Calrec Artemis User manual

calrec.com Putting Sound in the Picture
Digital Broadcast Production Console
ARTEMIS OPERATOR MANUAL
Shine - Ray - Beam - Light V8.2

Calrec Audio Ltd
Nutclough Mill
Hebden Bridge
West Yorkshire
England UK
HX7 8EZ
Tel: [phone]
Fax: [phone]
Email: [e-mail]
calrec.com
No part of this manual may be reproduced
or transmitted in any form or by any means,
electronic or mechanical, including photocopying
and scanning, for any purpose, without the prior
written consent of Calrec Audio Ltd.
Whilst the Company ensures that all details in this
document are correct at the time of publication,
we reserve the right to alter specifications and
equipment without notice. Any changes we make
will be reflected in subsequent issues of this
document. The latest version will be available
upon request. This publication is for International
usage.
Calrec Audio Ltd reserve the right to change
specifications without notice. E & O.E.
The established policy of Calrec Audio
Ltd is to seek improvements to the design,
specifications and manufacture of all products.
It is not always possible to provide notice outside
the company of the alterations that take place
continually.
Despite considerable effort to produce up to
date information, no literature published by
the company nor any other material that may
be provided should be regarded as an infallible
guide to the specifications available nor does
it constitute an offer for sale of any particular
product.
Apollo, Artemis, Summa, Brio, RP1, Hydra Audio
Networking and Bluefin High Density Signal
Processing (HDSP) are trade marks of Calrec
Audio Ltd. Dolby®E is a registered trade mark
of Dolby Laboratories, Inc. All other trade marks
are acknowledged.
© 2017 Calrec Audio Ltd. All Rights Reserved.

ARTEMIS
CONTENTS
Information 7
Important Information 8
Health and Safety 9
Technical Support 10
Introduction 11
Introduction 12
Bluefin2 12
Hydra2 12
Commitment 12
Concord Processors 12
Control Surface 12
Signal Processing 12
I/O 12
Resilience 12
Power 12
Shine-Ray-Beam-Light Comparison 13
Changes to Screen Locations in the Main
Application from V6.0 15
96kHz Overview for Artemis 16
Control Overview 17
Configuration PC Overview 18
Peripherals 18
Windows login 18
Main application 18
USB Port 18
Installing 3rd party software 18
Power and reset 18
Online Documentation 18
Touch Overview 19
Touch/Tap 19
Multiple touches (Hold and Touch) 19
Swipe 19
Surface Control Overview 20
Button cell 20
Control cell 20
TFT touchscreen 20
Surface Panel Overview 21
Monitor & Reset/OEM Meter panels 23
Reset, Talkback Mic and USB port. 23
3rd party meters 23
Monitor Panel 23
Alternate Fader/Monitor Panel 24
Panel Modes 25
Mode To All 25
Mode Lock 25
Layouts 25
Setting up/Recalling the User Layout 25
Fixed layout 25
Assignable modes 25
Assigning Paths 26
Assigning a path 26
Current Assign and Fader Touch Indication
shown on Meters 26
User Splits 27
Identifying User Split Locations 27
Creating / removing user splits 27
Layers 28
A/B Paths 28
Layers 1-12 28
Using layers 28
Layer Locking 28
Layer Splits 28
Turning off the B layer 28
Control Panel Modes 29
Processing 30
Send-Route 31
Output Mode 32
Monitor Mode 33
Wilds Mode 34
Setting Up Wilds mode 34
Selecting Wilds 34
Wildable controls 34
Memorising Wilds 34
Assigning and Clearing 35
Memory Isolation 35
Alternate Fader Wilds 35
Wilds pages 35
Wildable Controls 36
Strips Mode 37
Accessing Strips mode 37
Apply to All Strips 37
Routing display 37
A/B path indicator 38
Changing Strips types 38
Getting Signals Into Artemis 39
I/O Boxes & Hydra Patchbays Sample
Rate Selection in H2O 40
Consoles at 96kHz 40
I/O and Hydra2 Patchbays at 96kHz 40
Input Source Organisation 41
Filtering the Hydra2 network 41
Boxes at different sample rates 41
Input ports 41
Hydra2 Patchbays 41
Hydra2 Patchbays at different sample rates 41
Port labels 41
Port lists 42
Creating lists 42
Copying and moving ports to lists 42
Removing ports from lists 42
Renaming lists 42
Removing lists 42
Sets 43
Adding ports to sets 43
Allocating Signal Paths to Faders 44
Assigning channels to faders 44
Assigning buses to faders 45
Assigning auxs and tracks to faders in the
Tools menu 45
Removing paths from a faders 45
Moving / Swapping Paths 46
Cloning paths 46
Inserting blank faders 46
Layer locking faders 47
Copying path settings 47
Warnings and Conflicts 47
Fader Setup Screen 48
Memories from larger consoles 48
Assigning auxs and tracks to faders in the
Fader setup screen 48
Remote Production Option 48
Input Types and Patching 49
Ports at different sample rates 49
Searching input sources 49
Searching destinations 49
Channel input / fader views 49
Channel input 2 49
Patching input sources to faders 50

