As with other Axia consoles, the iQs uses “profiles” to categorize audio that is present on the network and to define the behavior of the console. Profile types include:
Source Profiles – Defines the audio inputs
Show Profiles – Determines the layout of the console
Audio Outputs – Defines the audio outputs
Profiles are set up through the iQs Control Center, accessible by launching your preferred web browser on a computer connected to your studio network and entering the IP address of the iQs in the address bar. When prompted for authentication, enter the user name “user”. The password field is left blank.
As with other Axia consoles, the iQs uses “profiles” to categorize audio that is present on the network and to define the behavior of the console. Profile types include:
Source Profiles – Defines the audio inputs
Show Profiles – Determines the layout of the console
Audio Outputs – Defines the audio outputs
Profiles are set up through the iQs Control Center, accessible by launching your preferred web browser on a computer connected to your studio network and entering the IP address of the iQs in the address bar. When prompted for authentication, enter the user name “user”. The password field is left blank.
To create a Source Profile, first click on Sources (3-1A) in the Profile Manager section of the iQs Control Center menu.
Next, click on the Input Source dropdown (3-1C). Available options include:
Line Input – Used for any general audio source. A GPIO logic port can be used to provide machine start/stop pulses if desired.
Computer Player – Similar to Line Input, but with a different logic control commonly found with PC-based automation systems. Pressing the “On” button while the source is already in the “on” state triggers the next event in the automation.
Phone – Defines the source as a hybrid or broadcast phone system input. A summed mono mix-minus is automatically created for the source, and controls for Telos products will be available.
Codec – Generates a dual mono mix-minus for the source consisting of one PA feed (right channel) and one talent feed with talkback (left channel).
Operator Microphone – This is the board op’s mic and the source for iQs “talk to” functions. Its logic mutes CR (control room) monitors and Preview audio when on.
CR Producer Microphone – This is for an in-studio producer’s mic. It has associated GPIO logic to operate “talk to” functions from a remote producer’s panel and mutes CR monitors and Preview audio when on.
CR Guest Microphone – Used for any other mic in the control room. Its associated logic automatically mutes the CR monitors and Preview audio when on.
Studio Guest Microphone - Used for any mic in a separate studio. Its logic mutes the Studio monitors when on.
External Microphone – Used for any mic located outside of the CR or studio. It functions like a Guest microphone, but without any muting logic.
Studio Feed – Defines a source that receives a backfeed and generates an IFB backfeed in return. This is intended for an external studio source for which you wish to create a talkback channel.
Clicking on the Create button (3-1B) changes the display to show all options associated with the selected source type. Some options are common to all source types, while others are unique to a particular source.
Note: Detailed information on the GPIO logic functions for each Source Profile as well as detailed pin-out information per profile are provided in the section on GPIO
Some of the Source Profile options below apply to all Input Source types while others will appear only for certain sources. For example, dynamics processing (noise gate, compressor, de-esser) is included for the various microphone inputs, but not for a Computer Player or Codec.
As a result, what is shown on your screen may differ somewhat from the image shown in Figure 3-2.
Each source needs a unique name so that it can be displayed on the console’s channel display. Up to 10 characters (which may include spaces or underscore characters) can be entered in the Source name field (3-2A).
The AoIP or internal DSP source is set by the Source input dropdown (3-2B). The options available in the Primary Source dropdown are dependent upon this selection. Options include:
Livewire – Livewire AoIP audio.
Livewire Backfeed – The backfeed streams created by consoles on the network.
Livewire Surround – The last two channels of the original Livewire Surround stream are a stereo downmix of the 5.1-channel content which can be made available here as an input.
AES67 SIP – Provides a unicast option within the AES67 standard.
AES67 Multicast – The most typical AES67 stream type.
AES67 Multicast 16-bit – 16-bit streams are supported but not automatically detected; use this option to manually identify a 16-bit stream.
Sine 1kHz -20dBFS – An internally-generated tone for analog setup and testing.
V-Mixer – An internally-created mixer for special use cases.
The specific AoIP source is entered in the Primary Source field (3-2C).
Livewire – A Livewire channel number (1-32767) is expected; the Browse button will show any sources found through the Livewire discovery channel.
Livewire Backfeed - A Livewire channel number (1-32767) is expected; the Browse button will show any backfeed streams found through the Livewire discovery channel.
Livewire Surround - A Livewire channel number (1-32767) is expected; the Browse button will show any surround streams found through the Livewire discovery channel.
AES67 SIP – A SIP URI scheme is expected (sip:user@host); the Browse button will show any discovered sources.
