Calrec Zeta User manual

calrec.com
Zeta OperatOr manual V1.36

Putting Sound in the Picture

No part of this document 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.
Calrec Audio Ltd
Nutclough Mill
Hebden Bridge
West Yorkshire
England UK
HX7 8EZ
Tel [phone]
Fax [phone]
Email [e-mail]
calrec.com
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.
Alpha, Sigma, Omega, Zeta, Hydra Audio
Networking and Bluefin High Density Signal
Processing (HDSP) are registered trade marks of
Calrec Audio Ltd. Dolby®E is a registered trade
mark of Dolby Laboratories, Inc. All other trade
marks are acknowledged.
© 2010 Calrec Audio Ltd. All Rights Reserved.

Zeta
COntentS
Important Information 4
Health and Safety 5
Technical Support 6
Overview 7
Introduction 8
Principal Features 9
System Specification 10
Layering And Assignable Control 11
Paths And Ports 12
Getting Started 13
Touch Screen Layout 14
Error Messages (AWACS) 15
Fader Area 17
Channel And Group Faders 18
Channel Control 19
VCA Grouping 20
Automatic Cross-Fading 21
Inputs And Outputs 23
Input and Output Controls 24
Input Delay 27
Console Functions 29
User-Chan Screen 30
EQ and Filters 32
Dynamics 33
Routing And Track Output Controls 34
Auxiliaries 36
Channel Copy 37
Main Outputs 38
Busses Screen 39
Broadcast Facilities Panel 40
Console Functions 41
Talkback 42
Monitoring, Meter and LS Control 43
Monitor Setup Screens 44
Oscillator Screen 45
Memory System 47
Memory Controls 48
Memory Set Up Screen 49
Memory Isolation 50
Partial Memories 51
Metering System 53
TFT Meters 54
TFT Meter Setup Screen 55
Adjusting TFT Screen Layout 56
Meter Configuration 57
Saving and Restoring Meter
Configurations 58
Standard Metering Options 59
On-Screen Patching 61
Input Ports Screen 62
Output Ports Screen 64
Assignable Insert Sends 66
Assignable Insert Returns 67
Insert Screen 68
Main Insert Sends 69
Main Insert Returns 70
Monitoring, Talkback And Oscillator
Outputs 71
Direct Output Ports 72
External Meter Output Ports 72
Input-Output Ports 73
Direct Input Ports 73
Input Usage Screen 74
Port List Management 75
Port List Allocation 76
Port List Order 77
Sorting and Managing Port Lists 78
Saving and Restoring Lists 79
Engineering Information 81
Tech Screen 82
Operational Modes 83
Options - Misc Screen 84
Synchronisation 85
Talkback And Tone Inputs 86
External Monitor Inputs 87
External Meter Inputs 88
States 89
Condition Switching 90
General Purpose Outputs 91
General Purpose Inputs 92
Serial Interface 93
Router Label Setup Screen 94
Router Label Association Screen 95
MADI 96
PC Information 97
File Backup 98
Hydra Audio Networking 99
Hydra Technology 100
Typical Hydra Network 101
Modular I/O Box 102
Modular I/O Box Configuration 103
Fixed format boxes 104
SDI Boxes 106
SDI inputs 107
Network Configuration 108
Hydra I/O Source Lists 109
Device Status 110
Patching Hydra Sources 111
Programming Utility 113
Programming Utility 114
Setup Application 119
Setup Application 120
Console Settings 121
Meters / Levels 124
Monitoring 126
Inputs and Outputs 128
Inserts 129
Main Line Mon 130
Appendix A - Offline Editor 131
Part 1 - On The Console PC 132
Part 2 - On The Laptop PC 133
Part 3 - On The Console PC 136
Appendix B - Style 1 Faders 137
Channel And Group Faders 138
Appendix C - Version Changes 139
Version Changes 140
Notes 143

4 Zeta Digital Broadcast Production Console
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.
ImpOrtant InfOrmatIOn
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 it’s 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.