4 ARTEMIS Digital Broadcast Production Console
Patching at different sample rates 50
Bulk patching and source views 50
Protection against removing multiple
destinations 50
Mic Open field 50
Additional port info - Desc & Diag 50
Over-patching, removing & moving 51
Offline patching 51
Sources used in multiple locations 51
Returning outputs to input channels 51
Hydra2 Patchbays 51
HPB’s at different sample rates 51
Alias patching 51
Patching inputs directly to outputs 51
Patching Shortcuts 52
Custom fader labels 53
Ability to Receive External Source Labels via
SW-P-08 53
Source Label Hierarchy 53
Input Controls 54
Inputs 1 and 2 54
Mic/Line gain 54
±6dB coarse gain 54
Input trim 55
Tone 55
Linking Input Trims 55
Input delay 55
48v 56
Polarity inversion 56
Input balance 56
L>B and R>B 56
M-S 56
SRC 56
Signal flow 56
Replay 57
Adding Paths to the Replay Set 57
Activating Replay 57
Input Port Protection 58
Controlling a Protected Input Port 58
Loading Shows/Memory/Alias Files 58
Dolby E Decoding 60
Passing signals through decoders 60
Important - sample rate conversion 61
Important - synchronisation 61
Metadata 61
Passing encoded Dolby E 61
Alias Files 62
Editing alias files 62
Aliases at different sample rates 62
Alias groups 63
Alias mic bus 63
Enabling an alias file 63
Alias patching 63
Tone / Oscillator Controls 64
Oscillator Parameters 64
Tone Idents 65
External Tone 65
Tone Clear 65
Tone Patchable to Output Ports 66
Tone Troubleshooting & FAQs 66
Hydra2 Patchbays 67
HPBs and different sample rates 67
Port Sharing 68
Unpatching 68
Processing Audio 69
Channel Signal Flow 70
EQ and Filters 71
A & B alternate EQ Settings 71
EQ curve display 72
Dynamics 1 73
Dynamics 1 controls 73
Processing order 74
Dynamics metering 74
Side-chain EQ 74
About Dynamics Side-chain & EQ 74
Dynamics Links 74
Dynamics 2 76
Dynamics 2 controls 76
Automixer 77
Assigning control 77
Gain reduction metering 77
Delay 79
Assignable Delay at different sample rates. 79
Individual Assignable Delay 79
Individual Path Delay 79
Delay Settings 80
Assigning Delay to a Faderless Path 80
Global Delay Settings 80
Stereo Width 81
Stereo/Surround Spill 82
Accessing the spill faders 82
Assigning paths on the spill panel 82
Changing the user section 82
Processing Independence 83
Independence status indicators 83
EQ independence 83
Dynamics independence 83
Inserts 84
Patching insert resources to ports 84
Inserts at different sample rates 84
Connecting insert resources to paths 85
Naming insert resources 85
Insert resource lists 85
Creating lists 85
Copying/moving insert resources to lists 86
Removing insert resources from lists 86
Renaming lists 86
Removing lists 86
Insert Order and Sets 86
Insert ON / OFF Control 86
VCA Groups 87
Creating and dissolving VCA groups 87
Group hierarchy 87
Fader status indicators 87
VCA group interrogation 88
Masters & slaves on the same fader 88
Fader level indicator 88
Nulling indicators 88
Preserving balance of slaves at low levels 88
5.1 Surround channels 88
VCA group protection 88
VCA Slaves move with VCA Masters 88
VCA operation with Remote Production units
88
Autofaders 89
Setting Up Autofaders for use 90
Assigning GPI’s to autofaders 90
Assigning autofaders to faders 90
Autofader levels 91
Autofader parameter settings 91
Global Autofader Bypass 91
Autofader indicators 91
Default Fader Interaction Mode 92
Routing Audio 93
Buses Overview 94
Setting Bus widths 94
Admin protection for Bus widths 94
Buses at different sample rates 94
LtRt / LoRo downmixes 95

CALREC Putting Sound in the Picture 5
Bus routing 95
Pre-fader Aux send cut options 95
Making a Route 96
Using Assign Mode 96
Accessing Detailed Send Controls 96
Paging Through Buses 96
Routing Overview 96
Using Strips or Wilds Mode 97
Panning 98
Multiple Pan Positions per Path 98
Controls 98
Joystick Panning 99
Accessing the joystick controls 99
Making the joystick controls active 99
Pan display 99
Pan control menu 100
Freezing axes 100
Contribution Mode 101
Accessing Bus Contribution 101
Partial Routing Indication 102
Aux Sends on Faders 103
Access AFL in Contribution Mode 103
Default Send Positions 104
Leaving Contribution Mode 104
Splitting Track Sends 105
Removing sends 105
Partial sends 105
Downmixes 106
Bypassing the downmix faders 106
Pre-fader downmixes 106
Setting downmix defaults 107
Selecting the required downmix default 107
Applying default levels to downmix faders 107
Lo/Ro & Lt/Rt Downmix Encoding 108
Selecting Lt/Rt or Lo/Ro 108
Passing Signals Out of Artemis 109
Output Types and Patching 110
Ports at different sample rates 110
Patching 110
Patching at different sample rates 110
Patching Shortcuts 110
Hydra2 Patchbays 110
HPB’s at different Sample Rates 110
Locking output port patching 110
Output Port Protection 111
Patching to Protected Outputs 111
Output Control 112
Accessing further controls 112
Outputs on Faders 113
Bus Output Delay 113
Output Patching Shortcut 113
Assignable Delay at different sample rates 113
Main Paths on Monitor Panel 114
Tone to mains 114
Accessing Spill controls for Main faders 114
Direct Outputs 115
Direct Outputs at different sample rates 115
Assign Direct Outputs from the Surface 115
Assign Direct Outputs from the PC 115
Direct Output Controls 116
Direct Output Delay 116
Direct Output Talkback 116
Direct Output Patching Shortcut 116
Monitoring 117
Monitor Mode 118
Control Room Monitoring 119
Pre-selectors (Favourites) 119
Control Room speaker pre-selectors 119
Changing pre-selector source 119
Control room monitor controls 120
Loudspeaker cut buttons 120
Monitoring for multiple users 120
Monitoring at different sample rates 120
Dedicated Monitor Controls 121
Miscellaneous Monitor Sources 122
Alter the output source 122
Patch miscellaneous monitor outputs 122
Monitoring on Fader/Monitor Panel 123
AFL and PFL and Output Listen 124
AFL 124
PFL 124
Output Listen (OPL) 124
Access from faders 124
Access bus AFL, PFL and OPL 124
Access AFL in Contribution Mode 124
Cancel AFL and PFL 125
Move PFL within signal chain 125
Patch AFL/PFL to external monitors 125
Send PFL to the small LS 125
Send PFL to the main monitors 125
AFL and PFL with multiple users 125
Patch AFL, PFL and APFL buses 126
PFL via GPI 126
Headphones 127
Patch the headphone output 127
Monitor Functions 128
Monitoring controls 128
APFL controls 128
Surround Monitoring 129
Immersive Monitoring 131
Communications 133
Talkback 134
Live talkback routing 134
Talkback groups 134
Talkback & Reverse Talkback levels 134
Patching talkback/reverse talkback inputs 135
Microphone settings 135
Monitoring reverse talkback signals 135
Inhibiting Talkback 135
Mix Minus 136
Why remove a sources own input from its
foldback mix? 136
Sending signals to the mix minus bus 136
Assigning a direct output 137
Monitoring a mix minus signal 137
Metering 139
TFT Meters 140
Meter Cells 140
Meter Grid Configuration 140
Meter Assignment 141
Meter Scales 141
Meter labels and colours 141
Dynamics meters 142
Peak Sample meters 142
Peak Overload indicators 142
A/B path meters 142
Meter Layout Presets 142
Meter Selectors 143
Fader and Dynamics Meter Settings 144
Fader meters 144
Dynamics meters 144
External Meter Outputs 145
Loudness Meters 146
Loudness metering at different sample rates
146
Controlling Loudness Meters 147

