Wheatstone D-12 Quick start guide

D-12 / D-16 / D-32
Digital Control Surfaces
TECHNICAL GUIDE
600 Industrial Drive, New Bern, North Carolina, USA 28562

Introduction
The Wheatstone D-12, D-16, & D-32 are a family of digital television audio control surfaces that are
compact (64 channels in 50 inches) and fully loaded with all the functions and control capability needed by
most television broadcast facilities: 5.1 digital surround plus three stereo masters, a host of mix-minus clean
feed outputs, individual channel bus-minus outputs, 7-band digital equalization, digital dynamic processing,
and integrated routing that can access literally thousands of sources and feed thousands of destinations. In
addition it can be ordered with paging, allowing you to get 48channels worth of mixing in a 24channel
footprint. The D-12 gives your operators the added convenience of eight stereo subgroups, eight stereo
auxiliary busses, four additional DCM/MUTE busses, and a full event/memory front panel storage and recall
system that doesn’t require an external computer to operate. The D-16 doubles the stereo auxiliary sends to
16, perfect for those variety shows requiring multiple foldback feeds as well as effects sends. The D-32
doubles the mix-minus busses to 16 in addition to the 16 auxiliary sends. Between the 16 mix-minus busses
and direct mix-minus feed from every input channel, there are no limitations for IFB. And because it’s a live
television console, it has extensive communication capability. If there is a mix, you can talk to it. It even has
twelve programmable talkback buttons.
Designed to integrate flawlessly with the Wheatstone BRIDGE digital audio network router, the D-12, D-16,
& D-32 control surfaces allow you to easily create large or small platform-based systems that are
exceptionally user-friendly and flexible. Wheatstone BRIDGE network cages house all I/O ports and engine
cards, and may be wired in tandem within a single equipment room or interconnected to separate remote
locations by means of fiber-optic or CAT-5 cables to provide single wire studio integration schemes.
Once configured, the system operates entirely independently of external computers. Configuration itself is
intuitive and carried out onsite by means of user-friendly graphic interfaces provided by Wheatstone desktop
software. The system also takes full advantage of Wheatstone’s exclusive VDip configuration software, so
that studio functions (like mutes, fader and timer starts, tally, etc.) are easily accomplished right at your
desktop. Once completed, all settings are retained in non-volatile storage, allowing the entire system to run
independently. Ethernet protocol is built in, providing interface with automation, scheduling, and hardware
controllers as you require.
GENERAL INFORMATION
Page 2

GENERAL INFORMATION
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D-12 / July 2006
Control Surface Placement
53.3400
31.2024
D-12 32 INPUT FRAME
1.000 1.000
31.2024
83.6400
D-12 52 INPUT FRAME
1.000 1.000
26.8251
32.6080
7.5281
2.4911
0.9000
3.2410
32 INPUT FRAME - 27.5" x 50.75"
52 INPUT FRAME - 27.5" x 82.00"
CUTOUT DIMENSIONS
The D-12, D-16, & D-32 digital audio control surfaces are designed for simple drop-in installation
in a countertop. Mainframes are available in a variety of sizes, from the compact 32-position up to
the larger 52-position frames shown below. Cutout dimentions (in inches) are shown in the
drawings below for two of the available frame sizes.
Please consult with Wheatstone Sales for other mainframe sizes and dimensional details.