AES67 Multicast – A multicast address is expected.
AES67 Multicast 16-bit – A multicast address is expected.
The Signal Mode dropdown (3-2D) determines whether the source will be treated as mono or stereo.
Stereo – Feeds an incoming L/R to the left and right channels of assigned mixes.
Left – Feeds an incoming left channel to both left and right channels of assigned mixes.
Right – Feeds an incoming right channel to both left and right channels of assigned mixes.
Sum L+R – Creates a mono mix of an incoming stereo source and feeds it to both the left and right channels of assigned mixes.
The Signal Phase dropdown (3-2E) determines whether the source will maintain normal phase or be inverted.
The Record Bus is a special variation of the Program 4 mix that by default is post-fader but pre-ON/OFF. The Signal Mode for Record Bus dropdown (3-2F) determines how the source will feed this mix.
Stereo – Source is delivered to the Record mix in stereo.
Sum to Left – Creates an L+R sum of the source and delivers the summed signal to the Left channel of the Record mix.
Sum to Right – Creates a L+R sum of the source and delivers the summed signal to the Right channel of the Record mix.
The Sum to Left and Sum to Right options create the ability to provide a split Record, a common setup for phone recorders. The Operator mic can be recorded to one side of a stereo channel while all other sources are recorded on the other channel.
By default, the Record mix is a post-fader feed. It can be switched to a pre-fader feed with the Record Insert mode dropdown (3-2G).
The Input Trim Gain field (3-2H) allows you to specify a gain adjustment of between -25dB and +25dB to the signal path just ahead of the fader.
The Panorama Position field (3-2I) is a pan (left/right balance) control. “0” is the center position. -24 is a hard pan left, while +24 is a hard pan right. This setting can be adjusted on the fly by the operator if permitted in the Show Profile settings.
Adjusting the Audio Delay (3-2J) allows audio to be delayed by a specific amount in milliseconds. This is useful for syncing to video or when setting an AES67 link offset.
Enabling Synchronous Mode (3-2K) strictly uses the incoming AES67 timestamp plus any specified link offset value to compensate for any network delay (which can add many milliseconds over a typical WAN) when receiving audio. Using Synchronous Mode provides the lowest possible latency - typically one packet (1ms) less than if it was disabled – which is especially critical for the mic-to-headphone monitor loop.
When Synchronous Mode is disabled, iQs plays the incoming stream with packet buffering plus any additional link offset. It automatically works for WAN and legacy Livewire streams where the timestamps are not PTP accurate, but the exact alignment of the incoming stream is unknown and there is no consideration for overall network delay.
Dynamics processing, including a Noise Gate, Compressor, and De-esser, is available for Microphone source types in the Microphone processing menu (3-2L). The checkbox to the left of each section enables that particular component.
The Noise Gate automatically reduces the gain of the microphone when input levels decrease to prevent background noise from being heard or increased either by the compressor in the channel strip or in the station’s main audio processor.
Threshold – When the input signal falls below this level, the Noise Gate activates. Higher values (toward 0dB) will cause the gate to activate sooner, while lower values (toward -50dB) will allow input audio to fall to a lower level before it activates.
Depth - Determines how much attenuation is applied to the input signal once it crosses the specified Threshold.
The Compressor reduces the dynamic range and peaks of the incoming audio to help smooth out audio levels at the output.
Threshold – The Compressor begins working once the input audio exceeds the value of the Threshold; audio below the Threshold is not compressed.
Ratio - The Ratio control sets the amount of processing that takes place and controls how “aggressive” the processing sounds. The Radio is the amount of change to the input level in dB that is required to change the output level by 1dB. For instance, a “loose” ratio of 2:1 would require a 2dB change at the input to yield a 1dB change at the output, allowing more dynamics from the mic. A “tight” ratio 16:1 ratio would require a 16dB change at the input to yield a 1dB change at the output and result in a more dense, consistent sound.
Freeze Mode – When audio falls below a pre-determined threshold, the action of the compressor will freeze to prevent background noise from being increased.
The De-Esser reduces sibilance caused by “s” sounds that can often cause distortion in the signal.
Threshold – The De-Esser begins working once the input audio exceeds the value of the Threshold.
Ratio – Works exactly as the Ratio control in the Compressor (see above) but with a maximum ratio of 8:1.
A Three Band Equalizer (3-2M) allows the overall tonal shape of the audio to be customized on each channel strip.