CalreC Putting Sound in the Picture 5

This equipment must be EARTHED•
Only suitably trained personnel •
should service this equipment
Please read and take note of all
•
warning and informative labels
Before starting any servicing
•
operation, equipment must be
isolated from the AC supply (mains)
Fuses should only be replaced with
•
ones of the same type and rating as
that indicated
Operate only in a clean, dry and
•
pollutant-free environment
Do not operate in an explosive
•
atmosphere
Do not allow any liquid or solid
•
objects to enter the equipment.
Should this accidentally occur then
immediately switch off the unit and
contact your service agent
Do not allow ventilation slots to be
•
blocked
Do not leave the equipment powered
•
up with the dust cover fitted
The rack mounting parts of this
•
equipment must be fitted into an
enclosure which complies with local
regulations
Cleaning
For cleaning the front panels of the
equipment we recommend anti-static
screen cleaner sprayed onto a soft cloth
to dampen it only.
HealtH and Safety
Explanation of Warning Symbols
The triangular warning symbols below
contain a black symbol on a yellow
background, surrounded by a black border.
The lightning flash with arrow head symbol
within an equilateral triangle 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 is intended to prompt the
user to refer to important operating or
maintenance (servicing) instructions in the
documentation supplied with the product.
Power Supply Blanking Plates
(ZN4849-3 and ZN6020)
If you are in receipt of a ZN4849-3 or
ZN6020 power supply unit please do
not remove the blanking plates which are
fitted to the unused output connectors.
The maximum potential between the
terminals exceeds 60 volts, the blanking
plates are fitted to avoid the risk of electric
shock.

6 Zeta Digital Broadcast Production Console
teCHnICal SuppOrt








For technical assistance within the UK
and Ireland, please contact the Customer
Support Team at :-
Customer Support
Calrec Audio Ltd
Nutclough Mill
Hebden Bridge
HX7 8EZ
England
UK
Tel: [phone]
Fax: [phone]
Email: [e-mail]
Website:www.calrec.com
We can deal with all technical after sales
issues, such as :-
Arrange repairs
•
Supply of replacement or loan units •
while repairs are being carried out
Service / commissioning site visits
•
Operational training courses•
Maintenance training courses•
Supply of replacement components•
Supply of documentation•
Technical advice by telephone•
Customer Support Hours
Factory based customer support
engineers can be contacted by telephone
during normal office hours (Monday -
Friday 8:30a.m - 5:00p.m). Outside these
hours, a message can be left on the
answering machine, all messages are
dealt with promptly on the next working
day. Alternatively a message can be sent
to them by email.
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 the
Company beforehand in order that you
can receive advice on the best method
of returning the goods, and that a repair
order reference number can be issued.
Standard of Service
Ensuring high standards is a priority, if you
have any comments on the level of service,
product quality or documentation offered
to you by Calrec, then the Customer
Support team would be pleased to receive
your comments through any of the normal
contact numbers, email or on the User
registration form located at the end of
this manual. If you have any other issues
regarding your Calrec purchase, then
please contact us and we will do our best
to help. Calrec welcomes all Customer
feedback.
Operator and Installation Manual
PDFs
This manual and the Zeta Installation
manual can be found in pdf format on your
console’s CD Handbook.
You can also access this manual on your
console’s PC from the start menu, under
the Calrec Zeta group.

calrec.com Putting Sound in the Picture
Zeta
OVerVIew

8 Zeta Digital Broadcast Production Console









Based on the well established Alpha and
Sigma digital system architecture, Zeta
provides comprehensive features and
functionality, with sophisticated failure
protection systems. Zeta continues
to meet the changing requirements
demanded by the on-set of surround
sources in live production, providing
sophisticated monitoring solutions and
encompassing flexible TFT style metering.
The introduction of digitally controlled
assignable systems in 1980 has allowed
for their ergonomics to be continuously
refined by user input and the Zeta reflects
this in its user interface. Fully assignable
control means that any fader can control
any channel or group. A dual layer design
allows for single or dual path operation,
and 2 Wild controls per fader allow
allocation of assignable channel controls.
The flexibility offered by digital control
and a computer-aided memory system
has been harnessed to provide greater
functionality and ease of use.
Zeta is available in a number of cost-
effective processing / input configurations
and three frame sizes, with a variety
of additional input and output interface
options. These packages provide
focused levels of technical provision at
a reasonable cost, without sacrificing
reliability, ergonomics or technical
specification.
IntrOduCtIOn
Commitment
Calrec has a world-wide customer base
which includes many of the world’s most
prestigious broadcasters. By consistently
focusing upon purely broadcast
products, Calrec offers consoles with
the most comprehensive combination
of performance and features available.
The high level of reliability of all Calrec
products, many of which are still in
daily use after 20 years, 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. Zeta is designed to
ensure that this level of confidence will
continue in the digital era.
ISO 9001 and RAB Registered
Calrec Audio Ltd has been issued
the ISO9001: 2000 standard by the
Governing Board of ISOQAR.
The award, for both UKAS and RAB
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.

CalreC Putting Sound in the Picture 9
prInCIpal featureS

Up to 108 mono equivalent channels: •
48 stereo or mono channels plus 24
mono channels.
Up to 112 mono equivalent channels:
•
56 stereo channels.
8 stereo or 8 mono audio groups, or 4
•
stereo and 4 mono audio groups.
Table-top or floor stand mounting.
•
All channels have • 4-band EQ/Filters,
Compressor/Limiter and Expander/
Gate.
All groups have
• Compressor/Limiter.
Pre configured
• inserts are assignable
to any channel or group. Inserts can
be pre or post fader.
All channels and groups can have a
•
direct output or a mix-minus feed.
Direct outputs can be pre EQ, pre
•
fader, or post fader.
Automatic cross-fading facilit
• y, with
user-definable fade out and in times.
Additional
• VCA style grouping system.
Every channel can route to every bus,
•
at the same time, without restrictions.

