SCOPE
Here we will cover in greater detail the various parameters in a Source profile. Note that we will cover some topics in more detail in separate documents. For example; the complexity of the Record Mode options necessitates more detail than we will cover here.
TIP: This document could get a little long. Click on any of the links below to jump to that section.
WHY ALL THESE SOURCE PROFILES?
Quaser uses Source profiles to define what sources are allowed on each fader strip of your console. You might ask, why can't I just load EVERYTHING on my network? In a tiny network, this might not be so bad. However, imagine a system where you might have thousands of sources. Some of them, you would NEVER load on a fader. Why make users scroll through thousands of sources to find what they need. Besides, some sources may have different functions on different consoles.
This is where we get in to Source Types. Read our documents on Source Types.
Quasar uses Source "types" to predefine certain behaviors. Those might include any back feeds, how the GPIO behaves, is there TalkBack, should it mute speakers, etc. These are some of the parameters that you do not need to know how to configure. We have done that for you by defining source types.
THE SOURCE PROFILE
To access your source profiles;
Using a Web browser, navigate to the hope page of your console.
Under the Profiles heading on the left side, click on the Sources link.
A list of currently configured Source profiles will be displayed as well as a button at the top to Create new source profile.
Source Settings
The Source Settings consist of;
Source Type - A drop-down list assists in choosing the correct Source type. Pick the appropriate one from the list.
Source name - This is the name displayed on the fader strip of your console.
Source name override - Normally left as "Show sourcename," however, provisions can be made to update information on the fader strip display dynamically. Source name override is an advanced topic and will not be discussed in detail here.
Primary source - This is the primary source of audio on your network. Primary source can be a Livewire channel or any valid AES67 multicast address. Type the number directly in the box or use the browse button to the right of the box.
Mic Node physical input - In the case of a microphone Source Type, configure this so the console can adequately adjust the microphone pre-amp gain. If the Source Type is NOT a microphone, you can skip this setting.
Fader mode
Normal - Fader and ON/OFF buttons operate independently of each other. Normal is the most common mode of operation.
Fader Start - Moving the fader to the bottom will turn the fader strip OFF. Moving the fader up will set the fader strip ON.
Fader Start with Arm - You must first press the ON button to "arm" the fader. The ON button will wink, indicating it's armed. Moving the fader up turns the fader ON when armed. Moving the fader to the bottom turns the fader OFF. The channel remains "armed" until you press the ON button again to disarm it.
Input signal mode
Stereo - Left and Right channel from the source feed the Left and Right channel on the fader.
Left - Left channel from the source feeds both Left and Right channels on the fader.
Right - Right channel from the source feeds both Left and Right channels on the fader.
Sum L+R - Left and Right channels from the source are summed and feeds both Left and Right channels on the fader creating a mono playback.
Lock - If you check the lock box, the user can not change the Input signal mode from the console.
Input signal phase
Normal - This is exactly as received from the source.
Invert Left - Inverts only the phase of the left channel, leaving the right unchanged.
Invert Right - Inverts only the phase of the right channel, leaving the left unchanged.
Invert Left and Right - Inverts both.
It is best to correct problems as close to the source as you can. We do not recommend the permanent use of this phase correction. Its best use is in cases where you have no control. For example, someone feeds you a remote feed over codec where it's out of phase; the input signal phase is an excellent temporary solution.
Signal mode for Record Bus - Record bus is a dedicated bus for... well... recording. This setting allows you to manipulate the signal that feeds the Record bus, without affecting other buses.
Stereo - Left and Right from the source feed to Left and Right of the Record bus.
If Phone or Codec Left, otherwise Right - Automatically creates a mono sum of any Source Type that is NOT a Phone or a Codec and sends it to the right Right channel of the Record bus. Phone and Codec Source Types are mono summed and sent to the Left channel of the Record bus. This setting creates a "Phones on Left, mics on Right" recording scenario.
Summed-Mono to Left - Summed and sent to the Left channel of the Record bus. No audio contribution to the Right channel.
Summed-Mono to Right - Summed and sent to the Right channel of the Record bus. No audio contribution to the Left channel.
The Record bus is PRE ON/OFF but is POST FADER. That is to say, just by having the fader pushed up and assigned to the Record bus (the P4 button), the audio goes to the bus. You do not have to have the fader turned on. Record bus allows for the off-line recording of phone calls, microphones, etc., without the need to turn them on.
Fader trim gain - Used for small, temporary adjustments to the fader. As a general rule, it is best to correct the problem at the source, not here.
Pan setting - Allows for panning the signal to the left or right. -100 is all the way left, 100 is all the way right. Whole numbers between -100 and 100 are allowed.
Audio delay - Allows for adding a small amount of delay (up to 400ms) to the fader. Use audio delay to keep microphones in sync with cameras.
Auto-start timer - Checking the enable box causes this fader to automatically start the console timer.
Logic port
Exclusive mode - Aptly named as locks the GPIO component of the Source profile to the owner of the source. We won't get too much into "owner" here, but generally, the first person to load the source on a fader is the owner. Others who load the source would be able to receive the audio but would not participate in GPIO. Exclusive mode might be important if you were controlling an automation system or answering and hanging up phone calls. This mode prevents "non-owners" from interfering.
Shared mode - GPIO can be shared among consoles.
Disabled - No GPIO is sent or received.
GPIO ready enabled - If checked, the OFF button will not illuminate until a GPIO "ready" is received. This ready indication is useful for automation systems to tell you a cut is ready to be played, or for Codecs to tell you that the remote codec is connected and ready to broadcast.
Knob function
Fader Trim Level - Adjusts the fader trim level temporarily.
Mic Gain Adjust - This is where the Mic Node Physical input setting is needed as it will adjust the pre-amp gain on the source node.
Line Input Gain Adjust - WARNING - This adjusts the gain fo the source at the originating device (if supported). This gain adjustment will affect everyone who receives this source. Use this setting VERY carefully.
Automix Weight Control - If Automix is enabled, turning the knob will adjust the weight of this source relative to all other sources that are part of the mix. The weight setting controls how much automix is applied. 10 is a higher priority than a 1. A setting of 10 will duck a weight of 1 more than it will a source with a weight of 5.
Source Availability
An essential distinction between previous generations of Axia consoles and Quasar is the difference between what we more traditionally know as "faders" and what the Mixing Engine considers a "fader." More accurately, a "channel."
The Quasar Engine (in its current form) has 64 DSP mixing channels. On the Engine, these are also referred to as "faders'.
Those are not strictly tied to faders which we might put our hands on at the Quasar Console.
Why do we bring this up?
The Source availability setting controls which DSP Mixing channels this source can be applied to in the Engine. These DSP mixing channels are then "mapped" to the physical faders on the Quasar Console. This sounds like it may be complicated, but let's simplify.
Let's assume we have a 16 channel Quasar Console that is mapped one-to-one to the Engine. If we look at the following graphic, this source could not be loaded on faders 9 thru 16 but COULD be set on faders 1 to 8. By limiting the Source availability, we limit the choices for the user of the console.
Put another way, "Ch.1", as it relates to this graphic, refers to a DSP mixing channel in the Quasar Engine. It does not, by default, represent a Fader on the Quasar Console surface. PLEASE feel free to reach out if there if any confusion surrounding this.
Bus Assignments (on manual source load)
Filters
Equalizer
Feed to Source (back feeds, mix-minus, etc)
Flexible Record Mode options