6 ARTEMIS Digital Broadcast Production Console
Shows, Memories and Presets 149
Overview 150
Using Shows and Memories 152
Creating a new show 152
Creating shows at different sample rates 153
Opening an existing show 153
Opening Shows at different sample rates 153
Saving / duplicating shows 153
Creating and editing default shows 153
Backing up shows and memories 154
Backup Shows at different sample rates 154
Restoring shows and memories 154
Renaming shows 154
Deleting shows 154
Changes to Format of Show Data and
Backups 154
Saving user memories 155
Loading user memories 155
Backing up and deleting memories 155
Ordering the memory list 155
Memory load / save without the PC 155
Transferring Shows/Memories Between
Consoles 155
Memory Sequencing 156
Remote control 156
Memory Isolation 157
Basic path isolation 157
Setting scope of path memory isolation 158
Applying isolation scope to multiple paths 159
Elements available for isolation 159
Output port isolation 160
Improvements to Memory Isolate System 160
Presets 161
Creating a Preset 161
Loading a Preset 161
Editing a Preset 161
Backing Up Presets 162
Restoring Presets 162
Pooled Resources 162
Console Facilities 163
On Air and Rehearse Modes 164
On Air 164
Rehearse 164
Neither mode selected 164
System Reset 165
Fail warning indicator 165
Reset buttons 165
Technician Mode 166
Supervisors, Technicians and Users 166
Accessing Technician Mode 166
Managing technician/supervisor accounts 166
Exiting Technician Mode 166
Synchronisation Sources 167
Synchronisation at different sample rates 167
External Interfacing 169
GPIO 170
Assigning GPIs 170
GPI functions 170
Monitor Panel Customer Switches 170
Assigning GPOs 171
Common Console Functions 171
GPO signal type 171
Test GPO 171
EMBER+ Virtual GPIO 172
Remote Control 173
CSCP 173
CSCP Per Fader 173
Ember/Ember+ 173
LAN ports for 2015 Cores 174
External Monitor / Meter Inputs 175
Configuring external inputs 175
Monitoring / metering externals 175
Mic Open Systems 176
Assigning Inputs to Mic Open Systems 176
Assigning Aliases to Mic Open systems 177
Assigning Mic Open Systems to GPOs 177
Assigning to CUT/DIM Loud Speakers 177
Automation Option 178
Spill Automation 178
Editing Suite 178
Redundancy 178
External Machine Control 178
Automatable Controls List 178
Remote Production RP1 Option 179
Function Table for Parameter Control of
Remote Paths 179
System Status 181
System status notifications 182
Message types 182
Status messages at different sample rates 182
Clearing messages 182
Surface indication 183
External indication 183
Source Offline indication on a path 183
Intermittent Cable Failures 183
Glossary of Terminology 185
Features by Software Version 191

calrec.com Putting Sound in the Picture
ARTEMIS
INFORMATION

8 ARTEMIS Digital Broadcast Production Console Information
IMPORTANT INFORMATION
After Sales Modifications
Please be aware that any modifications
other than those made or approved by
Calrec Audio Limited or their agents, may
invalidate the console’s warranty. This
includes changes to cabling provided by
Calrec and variations to the recommended
installation as detailed in Calrec
documentation.
Modifications to this equipment by any
party other than Calrec Audio Limited
may invalidate EMC and safety features
designed into this equipment. Calrec
Audio Limited can not be liable for any
legal proceedings or problems that may
arise relating to such modifications.
If in doubt, please contact Calrec Audio
Limited for guidance prior to commencing
any modification work.
Installation
In many installations the AC power
connectors will not be readily accessible,
effectively making the equipment
permanently connected. The installation
should be carried out in accordance
with all applicable installation rules and
regulations.
Service Personnel
The AC power disconnect devices are
the 2 x IEC (IEC60320-1 C13/C14)
couplers located at the rear of each unit.
WARNING: The apparatus has a dual
power system. It is essential that BOTH
AC power IEC couplers are disconnected
to prevent exposure to hazardous voltage
within the unit.
Third Party Equipment
Integrating third party equipment into
a Calrec system may compromise the
product’s ability to comply with the
radiated emission limits set in the latest
EMC (Electro Magnetic Compatibility)
standard.
Calrec Audio Limited can not be
responsible for any non-conformities
due to use of third party equipment. If
in doubt, please contact Calrec Audio
Limited for guidance prior to integrating
any third party equipment.
ESD (Static) Handling Procedures
In its completed form, this equipment has
been designed to have a high level of
immunity to static discharges. However,
when handling individual boards and
modules, many highly static sensitive
parts are exposed. In order to protect
these devices from damage and to protect
your warranty, please observe static
handling procedures, for example, use an
appropriately grounded anti-static wrist
band. Calrec will supply an electrostatic
cord and wrist strap with all of its digital
products.
All modules and cards should be returned
to Calrec Audio Limited in anti-static
wrapping. Calrec Audio Limited can
supply these items upon request, should
you require assistance.
This applies particularly to digital products
due to the types of devices and very
small geometries used in their fabrication,
analogue parts can however still be
affected.
RoHS Legislation
In order to comply with European RoHS
(Reduction of Hazardous Substances)
legislation, Calrec PCB and cable
assemblies are produced with lead-free
(tin/copper/silver) solder instead of tin/
lead solder. See Fig 1.
In the unlikely event of a customer
having to carry out any re-soldering on
Apollo, Artemis or Hydra2 hardware,
it is imperative that lead-free solder is
used; contaminating lead-free solder with
leaded solder is likely to have an adverse
effect on the long-term reliability of the
product.
Circuit boards assembled with lead-free
solder can be identified (in accordance
with IPC/JEDEC standards) by a small
oval logo (see Fig 2) on the top-side of
the circuit board near the PCB reference
number (8xx-xxx). The same logo is used
on the connector hoods of soldered cable
assemblies.
If in doubt, please check with a Calrec
customer support engineer before
carrying out any form of re-soldering.
ISO 9001 and RAB Registered
Calrec Audio Ltd has been issued
the ISO9001: 2008 standard by the
Governing Board of ISOQAR.
The award, for both UKAS (Fig 3)
and RAB (Fig 4) registration, is the
most comprehensive of the ISO9000
international standards. Granted in
recognition of excellence across design,
development, manufacture and after-
sales support, the certification follows a
rigorous and thorough review of Calrec’s
internal and external communication and
business procedures.
FIG 1 - LEAD FREE
Pb
Pb-Free
Lead
Free
FIG 2 - LEAD FREE STICKER
e1
FIG 3 - UKAS REGISTRATION
FIG 4 - RAB REGISTRATION