2 main stereo or 2 main 5.1 surround •
outputs with Compressors/Limiters.
8
• auxiliary outputs which can be
paired for stereo.
16 outputs for
• multi-track or general
purpose feeds.
Simultaneous LCRS, stereo and mono
•
outputs available from each 5.1 main
output.
Direct inpu
• t available to group, mains,
aux and mix-minus busses.

Up to 48 • faders, with A and B layers
of control, plus 2 main output faders.
All faders are motorised and touch-
•
sensitive.
Comprehensive
• surround panning and
monitoring.
Flexible
• TFT screen-based meters
with total user configurability.
Assignable
• input delay function.
Optional I/O expansion via a wide
•
area interface such as MADI or
Hydra, Calrec’s sophisticated audio
networking system.
On board Flash ROM
• memory system
allows 99 full console or partial
memories.
P
• C backup allows an unlimited
number of memories.
Sophisticated
• GPIO facilities.

Console operates independently of •
PC.
Independent DSP operation ensures
•
audio continuity even during PC or
control reset.
Console and racks boot from power
•
on in less than 20 seconds.
Full control system reset in less than
•
15 seconds with no loss of audio.
Last settings fully restored on power-
•
up or reset.
Automatic change over to hot spares
•
for power supplies, control cards and
DSP cards.
All cards and modules are designed
•
to be hot plugged.
All cards and modules are designed
•
to initialise upon insertion.

10 Zeta Digital Broadcast Production Console
SyStem SpeCIfICatIOn
Analog input for 0dBFS can be pre-set
globally to +28, +24, +22, +20, +18 or
+15 dBu
Pre-fader headroom on analog inputs is
adjustable globally from +24 to +36dB
in 2dB steps
Analog output for 0dBFS Matches input
setting into >1kOhms (+24dBu max into
600 Ohms)
The system can be pre-set with up to
five external sync sources, plus internal,
such that if the 1st source fails, it will
automatically switch to the 2nd, and so
on.
*This is the limit to
which the safety tests
are valid
DIGITAL INPUTS
Word Length 24-Bit
Formats Supported AES/EBU (AES3)
Also suitable for use with SPDIF (IEC958 Type 2) signals
Interface 110 Ohm transformer balanced, 5V Pk-Pk
75 Ohm unbalanced (BNC), 1V Pk-Pk
Sample Rate Conversion 24-Bit switchable on all digital inputs
SRC THD+N -117dB @ 1kHz, 0.00014%
DIGITAL OUTPUTS
Word Length 24-Bit
Formats Supported AES/EBU (AES3)
Interface Transformer balanced 4V Pk-Pk (nominal) into 110 Ohm load
Unbalanced 1V Pk-Pk (nominal) into 75 Ohm load (BNC)
ANALOG INPUTS
Analog - Digital Conversion 24-Bit
Input Balance/CMR Electronically Balanced - Better than -70dB (Typically -80dB)
Input Impedance >1k Ohms for Mic gains (1K2 Nominal)
10k Ohms for Line gains
Sensitivity +18 / -78dB
Equivalent Input Noise -125dB (150 Ohm source, 22Hz-22kHz bandwidth)
Distortion -1dBFS @ 1kHz - Better than 0.003%
-20dBFS @ 1kHz - Better than 0.004%
-60dBFS @ 1kHz - Better than 0.3%
Frequency Response 20Hz to 20kHz +/- 0.25dB
Crosstalk 20Hz to 20kHz >-86dB
Delay 0.3ms
ANALOG OUTPUTS
Digital - Analog Conversion 24-Bit
Output Balance Electronically Balanced, 20Hz to 20kHz, Better than -45dB, typically -55dB
Output Impedance <40 Ohms
Distortion -1dBFS @ 1kHz - Better than 0.003%
-20dBFS @ 1kHz - Better than 0.006%
-60dBFS @ 1kHz - Better than 0.5%
Frequency Response 20Hz to 20kHz +/- 0.25dB
Crosstalk 20Hz to 20kHz >-90dB
Delay 0.22ms
PERFORMANCE
Digital to Digital (AES/EBU)
Distortion
-1dBFS, 20Hz to 10kHz - Better than 0.002%
Digital to Digital (with SRC)
Distortion
-1dBFS, 20Hz to 10kHz - Better than 0.002%
Frequency Response
(Analogue Input to Output)
20Hz to 20kHz +/- 0.5dB
SYNCHRONIZATION
48kHz synchronization from NTSC/PAL Video
Internal Crystal Reference
TTL Wordclock
AES/EBU Digital Input
ENVIRONMENTAL CONSIDERATIONS
Operating Non-Operating
Temperature Range 0°C to +30°C (32°F to +86°F) -20°C to +60°C (-4°F to +140°F)
Relative Humidity 25% to 80% Non-condensing 0% to 90% Non-condensing
Maximum Altitude 2,000 Metres (6500ft)* 15,000 Metres (49,000ft)