Frequency – Sets the center frequency of the Low band (20-320 Hz), Mid band (125-2000 Hz), and High band (1250 – 20000 Hz).
Gain – Determines the amount of boost or cut applied to each band (-25dB to +15dB).
Mode – Sets the High band to be either a Peak or Shelf EQ; the Low band will automatically switch between Peak and Shelf depending upon the setting of its Gain control.
The Source Availability checkboxes (3-2N) determine which faders (or other inputs) sources can be assigned to. For example, if you want the Control Room Mic to appear only on the left-most fader, you would check only the “Channel 1” box.
For sources that are monitor-only, uncheck all Channels to prevent the source from being fed into the final mix and creating an audio feedback loop. Use the “All Channel” checkbox for a quick toggle option to select “All” or “None”.
The Fader Mode dropdown (3-2O) defines fader start actions and start logic.
Normal – The On/Off button is exactly that, and on/off toggle when the button is clicked by the operator.
Fader Start – Turns the channel on and activates any associated machine logic when the fader is raised from the -∞ position.
Regardless of which Fader Mode is selected, clicking the “Off” button at any time will turn the channel off.
The Preview Mode dropdown (3-2P) determines whether Preview audio is pre-fader, which acts like a traditional “Cue” circuit, or post-fader, which behaves like a “Solo” feed.
The Preview Switching check boxes (3-2Q) controls the behavior of the channel strip with Preview is engaged. Either option can be turned off, used alone, or used together.
Channel ON turns Preview OFF – If the Channel is turned OFF and Preview audio is turned ON, the Preview audio turns off when the Channel is turned on.
Preview ON turns Channel OFF – If the Channel is turned ON and Preview audio is turned OFF, the Channel turns off.
When the Auto-start Timer (3-2R) is enabled, the count-up timer will start when a Channel is turned ON and the counter is set to “Auto” in the Show Profile setting.
When the Logic Port control (3-2S) enables or disables GPIO machine logic and, when enabled, selects its mode of operation.
Disabled – Turns off GPIO control for this source.
Exclusive Mode – Permits GPIO control and associates it with a single fader.
Shared Mode – Allows more than one user to send ON/OFF/START controls via GPIO to the source.
Some profile types also offer a “GPIO Ready” mode in a separate checkbox. This allows devices such as CD players or tape machines to signal their “ready” state to the operator through the OFF button.
When “GPIO Ready” is enabled, the device must be cued and ready in order for the OFF button to illuminate; if the device is cueing, the OFF button will remain dark.
The group of radio buttons in the Live Controls section (3-2T) determines which options the operator sees and can adjust on the fly when the “OPT” button is clicked on a particular Channel strip. Note that because there are no physical rotary encoders on iQs, the “Primary” checkboxes are not used.
Controls include Source, Gain, Panorama, Dynamics, Equalizer, and Automix.
There are four Page Buttons (3-2U) at the bottom of the Source Profile page.
Save as Copy – Duplicates the current configuration and creates a copy on the main Source Profiles page. This is a handy shortcut for creating sources that are identical except for one or two fields – typically the name and Livewire channel number – such as multiple CD players.
Apply – Immediately applies any changes made.
'OK – Immediately applies any changes made then closes the page and returns you to the main Source Profiles page.
Cancel – Discards any changes made since it was last opened and returns you to the main Source Profiles page.
Configuring audio outputs is done via the iQs Control Center which is accessible by launching your preferred web browser on a computer connected to your studio network and entering the IP address of the iQs in the address bar. When prompted for authentication, enter the user name “user”. The password field is left blank.
To begin setting up Audio Outputs, click Outputs (5-1A) in the I/O Manager portion of the iQs Control Center. Up to 24 outputs can be configured.
The Output dropdown (5-1B) for each output offers the following options:
Program 1 – Program 4 – The four standard output mixes.
Record – A special mix generated from the Program 4 output mix. This is a Pre-ON and Post-Fader mix so that the operator can control the output level.
Phone – Another special mix generated by the Program 4 output mix. This is a Pre-ON and Pre-Fader mix, useful where no operator level control is needed.
CR Monitor – The control room monitor driven by the CR Monitor section of the surface.
CR Monitor Direct – The control room monitor, but a pre-volume knob source which is not impacted by mute states.
CR Headphone – The operator headphone feed driven by the Headphone section of the surface
Preview – The preview (“cue”) mix driven by the PFL state of any fader channel
Talk to CR – The audio of any profile that initiates a talkback to the Control Room. This is mixed in with the Preview mix, but if there is an application for only the talkback audio to be sent, this is the source to utilize.