INPUT PANEL
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D-12 / July 2006
Input Panel (IS-D12)
Controls and Functions
Each input panel of the D-12 digital audio control
surface has four identical strips representing four input
channels.
ProgrammableSection
Each input has a programmable encoder, 8 character
display, and switch. The user may map any centrally
located function included in the function “list” to this
rotary knob/display/switch. The function mapped to the
Programmable section is mirrored in the central section
when the input SET button is pressed.
A list of available functions (see table on the page
2-8) is accessed by pressing and holding the Program-
mableEncoderfor3seconds.After3sec,theuserscrolls
throughtheavailablefunctionsuntilthedesiredfunction
isdisplayed,andselectsitbypressingtheProgrammable
switch. The Programmable switch will light if the dis-
played function is already assigned to the channel, or
otherwisewillflash.Tochangetoanewfunction,repeat
the process.
Programming Example: Setting up a Gain control
knob with Phantom Power switch.
1 - Press an input fader SET button.
2-Press andHOLDtheprogrammableencoderfor3
sec.3 - Rotate the encoder through the list until GAIN is
displayed.
4 - Press the Programmable switch.
5 - The current gain setting in dB is displayed.
Rotating the programmable encoder adjusts line or mic
gain depending on the input source. Pressing the pro-
grammable switch turns on/off phantom power if the
source is a mic; otherwise the switch is inactive.

INPUT PANEL
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D-12 / July 2006
StandaloneSwitches
The following switches directly access certain input functions.
DYN-activatesdynamicssettingsstoredfortheinputstrip.Usethe
SET switch on the strip to access the centralized DYN controls on the
EQD-D12 panel.
EQ - activates equalizer settings stored for the input strip. Use the
SET switch on the strip to access the centralized EQ controls on the
EQD-D12 panel.
SET - press an input’s SET switch to access centralized controls
associated with the input channel strip. Central controls include
PAN/BAL, MODE, EQ, Dynamics, Source Select and IFB output
Routing, Delay, Phase Reverse, and Source Gain.
PAGE - Press PAGE to access the second layer of a channel strip
(essentially another full input channel). Each layer is totally indepen-
dent.
ON - turns the input channel ON. All Bus assignments mapped as
POST ON feeds will receive audio from the input channel. Certain
logic signals may be mapped.
PFL - puts the input channel’s signal into the PFL (CUE) mix pre-
fader/pre-on, and post gain, EQ, and DYN.
AFL - puts the input channel’s post fader/post ON signal into the
AFL mix.
NOTE:IfbothAFLandPFLareon,theyaresummedbydefaultto
the PFL output. This summing option can be defeated if desired in the
OPTIONS text file (see sample file in Appendix 2).
IFB (Interruptible Fold-back)
There is one common IFB bus. Users add any or all input channels
tothe bus via theINswitchoneach individual channel. Thechannel’s
IFB encoder adjusts the level of that particular channel’s IFB output
(designated here in as IFBx to indicate the IFB output of channel x).
The IFBx signal may be routed to any physical audio output on the
router by pressing the input channel’s SET switch, then using the
DestinationrouterontheXYE-D12panel.AFLandTBswitchesallow
the surface operator to monitor and interrupt the IFB, respectively.
IN - puts the input channel post fader/post ON audio onto the IFB
bus.
IFB encoder – adjusts the output level of the IFBx feed.
TB - momentary switch interrupts the IFB feed with Talkback
audio. Talkback audio may be any source on the router that is cross-
connected to the D-12’s TB input.
AFL - puts the IFBx audio into the AFL/SOLO/PFL mix.

INPUT PANEL
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D-12 / July 2006
Source Selection
This section allows the user to select any source visible to its
X controller. A Preset memory location stores a single source signal for
recallviathePRESETswitch.TheREVERTswitchcausesthepreviously
selectedinput to berecalled.Sourcesmaybe takenatanytimeregard-
less of the input fader ON status.
SOURCE - this encoder (X controller) scrolls through the available
sources. The source list may be limited through the D-12 Visibility –
X Controller settings in the XPoint GUI.
TAKE - press this switch to assign the source displayed in the lower
source window to this input channel strip.
REVERT - press this switch to go back to the previously selected
source. Acts as an A/B source selector that toggles between the PRESET
and the selected source.
PRESET - used to store a source in PRESET memory. Spin the
SOURCESencoderuntilthedesiredsourceisdisplayedintheCURRENT
PAGE display. Then PRESS and HOLD the PRESET switch until the
PRESETbuttongoesoffandtheCURRENTPAGEdisplay reverts to the
actualcurrentsource.ThePRESETsourcenameisshownonthechannel’s
LCD display.
ALTERNATE PAGE Display - top display shows the source for the
alternate page (see discussion of PAGE button on page 2-3)
CURRENT PAGE Display - lower display shows the channel strip’s
active source.