CALREC Putting Sound in the Picture 9
HEALTH AND SAFETY
Important Safety Instructions:
• Read these instructions.
• Keep these instructions.
• Heed all warnings.
• Follow all instructions.
• Do not use this apparatus near water.
• Do not block any ventilation openings.
Install in accordance with the
manufacturer’s instructions.
• Do not install near any heat sources
such as radiators, heat registers,
stoves, or other apparatus (including
amplifiers) that produce heat.
• Protect the power cord from being
walked on or pinched particularly at
the plugs, convenience receptacles,
and the point where they exit from the
apparatus.
• Use only with the cart, stand, tripod,
bracket, or table specified by the
manufacturer, or sold with the
apparatus. When a cart is used,
use caution when moving the cart/
apparatus combination to avoid injury
from tip-over.
• Refer all servicing to qualified service
personnel. Servicing is required when
the apparatus has been damaged in
any way, such as power-supply cord
or plug is damaged, liquid has been
spilled or objects have fallen into the
apparatus, the apparatus has been
exposed to rain or moisture, does not
operator normally, or has been dropped.
• Warning: To reduce the risk of fire
or electric shock, do not expose this
apparatus to rain or moisture.
• Not intended for outdoor use.
• This equipment must be EARTHED.
• Before starting any servicing operation,
equipment must be isolated from the
AC power supply. The disconnect
devices are the 2 x IEC connectors
(IEC 60320-1 C13/C14 couplers).
• Do not allow ventilation slots to be
blocked.
• Do not leave the equipment powered
up with the dust cover fitted.
Cleaning
For cleaning the front panels of the
equipment we recommend using a soft
anti-static cloth, lightly dampened with
water if required.
Explanation of Warning Symbols
Triangular warning symbols contain a
black symbol on a yellow background,
surrounded by a black border.
The lightning flash with arrow head
symbol within an equilateral triangle, as
shown on this page, is intended to alert
the user to the presence of dangerous
voltages and energy levels within the
product’s enclosure that may be of
sufficient magnitude to constitute a risk of
electric shock or injury.
The exclamation mark within an
equilateral triangle, as shown on this page,
is intended to prompt the user to refer
to important operating or maintenance
instructions in the documentation supplied
with the product. (See Figs 5 & 6)
Earthing
This is a Class I product. An Earth
connection MUST be provided in each AC
power cord.
The Earth Bolt connection at the rear of
the console should be connected to Earth
using Earth cable at least 6mm2 in cross
section (10 AWG).
Lithium Battery Replacement
Caution: Danger of explosion if battery is
incorrectly replaced. Replace only with
the same or equivalent type. Batteries
must not be exposed to excessive heat
such as sunshine, fire or the like
This device complies with part 15 of
the FCC Rules. Operation is subject to
the following two conditions:
1. This device may not cause harmful
interference
2. This device must accept any
interference received, including
interference that may cause undesired
operation.
FIG 5 - DANGEROUS VOLTAGES
FIG 6 - IMPORTANT INSTRUCTIONS

10 ARTEMIS Digital Broadcast Production Console Information
TECHNICAL SUPPORT
[email protected]
Telephone:
Email - Technical:
Email - General:
Postal address:
Fax:
Website:
[phone]
[email protected]
Calrec Audio Ltd.
Nutclough Mill,
Hebden Bridge,
West Yorkshire,
HX7 8EZ,
U.K.
[phone]
www.calrec.com
(9:00am-5:30pm)
Should you require any technical
assistance with your Calrec product
then please contact your regional
Calrec distributor. Customers within
the UK or Ireland should contact
Calrec directly.
For a complete list of worldwide
distributors by region, go to
www.calrec.com or contact us for
more information.
For pre-delivery technical enquiries, UK
and Ireland customers should contact the
Calrec project manager assigned to their
order. Post delivery, the Calrec Customer
Support team will take care of your
technical enquiries.
Our UK customer support team work
closely with our global distributor network
to provide the highest level of after sales
support. Your distributor should be your
first point of contact and will often be
able to provide an instant solution, be it
technical advice, spares or a site visit by
an engineer.
Calrec UK customer support and our
global technical team provide free of
charge technical support and advice by
phone or email to all customers.
Once your console is installed we can
provide an engineer on site to carry out
system commissioning.
Commissioning ensures the equipment
is correctly installed and fully functioning
before it goes into use.
During commissioning, our engineers can
also help and advise with configuration
and setup.
Calrec after sales support includes:
• Free of charge comprehensive
technical advice and support by phone
and email.
• Software and hardware upgrades.
• Repairs.
• Quick supply of replacement or loan
hardware in the event of a failure.
• Providing export documentation for the
return of faulty parts.
• On site commissioning visits.
• On site service and health check visits.
• Emergency engineer visits.
• On site on-air support, for complete
peace of mind - providing operational
guidance, and technical engineering
support for new installations or high
profile events.
• Operational training.
• Maintenance / technical training.
• Supply of replacement components.
• Supply of documentation.
Service contracts
We offer a range service contracts to our
UK and Ireland customers, offering 24/7
telephone support, regular health checks
and extended warranty amongst other
benefits. Please contact our customer
support team for more information on
service contracts.
Product Warranty
A full list of our conditions & warranties
relating to Goods & Services is contained
in the Company’s standard Terms and
Conditions. A copy of this is available on
request.
Repairs
If you need to return goods to Calrec, for
whatever reason, please contact your
regional distributor or Calrec customer
support beforehand for guidance, as
well as to log the details of the problem
and receive a reference number. For
customers outside the UK and Ireland,
shipping via the distributor saves
customers from dealing with exportation
paperwork. If there is a need to send
direct to Calrec, contact us beforehand to
log the incoming repair and for assistance
with exportation documents.
Standard of Service
Ensuring the highest standards is a
priority, if you have any comments on
the level of service, product quality
or documentation offered to you by
Calrec, please contact the Calrec
Customer Support team in the UK who
will endeavour to address the issues.
Calrec welcomes all customer feedback.
For feedback specific to this document,
please contact [e-mail].