Talk to External – Audio content from the designated Talk source when the CR Monitor logic “Talk to External” is triggered. As mentioned in the Show Profiles section, the designated Talk source is either the Operator Microphone assigned to a fader channel or the Show Profile’s “Ext Talk” designation.
Studio Guest HP – This feed follows the Studio Monitor assignment but is not muted, and is used to feed headphones other than the operator’s.
Studio Talent HP – Similar to the Studio Guest HP, but received talkback audio when the “Talk to Studio” button is pressed.
V-Mix – The output of the V-Mixer
V-Mode – The output of the V-Mode stage
Sine 1kHz -20dBfs – A DSP-generated 1kHz tone at a level of -20dBfs.
Auto Backfeed – This is the default setting for unused outputs. When a source is loaded that calls for a backfeed, one of the outputs from the pool of available Auto Backfeeds will be assigned and configured. If no outputs from the pool is available, the channel with the calling profile will show an error condition. To reclaim an assigned Auto Backfeed output, the profile would need to be unloaded.
The Name Overwrite field (5-1C) is a useful option if you have multiple consoles in the same facility that use a common default name, such as “Program 1.” Entering a more specific name (such as “Studio A Prog 1” for example) makes it easier to select the correct source from all available network sources.
The AoIP Type dropdown (5-1D) selects between the multicast or unicast format for AES67 transmission.
When using Multicast (the default selection) a multicast address must be entered into the Channel/IP field (5-1E). A Livewire channel number (1 – 32767) may also be entered. When using a Livewire channel number, the device is advertised through the Livewire advertisement protocol; multicast addresses are not.
When Unicast is selected, a SIP URI will be generated which will carry through to the other end of the link. The intended configuration for unicast dictates that the receiving end will issue a SIP request from the transmitting device.
The Payload Type dropdown (5-1F) defines the AES67 packet type, which more specifically defines the packet time or “ptime”, which is the value that determines the amount of audio contained within the packet. AES67 Standard packets are 1ms. Standard Stereo packets are 5ms, represent a more efficient option, and may be required when interfacing with legacy Livewire equipment.
Clicking on the SDP link (5-1G) downloads the SDP file, a method of exchanging AES67 stream information between devices, which may be required when interfacing with other AoIP products. Clicking on the Up Arrow next to it will open a pop-up window to view the file copy/paste it into other products.
The Backfeed Mode dropdown (5-1G) defines the payload type for backfeeds. The options are the same as those in the Payload Type, AES67 Standard (1ms) and Standard Stereo (5ms). Some equipment, such as particular versions of a Telos VX system for example, should be configured to Standard Stereo (5ms) for compatibility.
Clicking the Apply button (5-1H) applies any changes you have made to the configuration.
V-Mixer and V-Mode are small routing utilities that are useful for handling some of those unusual situations every studio runs into now and then. They are accessible through the V-Mixer & V-Mode (5-2A) section of the I/O Manager in the iQs Control Center.
The V-Mixer is a 5-input utility mixer. Available input sources are defined through Source Profiles are selected in the Source dropdown (5-2B).
Each input also has a Status indicator (5-2H), On checkbox (5-2G), and individual Gain setting (5-2F). The master output of the V-Mixer is set in the Gain field (5-2E).
The “On” state of each input can be controlled through GPIO by entering the appropriate Livewire number in the Logic Port field (5-2D).
The Control Type dropdown (5-2C) includes four different modes:
Disabled – Disables the V-Mixer feature
Normal – An active GPI triggers an “On” state
Toggle – A momentary GPI will toggle “On” and “Off” states
Radio – The most recent GPI will be the active “On” channel
Clicking on the V-Mixer Apply button (5-2I) saves and applies any changes.
V-Mode accepts one of the main mixes (Programs 1-4 or the V-Mixer) through the Input dropdown (5-2J) and produces an output as defined in the Mode dropdown (5-2K).
Clicking the V-Mode Apply button (5-2L) saves and applies any changes.
Click on Stream Status (5-3A) to view the status of current network streams.
The Minimum buffer (5-3D) is shown along with the RTP timestamp position (5-3C). The location of the stream on the surface is shown in the Where Used field (5-3B).
Figure 5-3 – Stream status
Like Source Profiles, Show Profiles are set up through the iQs Control Center which is accessible by launching your preferred web browser on a computer connected to your studio network and entering the IP address of the iQs in the address bar. When prompted for authentication, enter the user name “user”. The password field is left blank.