INPUT PANEL
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D-12 / July 2006
VU and Gain Reduction Metering
Eachinput fader hastwoindependent9-segment LED verticalcolumns
to provide input signal metering. The top column handles pre-fader post/
gaincontrol signal presenceVU metering.Thelower column handles Gain
Reduction as determined by the dynamics settings for the input channel
strip, and follows the state of the channel’s DYN switch.
Motorized Fader
Thefadercontrolsthechannelstrip’ssignalleveltoallpostfaderbusses.
The nominal unity gain level is at the -12dB mark on the scale. Note that
EVENT recall includes the fader setting.
NOTE that input channels configured for 5.1 sources have fader knobs
engraved with “5.1”.
Bus Assign LED’s
Each input strip has four sets of LED indicators which display the state
of the channels bus assignments. An illuminated LED indicates:
GROUPS – shows which Groups the input is assigned to: 1 through 8.
MSTR – shows which Masters the input is assigned to; 5.1, S1, S2, and
S3.DCA– shows whichDCAmastersthe input isassignedto: A, B, C,and
D.Iflit,the DCAassignLED(s)willflashiftheDCAmasteristurnedOFF
oriftheDCAmasterfaderreachesathresholdsettingofapproximately-60.
MXM–showswhichMXMtheinputissubtractedfrom.AnXpointGUI
setting, MXM POLARITY, forces the MXM LED logic to flip. In the
flippedstate,litMXMassignLED’smeanthatthechannelisADDEDtothe
MXM mix.
Channel assignments to these busses are made by first pressing the
channel SET button and then pressing the appropriate ASSIGN button on
the MXM-D12 panel.

INPUT PANEL
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D-12 / July 2006
LCD Displays
Channel Status
Theselectedinputchannel status information shows onone of theLCD
displays in the control surface meterbridge. The display show input level,
selectedsource,channelnumber, preset source, channel status,gain reduc-
tion, and other information.
Input Level
The pre-fader level of the input signal is shown on a different LCD
display by a large vertical bargraph. The level is indicated in dB on a
calibrated scale beside the bargraph. If the channel is stereo, the bargraph
shows the sum of the left and right signals. The bargraph is colored, with
green indicating lower levels and red indicating high levels. The nominal
level position is in the middle of the range at the “0” scale marking, and
shows as a thin blue band in the bargraph. The bargraph itself consists of a
moving “DOT” over a solid “COLUMN” where the “DOT” indicates the
peak value of the signal, and the “COLUMN” indicates the average value.
Channel
Status
EQ Status
Indicator
Dynamics Status Indicator
Gain Reduction
Bargraph
OVER
(Clipping)
Nominal
Level
Channel
Number
Input Level
Bargraph

INPUT PANEL
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D-12 / July 2006
On the D-12 control surface the average value column has been set to VU
timing characteristics. In addition, a bright yellow rectangle will light at
the top of the column if digital “OVER” or clipping is detected.
Nominal Level 0dB = +4dBu analog and -20dBFS digital.
Selected Source
ThecurrentlyselectedsourcenameshowsontheChannelStatusLCD
display underneath the channel description. This name is the 8-character
name as defined in the Wheatstone Bridge Router configuration.
Preset Source
Thecurrently loaded preset source nameshowsontheChannel Status
LCD display underneath the AUX SEND information. Once again, this
8-character name is as defined in the Wheatstone Bridge Router.
Channel Status
VariousindicatorsontheChannelStatusLCDdisplaywillshowstatus
information for the associated channel. Above the level bargraph the
words “ON”, “OFF”, “ON AIR”, or “MUTING” will appear as the
channel status changes. “MUTING” indicates that the channel is turned
ONandhasamuteset.“ONAIR”indicatesthatthechannelisONandthe
fader is up. The letters “EQ” will show in the Input Level display if
equalizer functions are active for the channel, and “GR” will appear if
signal dynamics functions (compression, limiting) are engaged.
Channel Number
A large white number shows under the GR meter on the Input Level
display to indicate the channel number.