CalreC Putting Sound in the Picture 11
Layering
Each fader can control two independent
audio signal paths, named A and B.
These signal paths can be either channels
or groups, although for easy reference,
the faders are simply known as channel
faders. B signal paths are fully equipped
with all the same facilities as an A path.
The faders are motorised, so when
switching between A and B, the fader will
move to the correct position.
Less important signals can be placed on
the B layer. Even then, only one button
press is required to access them again.
Using the ALL A and ALL B buttons is
like moving to a different section of a
single layer design. This arrangement
allows more channels to be fitted into the
space available in the frame.
B
A
SL
SL
MR
SS
ST
MR
SS
ST
A
B
GP
GP
layerIng and aSSIgnable COntrOl
Assignable Control
Each fader has an Assign button for
each audio path. The Assign buttons are
labelled A and B for channel or group
paths; and M1 and M2, for the main
output paths on the main output faders.
Pressing the Assign button causes the
central control panels (the Assign panels)
to display and control the settings for that
fader’s channel, group or main path.
In this way a large number of controls can
be accessed, for each audio path, from
the central listening position. As there is
less need to move around a large control
surface, controls can be accessed more
efficiently.
A number of controls and displays are also
provided on a per fader basis, to allow
important information to be even more
easily available.
In addition to the above, the channel faders
are assignable, in that the operator can
choose which faders to use for the mono
channels, stereo channels or groups.

12 Zeta Digital Broadcast Production Console
patHS and pOrtS
Paths and Ports
On an analogue desk, the channel inputs
are physical connections to the channel
module or card. They are fixed. Channel
1’s input is always channel 1’s input (even
though it may be possible to control
channel 1 from a different fader). Every
channel will probably have both a mic and
a line input, even though most will only use
one of them at any one time.
In a digital desk, there are two basic types
of input: mic/line and digital. However,
it is not necessary to provide both types
for every channel, as only one input will
be used at any one time. To provide both
types for each channel would increase the
cost, size and power consumption of the
desk unnecessarily.
Instead, a “pool” of each type is available,
plus an internal matrix to allow any of
them to be connected to any channel.
This provides more flexibility than is
possible with analogue designs. The
matrix can be thought of as an electronic
patch-bay with the advantage that any
connections made will be stored with the
console’s memories. A similar matrix and
“pool” is provided for the outputs which is
also stored with the memories.
Each channel can select from two inputs
(1 and 2), which can be any combination
of mic/line and digitaI. Both inputs can
be set up independently, using separate
input controls ( input gain, phase reverse,
phantom power, etc). The switching
between the two inputs takes place after
these controls.
The basic terminology is that channels,
groups and mains are referred to as
“paths” within the digital processing
system, and the inputs and outputs are
referred to as “ports” through which the
audio signals have to pass. Ports are
connected to paths via the Matrix.
All ports are optional, including those
for the monitoring. The system can be
supplied with any combination of mic/line
and digital ports. Calrec digital consoles
are available in a number of configurations
known as Audio Packs, which are a
suggested complement of ports. The
Audio Pack which most closely matches
the requirements of the installation can
be chosen, and the port quantities can be
fine tuned appropriately.
Port Labels
During installation, all the ports on the
system are labelled to match the studio
wiring. Some rules are imposed on this
labelling:
Inputs and outputs should be labelled
•
in pairs.
The label must be no more than six
•
characters (to fit on the console’s
displays).
The same label cannot be used more
•
than once (but an input can have the
same label as an output)
Inputs and outputs are labelled in pairs for
use with any type of signal; mono, stereo
or surround.
The system automatically adds a left
(L) and right (R) suffix to the label to
distinguish between the two halves of the
pair, or an LR suffix when the pair is used
together.
The pairs can be used either for two mono
signals, or a stereo signal, or parts of a
surround signal. This includes the digital
ports if the external circuit allows them to
be used for two mono signals.
Those inputs or outputs which are
dedicated externally to mono signals only
(telephone lines, mono reverbs, mono
distribution feeds, etc), can be specified as
being mono. In this case, the two halves
of the pair have separate labels and the L
& R suffixes are not applied. Inputs and
outputs labelled in this way cannot be
connected in pairs to stereo paths.
Port Lists
In addition to labelling, each port may
be allocated to one of a number of lists
using the Options - Port List screens.
This allows inputs and outputs which are
wired for similar purposes to be grouped
together for selection. Each list can
contain a mixture of normal inputs or
outputs (labelled in pairs) and inputs or
outputs dedicated to mono signals.
The lists can be sorted into the order
in which they appear on the selection
screens. The lists will appear in the same
order on the Input/Output panel and I/O
screens. It is possible to restrict the lists
which appear on the panel. This ensures
that only the relevant lists are immediately
available at the user’s fingertips. All lists
are always available on the screens.

