel number (i.e. as they appear in the overview and console configuration pages and in system layers), which may be different to how the Input Channels appear on the Fader Tiles and also may not correlate with the inputs on the stageboxes as this is dependent on how the console has been set up.
The Rehearse button in the Live Recorder Detail Dialogue allows you to playback recorded audio through the channels from which they were recorded, allowing engineers to test the system or performers to rehearse alongside previous performances. Each Live Recorder has its own Rehearse button, allowing blocks of 32 (or 64 at 48 kHz) channels to be switched in and out of Rehearse mode.
Rehearse buttons are available from the User Options page (Menu > Setup > Options > User Tab). These allow playback of recorded audio through the channels from which they were recorded, allowing engineers to test the system or performers to rehearse alongside previous performances. Each Live Recorder has its own Rehearse button, allowing blocks of 32 (or 64 at 48 kHz) channels to be switched in and out of Rehearse mode. A Global Rehearse Mode button is also available to switch all Live Recorders in and out of Rehearse mode simultaneously.Note: Rehearse mode can also be triggered from User buttons; see .
Rehearsal mode is always indicated at the very top of the screen, towards the left-middle of the status bar, either with a icon when one or more Live Recorders are in Rehearse mode, or icon when all Live Recorders are in Rehearse mode.
A Dante Expander Module is also fitted to the Live console. This adds up to 64 channels of Dante I/O to the console (dependent on sample rate; see below).
Select the Dante Expander Module from the left-most column in the I/O page. You will be presented with options for the Dante Expander in the lower portion of the screen. The Recorder ID buttons operate in the same way as the Live Recorder interface described above (automatically routing the record sends/returns of blocks of channels to the Dante port), with the exception that the Free Route button allows the Dante I/O to be freely routed within the console routing system.
If the Dante network is running at a different sample rate or in a different clock domain to the console, engage the SRC In button. This will sample rate convert incoming and outgoing audio between the console and Dante network. The number of channels available for routing on the console will vary based on the console and Dante network sample rates. The table below summarises the sample rate combinations available:
|Console @ 48 kHz||Console @ 96 kHz|
|Dante @ 44.1 kHz||64||32|
|Dante @ 48 kHz||64||32|
|Dante @ 88.2 kHz||32||32|
|Dante @ 96 kHz||32||32|
|Dante @ 176.4 kHz||16||16|
|Dante @ 192 kHz||16||16|
You should not clock the console from the Dante network with the Dante SRC engaged. For more information about clocking to or from a Dante network, please refer to thesection.
AES67 is an interoperability standard for audio over IP networks. The console's Dante module supports AES67; this can be enabled from the AES67 Config tab in Dante Controller. Once enabled, AES67 flows can be created using Dante Controller for transmitting audio to other compatible devices that support AES67. Please refer to the Audinate Dante Controller manual for information on creating AES67 flows.