INPUT PANEL
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D-12 / July 2006
Available Functions Table
Name
Function Encoder Dobby Switch ON/OFF Display
GAIN Phantom PowerGain Control Gain in dB units
DELAY mS IN/OUTDelay Control Delay in mS units
DELAY Fr IN/OUTDelay Control Delay in frames
Blend / CenteredCross-Fader BLEND IN or BLENDOFFCenter
WIDTH IN/OUTWidth Control Stereo WidthCenter
MODE MODE SelectPAN/BAL Selected MODECenter
AUX1 (to 8) IN/OUTSend Level AUX x
HPF IN/OUTHPF Freq HPF Frequency
NOTCH IN/OUTNotch Freq Notch Frequency
LPF IN/OUTLPF Freq LPF Frequency
LOW F SHELFLow Band Freq Low Band Frequency
LOW Q SHELFLow Band BW Low Band Q or SHELF
LOW L SHELFLow Band +/- Low Band Level
LOMID F Low Mid Band Freq Low Mid Band Frequency
LOWMID Q Low Mid Band BW Low Mid Band Q
BLEND
UNASSIGN UNASSIGN
LOWMID L Low Mid Band +/- Low Mid Band Level
HIMID F High Mid Band Freq High Mid Band Frequency
HIMID Q High Mid Band BW High Mid Band Q
HIMID L High Mid Band +/- High Mid Band Level
HIGH F High Band Freq High Band Frequency
HIGH Q High Band BW High Band Q or SHELF
HIGH L High Band +/- High Band Level
LIM TRSH Limiter THRESH Limiter Threshold
LIM RAT Limiter RATIO Limiter Ratio
LIM ATCK Limiter ATTACK Limiter Attack
LIM REL Limiter RELEASE Limiter Release
LIM GAIN Limiter MAKEUP GAIN Limiter Makeup Gain
GT TRSH Gate THRESH Gate Threshold
GT OPEN Gate OPEN Gate Open
SHELF
SHELF
SHELF
GT HOLD Gate HOLD Gate Hold
GT DPTH Gate DEPTH Gate Depth
TRIM LFE 5.1 LFE Trim 5.1 LFE Trim
TRIM LF 5.1 LT FRONT Trim 5.1 LT FRONT Trim
TRIM CTR 5.1 CENTER Trim 5.1 CENTER Trim
TRIM RF 5.1 RT FRONT Trim 5.1 RT FRONT Trim
TRIM LR 5.1 LT REAR Trim 5.1 LT REAR Trim
TRIM RR 5.1 RT REAR Trim 5.1 RT REAR Trim
LFE LVL 5.1 LFE Level 5.1 LFE Level
LEFT/RGT 5.1 LT/RT 5.1 LT/RT
FNT/REAR 5.1 FRONT/REAR 5.1 FRONT/REAR
SRND/CTR 5.1 SURROUND/CENTER 5.1 SURROUND/CENTER