CalreC Putting Sound in the Picture 13
gettIng Started
As a safety measure, ensure that all faders
are minimised, and the control room level
control is no more than half way up.
Check that the basic system ports have
been set up and the control room monitor
speakers are connected to the appropriate
outputs. Then, choose a channel fader
by pressing the A (or B) button on the
channel fader panel.
IC5524
Pres 1
GROUP
15
7
6
84
3
2
M1 M2
B F
M
SRC
D
L
I/P
1
2
DROP
MIX M
Mic 1
SL
SL
ST
ST
MR
MR
SS
SS
AFL
T
ON
GP
GP
M/S
EQ
DYN
PEAK
DYN
O/P
I/P
E
C
8
12
16
20
24
4
48
DIR
TB
60
50
40
30
20
10
5
0
10
5
CUT
PFL
A
B
8
Next, go to the User-Chan screen by
selecting USER and then CHAN on the
touch screen.
If a path type is not already indicated,
select either the mono or stereo button
to assign a mono or stereo channel to
the fader or one of the group buttons to
assign a group to the fader.
Next, go to the Input Selection area of
the control surface and select one of the
channel’s two inputs 1 or 2.
dB- 27.20.300 mS dB + 8. dB
220Hz 750Hz 3. k
-5. dB + 3. dB - 2. dB
KEY
1 2
THRESHOLD RECOVERY RATIO/DEPTH
ATTACK
LINK
SIDE CHAIN
LEVEL
1234
FREQUENCY
IN
10. k
FLAT
GAIN
REDUCTION
C
6
9
12
20
1
6
9
12
<< >>
LB RB
OL
/ /
OR
2
48L48R
TONE M/S
BUS
TONE
5.0
LEVEL DIV
GAIN
INPUT SELECTION
1
L-C-R
DIRECT OUTPUT
PY5438
MOVE PATH
AFL
SRC
MAIN
GP
DIRECT
-4. dB
+56.dB
MIC L R L C >R
IN
WIDTH
IN
LFE
F-B
EXP
/GATE
DIRECT OUTPUT
COMP
RATIO
EXP
SOFT
IN
FDR
PRE
TB
IN
INPUT
FDR19A
Drums
>>
>
>
L-R
ALT
ON
1 2
INSERT KEY
IN
FADER
TO
INSERT
PORT SELECT
PORT
STUDIO
1805LR
INPUT
DIRECT O/P
FADER
BAL
I/P PRE FDR
E
1
20
16 3
163
1
PORT
2
PORT
EQ
PRE
FDR
PRE
MINUS
MIX
FDR
PRE FAST
00 0 0
00
000
0
IN
COMP EXP/GTE
GATE
CONTROLS
EXEC
-7. dB
5
DELAY
- 3. dB
0
Go to the Port Select area of the control
surface and select Input 1 or 2 in order to
assign a port to it. Do this by turning the
selector control knob to scroll through the
available ports.
dB- 27.20.300 mS dB + 8. dB
220Hz 750Hz 3. k
-5. dB + 3. dB - 2. dB
KEY
1 2
THRESHOLD RECOVERY RATIO/DEPTH
ATTACK
LINK
SIDE CHAIN
LEVEL
1234
FREQUENCY
IN
10. k
FLAT
GAIN
REDUCTION
C
6
9
12
20
1
6
9
12
<< >>
LB RB
OL
/ /
OR
2
48L48R
TONE M/S
BUS
TONE
5.0
LEVEL DIV
GAIN
INPUT SELECTION
1
L-C-R
DIRECT OUTPUT
PY5438
MOVE PATH
AFL
SRC
MAIN
GP
DIRECT
-4. dB
+56.dB
MIC L R L C >R
IN
WIDTH
IN
LFE
F-B
EXP
/GATE
DIRECT OUTPUT
COMP
RATIO
EXP
SOFT
IN
FDR
PRE
TB
IN
INPUT
FDR19A
Drums
>>
>
>
L-R
ALT
ON
1 2
INSERT KEY
IN
FADER
TO
INSERT
PORT SELECT
PORT
STUDIO
1805LR
INPUT
DIRECT O/P
FADER
BAL
I/P PRE FDR
E
1
20
16 3
163
1
PORT
2
PORT
EQ
PRE
FDR
PRE
MINUS
MIX
FDR
PRE FAST
00 0 0
00
000
0
IN
COMP EXP/GTE
GATE
CONTROLS
EXEC
-7. dB
5
DELAY
- 3. dB
0
Once you have arrived at the port you
want, press the ON button to connect it.
(this is like inserting the patch cord).
Pressing the knob down and turning it will
switch to other lists of input ports (once
these have been set up on the Options -
Port List screens).
Port assignment can also be done using
the I/O screens.
Set the input gain, panning, etc, in the
Input/Output control section, the EQ and
Dynamics using their controls, and route
the signal, to Main 1 for example, using
the routing controls.
Now fade up the Main 1 fader and select
ST Line 1 in the monitor section, and
press the corresponding HEAR button. If
the channel fader and LS controls are set
correctly you should hear the signal.
MP5321
ANCILLARY 2ANCILLARY 1
M/S
1
SEL
TONE
SEL
2
LS
CR
/
OR
(STEREO)
(STEREO)
ALT LISTEN MODES
LEVEL
DIM CUT
L R
BALANCE
DIM
LED SMT RED
SELECTOR 1
DESK 1
ST
DESK 2
ST
DESK 1
MONO DESK 2 MONO
1234
AUX AUX AUX AUX
65
AUX AUX
87
AUXAUX
SELECTOR 2
MAIN
M/S
METER SEL
04 08 76
04 Scene8 Scene3
LIVE MEMORY
> <
LOAD
SELECTED MEMORY
STACK
123
45 6
79 8
0
CLR EXEC
DEFAULT REPLAY
CLEAR
CONSOLE
CLEAR SETUPCLEAR
AUX
CHANNEL GLOBAL
PFL
LS AFL
PFL/LIST
CLEAR
AFL
DIR I/P
STUDIO
0
LISTEN
1
LINE
1
DESK
LINE 1
SURR
CR LS MONITOR
SMALL LS
LINE 1LINE 2
ST
CR LS SELECTOR
ST
DESK H/PHONES
DECODER
ALT O/P MODES
CENTRE
RIGHT
LEFT
LS LF RS
SOLO
0
TONE
REMOVE INSERT
INTO
PFL
APFL
MONO
STEREO
MONO
STEREO
R to
L+R
L to
L+R
L+R
to L
TB
CUT LS
SEL
DESK
1DESK 2
SEL
2
SEL
1CR LS
LINE 2
SURR
LINE 1
SURR
SEL
2
SEL
1
CHANGE
OVER
M/S
1
SEL
TONE
SEL
2
LS
CR
TONE
SAVE
EXEC PRE
VIEW
Refer to the descriptions of the individual
control panels and screens for more
detailed descriptions.