calrec.com Putting Sound in the Picture
ARTEMIS
INTRODUCTION

12 ARTEMIS Digital Broadcast Production Console Introduction
INTRODUCTION
Hydra2
Artemis, like Apollo, utilises I/O options
from the comprehensive Hydra2 range.
Fixed format units and modular I/O card-
frames are offered in a wide selection
of formats to suit all needs. The Hydra2
system can pass up to 512 channels
of 48kHz audio along with control data
and error detection on each copper or
fibre connection to the router within the
console’s processing rack. The physical
location of I/O units can be selected to
minimise external cable runs and setup
time. Multiple Artemis and Apollo routers
can be networked together, allowing all
consoles on a network the ability to use all
of the I/O connected.
Standalone router racks - without control
surfaces can also be connected either to
expand the number of I/O ports available
or to centralise I/O connectivity.
Commitment
Calrec has a world-wide customer base
which includes many of the world’s most
prestigious broadcasters and covers the
highest profile events. By consistently
focusing upon broadcast products, Calrec
offers consoles with a comprehensive
combination of performance and features.
The high level of reliability of all Calrec
products, many of which are still in daily
use after 20 years service, reflects a clear
awareness of the critical nature of the
operating environment.
This understanding of the real issues of
broadcast operations is one of the many
reasons why operators and management
alike prefer Calrec. Artemis is designed
to ensure this level of confidence will
continue into the future.
Concord Processors
The 3.0 software release for Apollo and
Artemis was huge. So huge, in fact,
that it required newer and more capable
Concord processors to support all the
new functionality. Concord Processors
also provide incredible performance
improvements to the surface making
Apollo and Artemis the most responsive
audio mixers available.
To upgrade to software V3.0 or later, and
get access to all the powerful features
presented here, surface hardware must be
upgraded with Concord Processors.
Control Surface
• 12 dual layers of faders for flexibility in
organizing path layout.
• Flexible control layout to suit each
user’s preference.
• Very comprehensive and configurable
monitoring and metering.
• User splits allowing for multiple
operators to work independently.
Signal Processing
• 6 full bands of parametric EQ / filters
on each channel, group and main path.
• 2 x compressor / limiters, 1 x expander
/ gate, and sidechain EQ / filters on
each channel, group and main path.
• 4 independent simultaneous post fader,
pre fader or pre EQ track / IFB sends
per channel / group path.
• Up to 4 direct output / mix-minus
sends per path.
• Up to 2.73s of path delay per path.
I/O
• Integral 8192x8192 router with up
to 512 audio channels per Hydra2
port. Fully integrable with any Hydra2
network.
• Extensive range of Hydra2 audio I/O
and GPIO available.
• Copper or fibre connectivity.
Resilience
• Independent DSP, routing and control
processing.
• Comprehensive hardware and data
path redundancy
• Fully hot-pluggable and self initialising
components.
• Independent of system PC interface.
Power
• Distributed PSU system – no heavy
duty power cables.
• Power Over Ethernet technologies for
simple internal distribution.
• Low power consumption and heat
generation.
Artemis is a hugely flexible and
scalable large format digital audio
console designed to withstand the
most critical broadcast production
and live environments.
Built upon the software and hardware
architecture of its larger sibling, Apollo, the
Artemis range provides a very powerful
control, DSP and audio routing package
with comprehensive redundancy in a
compact footprint.
The Artemis control surface is made up of
a number of identical panels, the mode of
which can be changed on the fly, allowing
for all controls to be quick and close
to hand irrespective of the operator’s
position, as well as allowing different
operators their own preferences of layout.
User splits and independent monitoring
allow for multiple operators without
impacting upon each other.
Bluefin2
At the heart of the design is a powerful
Bluefin2 digital signal processing engine.
Calrec’s award winning Bluefin DSP was
first launched in 2006 allowing the design
of consoles with very high channel counts
contained on a single card, providing
very efficient, reliable and powerful
systems that can meet the ever increasing
demands of modern broadcasting.
The second generation of Bluefin is even
more powerful and future proof. As well
as high channel counts, amongst other
benefits it provides comprehensive EQ,
filters and dynamics on all paths, ample
delay processing, multiple simultaneous
track / IFB sends per path, LT/RT
encoding as well as very comprehensive
monitoring and metering.
The Shine - Ray - Beam - Light Artemis
range provides 4 different DSP pack
sizes to budget for small to medium sized
production requirements. The next two
pages shows a comparison of these DSP
pack sizes at 48kHz and 96kHz.