MIX-MINUS PANEL
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D-12 / July 2006
Mix-Minus Panel (MXM-D12)
Controls and Functions
The D-12 digital audio control surface is equipped with one
Mix-Minus Panel.
This panel houses AUX SENDS, MXM MASTER OUTPUTS, and
SUB-GROUP,MASTER,DCA,andMXMASSIGN.
AUX Sends
There are a total of eight AUX SENDs available
in the D-12 control surface. A brief comment on the
controls is called for before diving into the details.
The column of 8 knobs (“1” through “8”) labeled
MASTERS, and their associated SET and AFL
switches,haveadual-purpose.If the MXM buttonin
that section is lit, the control operation applies to the
surface’sMXMoutputs, whicharedealtwithlaterin
thischapter.Butif the SENDbuttonislit,thecontrol
operation applies to the AUX SENDs, which is the
current topic. For the present discussion on AUX
SENDsweassumetheSENDbuttonislit,andwewill
freely discuss controls in both the AUX SENDS and
MASTERS sections of the panel without qualifying
which panel section the control being discussed is
located in.
We will begin by explaining the operation for
AUXSEND1.Thesamediscussioncanbeappliedto
any of the 8 AUX SENDs.
Any surface input channel can feed AUX
SEND1.Todoso,presstheSETbuttonontheinput
channel, then press the MXM-D12 panel ON button
forAUX1.Ifthebuttonis already lit when you press
the channel SET button, then that channel is already
feeding AUX SEND 1.
Channels normally feed the AUX SEND a post
fader signal that follows the channel’s ON button
(post on). If you press the MXM-D12 PRE ON button for AUX 1, that
channel will feed the AUX SEND regardless of its ON button status. In
a similar fashion, the channel can be made to feed a constant signal level
to the AUX SEND regardless of its fader position by pressing the PRE
FDR button. PRE ON and PRE FDR can be used in any combination.

MIX-MINUS PANEL
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D-12 / July 2006
You can set the level of each channel feeding AUX SEND 1
independently. The AUX 1 control affects the signal level to AUX
SEND 1 of the channel that currently has its SET button lit. Thus you
can generate a mix to AUX SEND 1 from several channels if desired.
Once you have the desired channel(s) feeding AUX SEND 1, you
canadjusttheoutputlevelofAUXSEND1byusingtheAUX
SEND 1 MASTER, the knob labeled “1” in the MASTERS
area.Theactualdestination that AUXSEND1isroutedtois
assignedbyfirstpressingtheAUXSEND1SETbutton,then
dialing up the desired destination on the DESTINATION
knob on the XYE-D12 panel and pressing the associated
TAKE button.
AUX SEND 1 can be mono or stereo. Press the AUX
SEND1 button, then presstheappropriateMODEbutton on
the SUR-D12 panel. If AUX SEND 1 is in STEREO mode,
and if the selected channel is in STEREO mode as well, the
AUX1controlwill act asaBALcontrolifitis pressed down
while being turned. If the selected channel is in MONO, the
pressed action of AUX 1 is as a PAN. If the AUX SEND 1 is
in MONO mode, the AUX 1 knob does nothing if you press
it while turning. NOTE that surround sends are not created.
AsurroundsourcewillsendadesiredstereotoastereoAUX
SEND.
The AUX SEND 1 AFL switch routes a post AUX 1 level control
signal to the SOLO mix.
AUX SEND settings are shown on the LCD displays.
AUX SENDs 2 - 8 work in the same manner as AUX SEND 1.
SUR-D12 Panel
XYE-D12 Panel

MIX-MINUS PANEL
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D-12 / July 2006
MXM Master Outputs
Therearea total of eight MXM’s(mix-minuses) availableintheD-12
control surface. For this discussion on MXM’s we assume the MXM
buttonintheMASTERSsectionofthepanelislit.MXM1isdiscussedbut
the remaining MXMs work in the same fashion.
As mentioned in the chapter on the IS-D12 Input panel, channels may
be assigned to an MXM by pressing the channel’s SET button, then
pressing the appropriate MXM ASSIGN button in the BUS ASSIGN
section of this panel. Subgroups may also be assigned to MXMs in a
similar manner.
GlobalsettingsmaybemadeintheOptionsTextfile(seeAppendix2)
to determine if the channel assignments to the MXMs are pre or post fade
andpreorpostON.Settingsaremadeindividuallytoeachofthe8MXMs,
but are global in the sense that, once they are made, the settings apply
equally to all MXM sources.
Once you have the desired sources feeding MXM 1, you can adjust its
output level by using MXM 1 MASTER, the knob labeled “1” in the
MASTERS section. The actual destination that MXM 1 is routed to is
assignedbyfirstpressingtheMXM1SETbutton(nexttothelevelcontrol,
and, yes, this is the same button
thatservesforAUXSEND1SET),
thendialingupthedesireddestina-
tion on the DESTINATION knob
on the XYE-D12 panel and press-
ing the associated TAKE button.
The MXM 1 AFL switch (also
known as the AUX SEND 1 AFL
switch) routes a post MXM 1 level control signal to the SOLO mix.
The MXM 1 level and output assign are shown on one of the LCD
displays when the MXM 1 SET button is lit.
MXMs 2 - 8 work in the same manner as MXM 1.
XYE-D12 Panel