Show Profiles define how the surface is laid out channel-by-channel and determine some console behaviors. They are so named because they provide a convenient method of recalling a particular way of organizing the controls for different dayparts or program types, such as a morning show, a live sports broadcast, or a local newscast.
The Shows menu (4-1A) in the Profile Manager section of the iQs Control Center menu contains the various options related to recalling, saving, editing, and resetting Show Profiles.
Show Profiles can be changed via GPIO by entering the appropriate GPIO channel of a Telos Alliance xNode in the Logic Port for Show Switching field (4-1D). In addition to allowing GPI triggers to change the profile, it can also create a GPO contact to identify which show is active.
Enabling the Hide (NONE) in show list control (4-1C) hides the option to select “None” – the equivalent of an entirely blank Show Profile – from the surface, preventing operators from ending up with a completely un-configured console.
Clicking on either the Edit button (4-1E) or the Show Profile letter or name (4-1B) will open a new page where individual show-specific parameters can be changed.
The Capture button (4-1F) saves the current console layout to the selected Show Profile.
The Reset button (4-1G) sets all Show Profile values back to factory defaults.
Four Show Profiles are supported. To create a Show Profile, begin by clicking either on the Edit button (4-1E) or the Show Profile letter or name (4-1B) which will open a new page with all settable parameters.
You may notice that many of these parameters are mirrored on the surface itself, and any current values for buttons, faders, volume controls, etc. are represented here though typically in numerical rather than graphical form. Additional controls that allow or prohibit the operator from making changes to certain settings are found only here in the Control Center.
A friendly seven-character name can be entered into the Show name field (4-2A) so that operators can easily identify and recall a specific profile.
The Source dropdown (4-2B) is used to select the input source for the channel. Note that the only sources that will appear in the dropdown are those which have been added via the Source Profile manager and assigned to an output device (such as a Telos Alliance xNode).
The On checkbox (4-2C) determines whether the channel will be switched on when the profile loads. If the checkbox underneath with the padlock icon is also checked, the operator will be unable to change the channel On/Off status from the surface.
The PGMx checkboxes (4-2D) set the PGM mix destinations (Program 1 – Program 4) when the profile loads. If the checkbox underneath with the padlock icon is checked for a particular mix bus, the operator will be unable to change its status from the surface.
The Group Start dropdown (4-2E) links channel On states. Any On state changes made to a channel designated as a Master channel will affect all other channels designated as either Master or Slave. When set to Independent, the fader channel is unaffected by any group start signals.
The Automix dropdown (4-2F) sets the importance or “weight” of each fader channel when Automix is enabled in the adjacent checkbox. Weight 1 is the highest priority, with subsequent numbers having less priority. See the “Automix” section below for more information.
Interfacing with a Telos VX phone system is set up in the Phone Connection section.
Enter the IP address of the appropriate Telos VX product in the Phone Server IP field (4-3A) or use the browse button to view and select from all available addresses.
Do the same for the Studio name field (4-3B), which is a Studio Configuration as defined in the VX system.
The Show Name field (4-3C) is optional, but if declared, the selected VX Show will become active. Leaving the field empty allows a VX Show to be “pushed” externally to the iQs. The Phone Connection settings must be in place in order to use Fixed or Selectable Phone types.
The Automix feature automatically sets the balance between various active sources and ensures the combined output of all sources doesn’t exceed the level of the source with the most gain. This is useful for keeping multiple mics under control, ensuring that the host mic is always dominant in the mix, or to help with the balance between voice and music during talk-overs.
The Control dropdown (4-4A) determines the patch point from which Automix is fed. When set to “Post-Fader”, the operator can control the input gain to the Automix algorithm. Selecting “Pre-Fader”, the input gain to Automix is fixed.
The Attack Time field (4-4B) sets how quickly Automix will reach to reduce gain in as its input levels increase. The Release Time field (4-4C) determines how quickly Automix will increase gain when input levels decrease.
The Monitor Section includes four monitoring points:
CR Monitor – The control room monitors (operator position
CR Headphones – The control room (operator) headphone
Preview – The Preview (or “cue” output
Studio Monitor – The studio monitors (typically a host studio position)
Various parameters can be set for each monitor type, but note that not all settings are applicable to all monitor types while others are exclusive to only one type of monitor.
The Volume Level field (4-5C) sets the defined volume level when the Show Profile is loaded and the Volume Set checkbox (4-5B) is checked. If left unchecked, the existing volume level is retained when the Show Profile is loaded.