CALREC Putting Sound in the Picture 13
SHINE-RAY-BEAM-LIGHT COMPARISON
SIGNAL PROCESSING AT 48 KHZ
Artemis Shine Ray Beam Light
Input Channels 680 456 340 240
Main Output Buses
Up to 16 from Main/
Group pool of 128
channels
Up to 16 from Main/
Group pool of 128
channels
Up to 16 from Main/
Group pool of 128
channels
Up to 16 from Main/
Group pool of 72
channels
Audio Group Buses Up to 48 from Main/
Group pool of 128
channels
Up to 48 from Main/
Group pool of 128
channels
Up to 48 from Main/
Group pool of 128
channels
Up to 48 from Main/
Group pool of 72
channels
Track Output Buses 64 64 64 48
Aux Output Buses
Up to 32 mono / stereo
from pool of 32 channels
Up to 32 mono / stereo
from pool of 32 channels
Up to 32 mono / stereo
from pool of 32 channels
Up to 24 mono / stereo
from pool of 24 channels
Direct / Mix-Minus
Outputs
Up to 4 sends per
path from pool of 512
channels
Up to 4 sends per
path from pool of 512
channels
Up to 4 sends per
path from pool of 512
channels
Up to 4 sends per
path from pool of 256
channels
Insert Send &
Returns
Pool of 256 channels Pool of 256 channels Pool of 256 channels Pool of 128 channels
Input Delay
Up to 2.73s per input
from pool of 256
channels
Up to 2.73s per input
from pool of 128
channels
Up to 2.73s per input
from pool of 128
channels
Up to 2.73s per input
from pool of 128
channels
Output Delay Up to 2.73s per output
from pool of 256
channels
Up to 2.73s per output
from pool of 128
channels
Up to 2.73s per output
from pool of 128
channels
Up to 2.73s per output
from pool of 128
channels
EQ 6 full bands of parametric
EQ on each channel,
group & main path
6 full bands of parametric
EQ on each channel,
group & main path
6 full bands of parametric
EQ on each channel,
group & main path
6 full bands of parametric
EQ on each channel,
group & main path
Dynamics
2 x compressor / limiter
& 1 x expander / gate on
each channel, group &
main path
2 x compressor / limiter
& 1 x expander / gate on
each channel, group &
main path
2 x compressor / limiter
& 1 x expander / gate on
each channel, group &
main path
2 x compressor / limiter
& 1 x expander / gate on
each channel, group &
main path
CONTROL SURFACE
Artemis Shine Ray Beam Light
Max Physical Faders 72 72 64 56
Fader Layers 12 dual layers 12 dual layers 12 dual layers 12 dual layers
ROUTER AT 48 KHZ
Artemis Shine Ray Beam Light
Integral Router 8192x8192 8192x8192 8192x8192 4096x4096
Hydra2 ports 16 / 32 16 / 32 16 / 32 8
Audio Channels per
Port
Up to 512 Up to 512 Up to 512 Up to 512

14 ARTEMIS Digital Broadcast Production Console Introduction
SIGNAL PROCESSING AT 96KHZ
ROUTER AT 96KHZ
Artemis Shine Ray Beam Light
Input Channels 340 228 170 120
Main Output Buses
Up to 8 from Main/
Group pool of 64
channels
Up to 8 from Main/
Group pool of 64
channels
Up to 8 from Main/
Group pool of 64
channels
Up to 6 from Main/
Group pool of 36
channels
Audio Group Buses Up to 24 from Main/
Group pool of 64
channels
Up to 24 from Main/
Group pool of 64
channels
Up to 24 from Main/
Group pool of 64
channels
Up to 24 from Main/
Group pool of 36
channels
Track Output Buses 32 32 32 24
Aux Output Buses
Up to 16 mono / stereo
from pool of 16 channels
Up to 16 mono / stereo
from pool of 16 channels
Up to 16 mono / stereo
from pool of 16 channels
Up to 12 mono / stereo
from pool of 12 channels
Direct / Mix-Minus
Outputs
Up to 4 sends per
path from pool of 256
channels
Up to 4 sends per
path from pool of 256
channels
Up to 4 sends per
path from pool of 256
channels
Up to 4 sends per
path from pool of 128
channels
Insert Send &
Returns
Pool of 128 channels Pool of 128 channels Pool of 128 channels Pool of 64 channels
Input Delay
Up to 2.73s per input
from pool of 128
channels
Up to 2.73s per input
from pool of 64
channels
Up to 2.73s per input
from pool of 64
channels
Up to 2.73s per input
from pool of 64 channels
Output Delay Up to 2.73s per output
from pool of 128
channels
Up to 2.73s per output
from pool of 64 channels
Up to 2.73s per output
from pool of 64 channels
Up to 2.73s per output
from pool of 64 channels
EQ 6 full bands of parametric
EQ on each channel,
group & main path
6 full bands of parametric
EQ on each channel,
group & main path
6 full bands of parametric
EQ on each channel,
group & main path
6 full bands of parametric
EQ on each channel,
group & main path
Dynamics
2 x compressor / limiter
& 1 x expander / gate on
each channel, group &
main path
2 x compressor / limiter
& 1 x expander / gate on
each channel, group &
main path
2 x compressor / limiter
& 1 x expander / gate on
each channel, group &
main path
2 x compressor / limiter
& 1 x expander / gate on
each channel, group &
main path
Artemis Shine Ray Beam Light
Integral Router
4096x4096 (minimum)
1 x 96 kHz route =
2 x 48 kHz routes
4096x4096 (minimum)
1 x 96 kHz route =
2 x 48 kHz routes
4096x4096 (minimum)
1 x 96 kHz route =
2 x 48 kHz routes
2048x2048 (minimum)
1 x 96 kHz route =
2 x 48 kHz routes
Hydra2 ports 16 / 32 16 / 32 16 / 32 8
Audio Channels per
Port
Up to 256 Up to 256 Up to 256 Up to 256