MIX-MINUS PANEL
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D-12 / July 2006
BusAssign Section
All bus assignment is accomplished through the four sets of
ASSIGN switches, consisting of eight sub-group, four master,
four DCA, and eight mix-minus assign switches. The switches
illuminate to indicate the assign status of the input channel or
groupwhose SET switch iscurrentlyactive.Indicatorwindows
ontheinput,group,andmasterpanelsshowtheassignstatusfor
each individual source.
Bus assignment is accomplished by first pressing the SET
button on the desired input channel (IS-D12), group (GRP-D12
panel), or master (MSTR-D12 panel). The assign switches
illuminate to show the source’s current bus assignment. Press
required switches to create the desired set of bus assigns. The
local indicators on the IS-D12, GRP-D12 or MSTR-D12 panel
will change to reflect the new bus assignment.
Input channels may be assigned to any group, master, DCA,
orMXMinanycombination.Thesituationissimilarforgroups,
except that groups may not be assigned to groups. Masters may
be assigned only to DCAs, but in any combination.
Pressing an input fader SET button will activate the bank of
MXM ASSIGN switches and allow the user to assign or minus
aninputfromeachMXMbus.Pressingaswitch(1-8)togglesthe
input channel assignment to the MXM bus. The Mix-minus
polarity setting, accessed through the XPoint GUI, determines
whetherthechannelisadded to (positive polarity) or subtracted
from (negative polarity) the chosen MXM bus. With positive
polarity setting the LED lights when the signal is added to the
MXM bus. With negative polarity setting the LED lights when
the signal subtracted from the MXM bus. MXM polarity is set
globallyforall8MXMbusses.AppropriateMXMLEDindica-
tor on the input panel also lights.

EQ / DYNAMICS SECTION
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D-12 / July 2006
EQ / Dynamics Panel
(EQD-D12)
Controls and Functions
The D-12 digital audio control surface is equipped
withoneEQ/Dynamics Panel. This panel houses EQ,
DYNAMICS, PHANTOM POWER, CHANNEL
GAIN, DELAY, and POLARITY sections.
Dynamics Section
This section provides compression, limiting, ex-
pansionandgatingfunctionsforindividualinputchan-
nels. DSP based dynamics control is simultaneously
available for all input faders and output masters. Dy-
namics controls are accessible by selecting an input or
master fader SET button. Dynamics may be switched
in/out directly from the input fader and master fader
DYNswitcheswithouthavingtopresstheSETbutton.
Dynamics width follows the width of the selected
source (i.e., stereo or 5.1). An integral meterbridge
LCD display draws a real-time composite dynamics
curve based on the compressor/limiter and gate knob
and switch settings. The setting of each knob is shown
in the display. Gain reduction is displayed on a LED
ladder next to each input fader and on the dynamics
LCD meter. The dynamics curve LCD screen also
includes a GR meter.
Settings