14 Zeta Digital Broadcast Production Console
tOuCH SCreen layOut









The Front End screens are divided into
groups which are accessed using the
buttons along the bottom of the display.
Within each group there are a number of
screens accessed by buttons up the left
side of the display. On some screens,
there are additional buttons to access
sub-sets of the screen’s function.
Screen controls for EQ, dynamics, routing,
track output, aux send, aux output and delay;
providing alternative controls to those on the
control surface, plus some extra functions.
Sets the current state of various console
functions. (These settings are stored in
the live (hidden) memory. They are not
stored with the console memories or
options.
Operational screens which enhance the
controls on the console and for setting
options which are stored with the user
memories.
Memory control screens to supplement
the panel controls.
Set up and display of all the I/O
connections stored with the user
memories.
Entry to and control of password-
protected operational modes and
troubleshooting screens.
The Options screens are used to pre-set
the system to the studio’s required settings.
This includes set up of meter configurations,
monitor panel configurations, port lists, serial
interface and label associations, GPIO and
condition switching.
Options settings are not stored in the
console memories but are saved and
loaded separately using the buttons on
each Options screen. This allows changes
to be made without invalidating any saved
memories. Changes to options take effect
as soon as they are made, however if
they are not saved, the next time the
desk boots up the options will revert to
their previous settings. Upon loading
the options settings from the file on
the hard disk, any changes made will
be overwritten unless they have been
saved. This allows changes to be tried out
without losing the original settings and
these original settings can be restored
without having to re-boot the system.
Screens for setup and control of an audio
network system These screens are only
visible if Hydra audio networking is installed.
The “EXIT” button at the bottom corner of
the screen will exit the application.
Next to this button are two indicators
which show the status of the primary
and secondary control processors.
During normal operation, the primary
processor will be in use, and its indicator
will be green. When busy the processor’s
indicator will be yellow, during which time
no changes can be made to the control
screens (changes to the control surface
can be made, and will take immediate
effect). Whilst the secondary processor
is in standby, (ready to take over from
the primary should a fault develop), its
indicator will be amber. If the primary
processor fails, its indicator will change to
red. The secondary processor will take
over, and its indicator will change to green.
When the primary processor becomes
available again, it will automatically
take back control from the secondary
processor, and the secondary processor
will return to standby mode.