CALREC Putting Sound in the Picture 15
CHANGES TO SCREEN LOCATIONS IN THE MAIN APPLICATION FROM V6.0
For a long time, the Apollo and Artemis
main application has grouped functions
under the top-level menu items
“Other Options” and “Fixed Options”.
These titles have been changed to
“Show Settings” and “System Settings”
respectively. In the screens contained
under each of these top-level menus
some screens have been moved and in
some cases renamed to make them easier
to find, and to make it clearer where the
data is stored and how it changes.
The “Show Settings” area contains only
settings that are stored and recalled at
show level.
The System Settings” area contains the
remaining functions that are stored at
system level, and do not change with
shows.
The table in Fig 1 shows the Old and
New names and locations of the various
screens for reference purposes before
and after the V6.0 release.
Misc/Default Settings General Settings
Inserts Setup moved to System Settings
Meter Setup Meter Layout
Mon/Mtr Ext I/P moved to System Settings
User Split User Split
Down Mix Down Mix
Ext Control Ext Control
External Inputs (from Other Options)
(was Mon/Mtr Ext I/P)
Mon TB MTR Patch Fixed I/O
Inserts Setup (from Other Options)
LAN Config (for 2015 cores only)
Surface Illum Surface Illum
Surface Layout Surface Layout
Sync Sync
TX/REH TX/REH
FIG 1 - SCREEN LOCATION AND NAME CHANGES IN V6.0 ONWARDS
Pre V6.0 Post V6.0

16 ARTEMIS Digital Broadcast Production Console Introduction
96KHZ OVERVIEW FOR ARTEMIS
With v8.0, Artemis Shine, Ray, Beam
and Light consoles can now work at
96kHz sampling frequency (sample
rate).
The following list is a quick overview of
the impact of running Artemis consoles at
96kHz:-
The consoles can switch between 48kHz
& 96kHz working as required.
Consoles switch sampling frequency by
loading a show at the required sample rate
built from a template at that rate.
The numbers of channels and buses are
reduced at 96kHz but the numbers at
48kHz are the same as before.
There is no reduction in the numbers of
monitor inputs and outputs at 96kHz.
I/O boxes can be set to 48kHz or 96kHz,
or to follow the sample rate of a specific
console, via H2O.
The Hydra2 network supports 48kHz
and 96kHz consoles and I/O boxes
simultaneously.
Hydra2 runs at 48kHz irrespective of
whether the consoles and I/O boxes are
running at 96kHz or not. It simply uses 2
samples per 96kHz signal.
Because Hydra2 always runs at 48kHz,
the system will still require a 48kHz sync
(if using its AES3 & Wordclock inputs)
even if all consoles and I/O are at 96kHz.
The console patching screens and
required list indicate which ports, HPB,
aliases, or boxes are at a different sample
rate to the desk. These ports etc can be
patched (except for System level patches)
but will not work until the sample rates are
matched.
The H2O patching screens filter the ports
visible by sample rate, as it can make
patches at either rate.
Consoles cannot successfully make port
to port patches (including via aliases) for
I/O that is at a different sample rate to the
desk. Note these patches can be made
in H2O and by SW-P-08 and will work if
patched there.
System Status messages are produced
for I/O boxes & HPB that are in the
required list but are not set to the same
sample rate as the desk.
An I/O box can run at 48kHz or 96kHz
irrespective of which rack it is plugged
into. If a console is running at 48kHz, an
I/O box plugged into that rack could be
running at 96kHz with another console.
Fixed format 1U MADI boxes do not
support 96kHz. They are shown offline
when the box is at 96kHz.
SDI de-embedder modules do not support
96kHz on the SDI stream. They are
shown offline when the box is at 96kHz.
SDI embedder modules do not support
96kHz on the SDI stream. They are
shown offline when the box is at 96kHz.
For the following, at 96kHz the Artemis
consoles have half the numbers as at
48kHz for each desk/pack size:
• Channels.
• Mains & LtRt processes.
• Groups.
• Main/Group buses pool.
• Auxes & aux buses pool.
• Tracks & track buses pool.
• Inserts pool.
• Direct Outputs pool.
• Input Delay pool (but each element
is still 2.73 sec).
• Output Delay pool (but each element
is still 2.73 sec).
• Loudness meters.
For the following, at 96kHz the Artemis
consoles have the same numbers as at
48kHz for each desk/pack size:
• Mix Minus bus.
• 4 Track Sends per path.
• 4 Direct Outputs per path.
• Path Delay of 2.73 sec per path.
• EQ & Dynamics per path.
• Dynamics Links.
• Automixers.
• Main Output Downmixes/Main.
• Autofaders.
• External Monitor Inputs.
• Monitor systems and outputs
(pre & LS), including Mon 1 Insert.
• PFL & AFL systems including
Side-chain listen, APFL and
outputs (pre & LS).
• 4 Meter Selectors and outputs.
• Assignable Meter Processes.
• TB & RTB.
• Tone/oscillator including interrupts,
external inputs and outputs.