EQ / DYNAMICS SECTION
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D-12 / July 2006
Compressor/Limiter
The compressor algorithm used in the D-12
control surface is designed to:
- allow smooth, inaudible, and unobtrusive
level control on uneven sources;
-beabletoact as a peak limiter for inadvert-
ent overload control;
- enable deep effects if required.
The compressor section is a compound of
many diverse dynamics elements.
The level detector is a pseudo-RMS averag-
ingtypewithitsownsymmetrical-in-timeattack-and-releasecharacteris-
ticadjustablebetween0.1mSand330mS(“Attack”control).Attheslower
endofitsrange,byitselfitachievesanouveau-classic“dbx”stylesyllabic-
rate level control. As the time-constant is shortened, it becomes progres-
sively shorter in relation to the lower audio frequencies themselves; the
effect is to turn the detector into more of a peak-level detector, necessary
for limiting or wilder effects. A secondary effect at intermediate to fast
attack-times is that low frequencies are peak sensed while high frequen-
cies are average sensed resulting in an effective high-frequency bias (up
to as much as 6dB differential) which helps to mitigate the detrimental
limiting effect of the resulting audio seeming “bottom heavy” normal to
most compressors.
While the overall gain-reduction scheme is “feed-forward”, the heart
of the detector stage itself is a feedback limiter; this allows for this
carefully-contrived loosely-damped servo-loop to permit far more inter-
esting dynamic effects.
The compressor is “soft-knee”, meaning the compression ratio in-
creases slowly with increasing applied level, greatly easing the sonic
transition into full compression; it helps avoid the “snatching” and
“pumping” at threshold that many “hard-knee” dynamics units exhibit.
A full range of controls is available over the compressor’s behavior:
Threshold
The THRES knob sets the level at which the compressor is fully into
compressionofwhateverratioisset.Thiscanbesetanywhereintherange
of-30dBto+10dB,unlessthelowerrangeislimitedbytheGATETHRES
setting (see below).
Attack
This control determines how quickly (between nominally 0.1mS and
330mS) the compressor reacts to signals. Faster attack times result in
“tighter” and more obvious control; longer attack times lend themselves
well to gentler automatic volume control.

EQ / DYNAMICS SECTION
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D-12 / July 2006
Ratio
This control determines how much the
compressor’s gain is reduced in relation to the
applied signal. For instance, if the ratio is set at
3:1 and the input level above threshold changes
by 12dB, the output level will changed by 4dB.
Normalusageisbetweenapproximately2:1and
4:1; anything greater than, say, 7:1 may be
considered “limiting”. The ratio can be set any-
where from 1.0:1 to 20.0:1.
Release
This knob determines the nominal time the compressor takes to
recover after excitation (between 50.0mS and 3.0 Seconds). Short
release times make for more intense, denser, obvious processing;
longer release times are better suited to automatic gain control.
Makeup Gain
When fairly deep compression is invoked (large gain reduction) it
can be necessary to increase the compressor’s output level back up to
nominal system signal level; up to 20dB of output gain is available to
allow this.
Gate
The Dynamics section also contains a noise gate, useful for reduc-
ing sounds below a certain threshold.
TheGATETHREScontroldeterminesthesignallevelatwhichthe
gate operates. This level be anywhere between -60.0dB and +10.0dB.
This setting will determine the minimum available setting of the
LIMITER THRES knob; the LIMITER THRES cannot be set lower
then the GATE THRES.
The OPEN knob determines how quickly the gate opens to allow
signal passage once the threshold is reached. It can be set anywhere in
therangeof0.1mSto 330.0mS. The gate close time is fixedat 200mS.
The DEPTH knob sets the amount of attenuation given to signals
below the GATE THRES setting, and can be adjusted to be between
0dB and 30.0dB.
TheHOLDknobdetermineshowlongthegatewill stay open after
thesignalfallsbelowtheGATETHRESlevelbeforeitbeginstoclose,
and can be adjusted between 50.0mS and 3.0 Seconds.