CalreC Putting Sound in the Picture 15




The AWACS button at the bottom of the
screen will flash to alert the user that a
message has been reported. Selection
of this button will open the AWACS page,
where messages can be viewed.
Selecting a message will reveal a more
detailed description. Message history
is saved to the PC’s hard disk for future
analysis.
Three types of messages are reported:
Information messages, eg “Control
Surface UN4806 processor started
successfully”
Warning messages, where the system
back-up has taken over
Error messages, where the system cannot
recover by itself (perhaps because the
back-up is already in use)
As the system has many back-up features,
it is possible to continue operating after
errors are reported. If un-cleared errors
are still present, an icon will flash in the
AWACS button. Selecting this button at
any time will switch back to the AWACS
screen.
errOr meSSageS (awaCS)
Information messages can be cleared
by selecting them and then leaving the
AWACS screen. Warning and Fatal Error
messages can only be cleared by clearing
the error and restoring the system to its
normal operational state.
It is possible to set the PSU Fail Indicator
button on the Broadcast Facilities panel,
to flash when an error message is
reported. This is set up on the Options -
GPO screen.

16 Zeta Digital Broadcast Production Console

fader area
calrec.com Putting Sound in the Picture
Zeta

18 Zeta Digital Broadcast Production Console






If your console uses Style 1 faders please
refer to Appendix A. Style 1 faders have
a different button layout, and are slightly
different, in the way that the current
assignment, interrogated paths and VCA
groups are indicated.
Paths A and B
Each fader can control two independent
audio signal paths, A and B. The A and B
buttons are used to select the two channel
paths. Selecting a path will “call” the fader
to the Assign panels and its fader assign
button will light in red. Any changes
made to the Assign panels will affect
the selected path only. When switching
between the two paths, the indicative
displays and fader position change to
match the settings of each path.
Display Labels
The label in the display is the name
associated with the input assigned to the
path, or the group number if the path is a
group. The input labels default to the Port
ID but can be changed to a more suitable
label using the I/O screens. Path A’s label is
shown in the top half of the display, and path
B’s label is shown in the bottom half of the
display. If path A is active, the A fader assign
button and the label will be lit in green. If
path B is active, the B fader assign button
and the label will be lit in amber.
Channel/Group Cut
The CUT button cuts the channel or group.
Its effect is the same as fading out the
channel or group. Alternatively, there can
be ON buttons which switch the channel on.
CHannel and grOup faderS
Assign Button LEDs
A set of indicative LEDs give more
information about the path.
MR - The fader path is a Master of a
VCA style group
SL - The fader path is a slave within a
VCA style group
ST - The path is a stereo channel or
group
SS - This LED is not used.
GP - A group is assigned to the path
AFL
AFL will be heard through the monitor
loudspeakers (main or small). AFL will be
heard in surround provided that surround
panning is in use and the loudspeaker
system is surround.
Indicative LEDs
The and Null LEDs illuminate when
the position of the fader is not the same
as the level of the audio. For example, if
a VCA master is moved away from the `0’
position, the null LEDs on the slaves will
light to indicate whether the audio is above
or below the position of the fader.
The T LED indicates that the console
has recognised that the fader has been
touched.
The PEAK LED will light if the channel or
group signal is within 3 dB of the clipping
level. The ON LED lights when the audio
level is not at the ∞ position.
Fader Bargraph
The fader bargraph indicates the level
at the channel input (post the input gain,
input switching and the tone switching),
the channel direct output, or the gain
reduction of the dynamics, indicated by the
three LEDs. Selection is made using the
User-Chan screen.
IC5524
Pres 1
GROUP
15
7
6
84
3
2
M1 M2
B F
M
SRC
D
L
I/P
1
2
D
ROP
MIX M
Mic 1
SL
SL
ST
ST
MR
MR
SS
SS
AFL
T
ON
GP
GP
M/S
EQ
DYN
PEAK
DYN
O/P
I/P
E
C
8
12
16
20
24
4
48
DIR
TB
60
50
40
30
20
10
5
0
10
5
CUT
PFL
A
B
8
The EQ, FLTR, DYN and M/S LEDs indicate
that these functions are active on the
selected path (EQ, Filters and Dynamics
settings may be flat - LEDs indicate that
the function is switched IN).
Talkback to Direct Output
Talkback is available to the channel or
group’s direct output using the DIR TB
button. All Talkback buttons are subject
to On-Air inhibits, set up on the Options -
TX/REH screen.
PFL
PFL will be heard on the small LS (or the
main LS if PFL to Mon is selected on the
States screen), or PFL LS (depending
upon the monitoring configuration). PFL
is also provided on the fader overpress.