calrec.com Putting Sound in the Picture
ARTEMIS
CONTROL OVERVIEW

18 ARTEMIS Digital Broadcast Production Console Control Overview
CONFIGURATION PC OVERVIEW
The configuration PC is mounted
inside the surface. The only access
available to the PC is through the
keyboard, trackball, touchscreen
display and USB port on the console
upstand.
No control, audio or router processing is
carried out by the system PC. Processing
is carried out on dedicated independent
hardware located in the processing
rack. The system PC provides a control
interface for setup and configuration. The
control surface itself, as well as audio and
routing systems will all boot and continue
to run irrespective of whether or not the
PC is active or powered.
Peripherals
A standard control surface will have the
PC’s touchscreen monitor mounted to
an adjustable arm on the right hand side.
A keyboard with trackball is normally
located in a retractable tray mounted to
the underside of the surface at the right
hand side. As an option, consoles can
be built with the PC peripherals on the
left-hand side. Consoles are also often
ordered with PC monitor screens and
keyboards on both sides of the surface.
In these cases only one of the pair will be
connected to the system PC, the other
set is typically used to control 3rd party
equipment such as playout systems.
Windows login
The default user login for operators is
‘calrec’ and requires no password.
Main application
The main purpose of the configuration
PC is to run the main application, which
provides access to many important
console options.
The main application is launched
automatically when the configuration PC
is booted. If the application has been
closed, it can be re-loaded from the Start
menu.
Fig 1 shows the layout of the main
application. Along the bottom edge of
the application is the main menu which
contains buttons for each of the main
sections of the application. When this
document instructs you to go to the
>Mem section, for example, it is the
equivalent of saying: ‘touch the Mem
button in the main application main menu’.
Once a certain section has been selected,
a list of available screens will appear
vertically along the left hand edge of the
main application. Touching one of these
buttons will update the main application
to display the relevant screen. When this
document instructs you to go to a certain
screen, it is referring to touching the
relevant button on this list, down the left
hand side of the screen.
USB Port
A USB port linked to the configuration
PC is available in the reset panel located
in the upstand. This can be used for
backing up and restoring memories or
settings from the console. It is designed
for portable flash based USB memory
devices and as such may not provide
power for larger USB hard drives.
FIG 1 - MAIN APPLICATION
Installing 3rd party software
Although not relied upon for console
operation, the system PC should be
considered as broadcast equipment.
Installation of software unauthorised
by Calrec may impact on the PC’s
performance and as such can invalidate
the warranty.
Power and reset
The system PC should automatically boot
u p w h e n t h e c o n t r o l s u r f a c e i s p o w e r e d .
If the PC screen is dark and does not
wake up when the trackball is moved,
check the AC power to the back of
the monitor and that it has not been
t u r n e d o f f b y p r e s s i n g i t s ’ p o w e r s w i t c h .
A simple way to check if the PC is
powered is to press Caps Lock on the
keyboard and check if the Caps Lock LED
on the keyboard responds. A reset switch
for the PC is located behind the keyboard,
at the rear left-hand side. If the PC
has been shutdown but is still powered.
Pressing the reset switch should reboot it.
Online Documentation
Electronic versions of all documentation
may be accessed on the configuration PC.

CALREC Putting Sound in the Picture 19
TOUCH OVERVIEW
Artemis makes great use of touch
technologies to provide direct
interaction with on screen controls.
The configuration display, surface displays
and assign TFTs are all touch sensitive
and should be used with a finger rather
than any other pointing device (such
as the top end of a pen) which may
damage the surface of the displays.
Certain aspects of the software have
been designed to be accessed primarily
through touch and so some terms should
be defined to aid in reading this document.
Touch/Tap
The main interaction between operator
and touch control is the touch (or tap).
The operator should touch the desired
control on the display then immediately
release without changing position.
See Fig 1.
Multiple touches (Hold and Touch)
In some cases it is necessary to combine
touch controls to achieve the desired
result. One control will normally be held
w h i c h t o u c h i n g o t h e r c o n t r o l s . Fi g 2
demonstrates this process. This is
normally only required between control
cell displays on the surface. Combinations
between configuration PC and the surface
will not be used.
Swipe
The swipe motion may be used to scroll
through a list of items or page through
a number of views. Touch the control
and straight away swipe in the required
direction. Remove the at the end of the
swipe. This motion is shown in Fig 3.
FIG 3 - SWIPE
Touch the display, swipe a nger to
another position then release
FIG 1 - TOUCH/TAP
Touch the screen momentarily and then release in the same position
FIG 2 - HOLD AND TOUCH
Touch an area of a mini-TFT and hold while touching another area
Hold
Touch
Release

20 ARTEMIS Digital Broadcast Production Console Control Overview
The selectable panel mode area is
made up of three different types of
control/display interface.
Button cell
A button cell is shown in Fig 1 below.
Each graphic display is split into up to four
functions. Buttons above and below point
to the functions on the displays that they
control. Some functions are shown the
full width of the display. In these cases,
pressing either of the two buttons will
activate the function. A strip across the
centre of a button cell is sometimes used
as a label. Labels sometimes span across
more than one display and sometimes a
cell may have a label but no associated
button functions.
FIG 1 - BUTTON CELL EXAMPLES
Control cell
The remaining area in the control bed is
made up of 16 control cells, demarcated
by white lines. Each control cell is made
up of a display, two rotary controls and
two buttons.
Control cell displays are generally split
with a function / parameter being
displayed in the top half, and a different
one being displayed in the bottom half.
The upper rotary control and button relate
to the upper half of the display, whilst the
lower rotary control and button relate to
the lower half of the display.
Depending on the panel mode and path
selected, some controls within a cell
and some cells as a whole may not have
a function. Active rotary controls are
illuminated. The illumination colour of
rotaries and buttons is dependent on the
function they control.
In Fig 2 an example from the O/P panel
mode, the lower rotary control adjusts the
Aux 1 output level, the lower button cuts
Aux 1 output. The upper controls have
the same functions but affect Aux 5.
FIG 2 - CONTROL CELL EXAMPLE
When faced with a control cell with
functions in the lower half only and a
blank upper half, it is a common mistake
for new users to attempt to use the upper
button / rotary. It is important to note that
the upper part of the display relates to
the upper rotary and button and that the
lower portion of the display relates to the
lower controls, even if the upper portion
of the display is not in use. One control
cell is unusual - the MON mode LS level
cell uses the full height of the display
to draw attention to it. In this case, the
lower rotary control is used to make the
adjustment. The upper rotary in this cell is
not used.
The example shown in Fig 3 above shows
three adjacent control cells from the
MON panel mode. The left hand display
shows the monitor LS cut status which
is activated by the bottom button in the
left hand control cell. The central display
is showing the monitor LS level which is
adjusted using the bottom rotary control
from that cell. The right hand display
shows the monitor LS dim level and
status, the bottom rotary and button in
this cell affect these controls. The other
4 buttons and rotaries in these three cells
have no function.
TFT touchscreen
The third interface type in the modal panel
area is the upstand TFT touchscreen.
Various control parameters in the different
panel modes are changed using buttons
located on the TFT touchscreen.
If a touchscreen is found to be inaccurate,
it can be calibrated - Press the Tools
button in the right-hand button-cell of the
modes row. This replaces the fader layer
select buttons with setup functions. Press
the Misc button, then select CAL TFT
from the row of button cells above.
From a normal seating position, press
the TFT touchscreen in the centre of
the targets presented. Once complete,
change the panel mode to refresh the
display.
FIG 3 PART-USE CONTROL CELLS
SURFACE CONTROL OVERVIEW