The Volume Adjust Allowed checkbox (4-5A) allows the operator to adjust the volume when checked. Left unchecked, the Volume cannot be controlled by the operator.
The Dim Gain field (4-5D) defines the amount of attenuation during a Dim event. A setting of “-Inf” mutes the main content while “0” applies no attenuation to the main content.
The Gain in Muted State field (4-5E) defeats the usual mute state in favor of a “dim” state, allowing monitors to pass audio but with a much lower gain value. In most radio applications, the goal is to completely mute monitors in the same room as any open mics to avoid feedback. In some television applications, however, the studio mics may need to stay open for internal communication or IFB purposes, but the talent may still need to hear program audio through monitors.
The Source dropdown (4-5F) defines the audio source for the monitor when the Show Profile loads. Whether the operator can change the source on the surface is determined by the Source selection allowed checkbox (4-5G).
Enabling the Preview in checkbox (4-5H) allows the Preview mix to be added into the CR Monitor and/or Headphone Monitor outputs. When enabled for the Headphone Monitor, the Preview mode dropdown (4-5I) determines whether the Preview audio is mixed into both left and right channels (“Normal”) or into only the left or right channel (“Split”).
The Logic Port field (4-5J) accepts a Livewire channel number for the monitor logic, the value of which would be applied to a GPIO port. This is commonly used to trigger ON AIR or mic tally lights.
Figure 4-5 – Monitor section
While most of the Monitor section is centered around local DSP-produced sources, it is sometimes necessary to utilize a source on the AoIP network. Note that only sources set up in Source Profiles will appear in the External source dropdowns (4-6A) for each input, and settings in the Source Availability menu will determine whether a particular source is available for monitoring.
Source choices include:
External 1 (and External 2) – The monitor section has two EXT buttons used to route an external source to the monitors. The source feeding those EXT buttons for this Show Profile is defined here. An off-air tuner is a typical source, allowing the operator to listen to the actual transmitted signal.
External Talk – This is used to defeat the default configuration in which Talkback audio from the operator mic is routed through a channel on the surface. In many applications, the operator doesn’t contribute audio to the on-air mix and so tying up a strip for the operator mic is costly. This option allows the operator microphone (or any other available source) to be the audio source when a “Talkback” function is called.
External Preview – This defines the source applied to the Preview mix when an “Ext Preview” logic state is engaged via GPIO. For example, this can be used to route Intercom audio into the monitor section of the surface.
Clicking the “Record” button on the surface triggers a GPIO command to record whatever source is currently routed to the studio monitors. Its specific behavior can be defined by choosing options from the Record mode dropdown (4-7A). Choices include:
Disabled – Effectively turns off Record mode, and clicking on the Record button does nothing.
Enabled – Toggles the “historical” Axia record mode that most users who are familiar with this feature expect. When the Record button is clicked, the monitor section will change to a specialized Record mix which triggers a specified GPIO and mutes the CR monitors.
CR Ready – Used to indicate a ready condition through a GPIO. GPO Pin 5 will latch in this mode when the Record button is clicked.
CR Ready with Auto-Reset – Works just like CR Ready, but the latch will reset the moment a mute state is triggered
GPIO Button – Treats the Record button as a GPIO button. GPO Pin 1 of the specified port will follow the button press, and GPI Pin 11 will trigger the illumination of the Record button.
Selecting CR Ready, CR Ready with Auto-Reset or GPIO Button requires that a value between 1 and 32767 be entered in the Logic port field (4-6B).
The User Interface section allows for the customization of certain aspects of the surface.
The Timer mode dropdown (4-8C) determines whether the count-up timer is triggered manually on the surface or by source profiles that have their time controls enabled.
If the Preview interlock mode (4-8B) is enabled, pressing a second PFL (“preview” or “cue”) button releases the PFL button previously pressed and routes the audio associated with the second button to the associated monitor source. When disabled, each PFL button must be pressed again to remove the channel from preview.
The timer can be manually controlled through GPIO by entering the appropriate channel in the Logic Port for Timer field (4-8A).
The Talk to CR Level (4-8E) sets the gain (either attenuated or amplified) of the “Talk to Control Room” audio.
The Control lock map (4-8D) allows any item that is NOT checked to become non-functional to the operator; checked items are available to the operator.
The Changes menu (4-9A) in the Profile Manager section of the iQs Control Center menu displays any differences in both Source and Show Profile settings between the Profile Manager and the currently active settings on the console surface.
Changes can be selected and de-selected via individual checkboxes (4-9B) and then saved to the profiles by clicking on the Save Selected Changes button (4-9C).