CalreC Putting Sound in the Picture 19




A set of LEDs provide good visual
feedback of :
Routing to groups and mains
•
The currently selected input type (mic, •
analogue line, or digital)
If the Sample Rate Convertor (SRC) is
•
switched in (for AES inputs)
Whether the direct output is feeding
•
the mix minus bus (indicated in red).
Whether the direct output is being
•
fed with a mix minus feed (indicated
in yellow).
Wild Controls
There are two WILD controls per fader.
Almost any assign panel rotary control
for the selected path can be assigned to
either Wild control on the fader, including:
Input Gain
•
Aux Send Level •
Dynamics•
EQ•
Direct Output Level•
Pan and Balance •
Stereo Width•
Track Output Level •
Wild controls are assigned using the User-
Chan screen. Once assigned, the Wild
controls “FLIP” with the fader providing
the same function for each of the two
paths.
The A and B faders may also be assigned
to a Wild control, in which case it will
be the opposite fader which is being
controlled.
The colour of the Wild control display will
show which fader the control is related to:
Green for A, Amber for B.
Multiple Wild Control Assignment
It is possible to assign controls to more than
one fader path at a time, either by selecting
individual fader assign buttons (A or B), or
by defining a “block” or “Region” of faders.
It is possible to assign the same control to
Wilds 1 or 2 for all fader paths.
CHannel COntrOl
IC5524
Pres 1
GROUP
15
7
6
84
3
2
M1 M2
B F
M
SRC
D
L
I/P
1
2
DROP
MIX M
Mic 1
SL
SL
ST
ST
MR
MR
SS
SS
AFL
T
ON
GP
GP
M/S
EQ
DYN
PEAK
DYN
O/P
I/P
E
C
8
12
16
20
24
4
48
DIR
TB
60
50
40
30
20
10
5
0
10
5
CUT
PFL
A
B
8
Wild Control Push-Switch Option
If a wild control has the Aux Send or Front
Pan controls assigned to it, the user can
control the ON/OFF or IN/OUT status
of these controls using the Wild control
push-switch. This feature is optional, so
it can be enabled or disabled using the
Options - MISC screen.

20 Zeta Digital Broadcast Production Console
VCa grOupIng
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A VCA group is made or edited by holding
down the fader’s assign button (A or B) of
the fader to be master and pressing the
assign buttons of faders to be added or
removed as slaves. There can be up to 48
members of a VCA group.
When the level of the VCA master is
adjusted it will change the audio level
of all its slaves by the same amount.
Changing the CUT, AFL and PFL settings
of a VCA master applies the same
settings to its slaves.
The slave faders will not move when their
master is adjusted, but the Null LEDs will
illuminate to indicate whether the audio is
above or below the position of the fader.
The MR and SL LEDs next to the assign
buttons on the fader strip indicate whether
that fader is a master or a slave.
The editing of VCA groups is enabled and
disabled using the States screen. This
provides protection against accidental
changes.
Primary and Secondary VCA
Masters
It is possible to select a VCA master as a
slave of another VCA group. When this
happens, the slave master is known as
the secondary master, and its master is
known as the primary master.
When the level of a primary master is
adjusted it will change the audio level
of its own slaves and the level of its
secondary master’s slaves by the same
amount. Changing the CUT, AFL and
PFL settings of a primary master applies
the settings to the slaves, secondary
masters and their slaves.
When the level of a secondary master
is adjusted, the audio level of all its
slaves changes by the same amount. Its
adjustment will not affect the level of the
primary master or its slaves. Changing the
CUT, AFL or PFL of a secondary master
applies the settings to the secondary
master’s slaves only.
The number of slaves in VCA group with
a primary master would include all the
primary master’s slaves and the slaves of
all its secondary masters. A secondary
master fader has both the MR and SL
LED lit.
It is possible to create the primary or
secondary group in any order. A slave
can be made into a secondary master by
adding slaves to it. If a slave added to
the VCA group is already a master it will
become a secondary master.
VCA Group Interrogation
Interrogation provides a clear way of
indicating VCA group assignments. When
the fader assign button of a VCA group
member is held down, the fader assign
buttons of all members of the same group
will be lit, and the fader assign buttons of
paths which are not part of the group will
cease to be lit.
Interrogation of a primary master will light
the fader assign buttons of its primary
slaves and secondary masters.
Interrogation of a secondary master will
light the Assign buttons of its secondary
slaves, and the primary master’s Assign
button will flash.
Controls
Controls Controls