EQ / DYNAMICS SECTION
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D-12 / July 2006
EQ Section
The EQ section consist of a bank of knobs
and switches that operate the equalizer, a four
band, parametric design with sweepable center
frequency, bandwidth, and boost/cut controls.
Shelvingcurvesmaybeindependentlyselected
for low and high bands. Separate High Pass,
Notch, and Low Pass filters may also be in-
serted. EQ control is accessible by selecting an
input or master fader SET button. EQ width
follows the width of the selected source (i.e.,
stereo or 5.1). An integral meterbridge LCD
display draws a real-time composite equaliza-
tioncurvebasedontheknobandswitchsettings.
Dobbying any boost/cut (+/-) knob will toggle
theparameterbetweenflatandthecurrentvalue.
To access EQ on an individual input chan-
nels,presstheappropriatechannel’sSETbutton
and make the desired adjustments in the EQ
Section.ToactuallyplacetheadjustedEQinthe
signalchain,pressthechannel’sEQbuttoninthe
IS-D12 panel. The input channel’s EQ button
will light, and its LCD display will show “EQ”.
High-Pass Filter
This is a 24dB/octave variable high-pass fil-
ter with Butterworth characteristics, tunable be-
tween 16.1Hz and 500Hz, and with a separate in/out switch (“HPF”
switch).Therelativelyhighorderoffilterisnecessarytoallowdefinite
and decisive removal of unwanted low-frequency artifacts (air-condi-
tioning rumble, line hum, traffic or footstep impacts) with minimal
effect on the required program. The display indicates the filter’s
frequency, and the filter may be clicked in and out by way of the IN
switch.
Notch Filter
This1/10th octave, variablecenter frequencynotchfilter is tunable
between 16.1Hz and 20.2KHz. This filter is used to remove specific
audiofrequencies,suchas60Hzor120HzforanACpowerlinehumor
buzz,orperhapsahorizontalscanninginterferencefromamonitor.The
display indicates the filter’s center frequency, and the filter may be
clicked in and out by way of the IN switch.
Note: Butterworth Filters
typically yield excellent
flatness, no ripple in the
passband,andarounded
amplitude response near
the cutoff frequency.

EQ / DYNAMICS SECTION
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D-12 / July 2006
Low-Pass Filter
This is a 24dB/octave variable low-pass filter with Butterworth
characteristics,tunablebetween1KHzand20.2KHz.Thisfilterisused
toremoveunwantedhighfrequencyartifacts(noise,squeaks,etc.)with
minimal effect on the required program. The display indicates the
filter’sfrequency,andthefiltermaybeclickedinandoutbywayofthe
IN switch.
Equalizer
This consists of four bands of parametric control used for modify-
ing the sonic qualities of a signal. Each band has +/-14dB of BOOST/
CUTcapabilities(+/-knob;“doubleclick”theknobtoreturnto0.0dB),
sweepable center frequency over the range of 16.1Hz to 20.2kHz, and
with a filter “Q” or sharpness [BW(BandWidth) knob] sweepable
between0.3and5.0.TheLOWandHIGHbandsalsohaveaswitchable
shelvingfunction.ThecompositeeffectofanyEQadjustments,aswell
as text describing the equalizer settings, is shown on the screen.
EQ OUTEQ IN
Settings
Composite
Curve

EQ / DYNAMICS SECTION
page 20
D-12 / July 2006
Polarity
A pair of switches, one for left and one for right, are provided
to allow for the reversal of absolute phase of the signal path.
Channel Gain
TheCHANNELGAINleveladjuststheinputfader’sselected
source gain. Line inputs are adjusted in a -18dB to +12dB range;
mics are adjusted in a +20dB to +80dB range. Relative gain is
shown in its attendant 8-character display.
The input channel’s PROGRAMMABLE level control and
button on the top of the IS-D12 panel can be programmed to duplicate
the gain control function.
Audio Delay
Audio delay is shown in the CHANNEL DELAY display.
Delay is accomplished for inputs, submixes, master mixes, aux
sends,andmix-minusesbymeansofactivatingtheircorrespond-
ing SET button and simply dialing in the audio delay. Delay may
be set in milliseconds (0.0 to 667.0) or frames (0.0 to 20.0 in 0.5
frame steps) by means of the MILLI SECS/FRAMES button.
TheINswitchinsertsthedelayonthecurrentlyselectedinput
or output signal.
Delay settings are vitally important, permitting audio time delay adjust-
mentstoallowforvideoprocessordelaysor satellite-to-terrestrial link audio/
video timing discrepancies.
The input channel’s PROGRAMMABLE level control and button
on the top of the IS-D12 panel can be programmed to duplicate the
delay function.