Lawo Crystal Operators Manual V4.2 1

crystal
Operators Manual
Version: 4.2/1
Edition: 13 December 2013
Copyright
All rights reserved. Permission to reprint or electronically reproduce any document or graphic
in whole or in part for any reason is expressly prohibited, unless prior written consent is
obtained from the Lawo AG.
All trademarks and registered trademarks belong to their respective owners. It cannot be
guaranteed that all product names, products, trademarks, requisitions, regulations, guidelines,
specifications and norms are free from trade mark rights of third parties.
All entries in this document have been thoroughly checked; however no guarantee for
correctness can be given. Lawo AG cannot be held responsible for any misleading or incorrect
information provided throughout this manual.
Lawo AG reserves the right to change specifications at any time without notice.
Lawo AG, 2013
Table of Contents
Table of Contents
Welcome to crystal
Changes to This Manual
Important Safety Instructions
Overview
Getting Started
23
Console Operation
31
The Standard Templates
98
VisTool Operation
143
Glossary
197
crystal Operators Manual
V4.2/1
Welcome to crystal
Welcome to crystal
Welcome to the crystal digital broadcast mixing console, Lawos
purpose designed solution for on-air and production.
This documentation is designed for users of the console. It
covers the console and all options.
You can access more information by registering at www.lawo.de (click on Login). By registering you
will receive the latest news for your product, and can download software and documentation.
Getting started Operation

Read Getting Started and Console Operation to familiarise yourself with the basics.
Refer to VisTool Operation to learn about this option.
Go to Key Panels to learn more about the external Key Panel options.
For information on installing and configuring the console, please refer to the crystal Technical
Manual.
Marginal Notes
The following symbols are used to draw your attention to:
Points of clarification.
Useful tips and short cuts.
Warning
Warnings alert you when an action should always be observed.
V4.2/1

Version 4.2/1 (Edition: December 13th 2013, SMcD) - valid from build V4.2.x.x.
New crystal features:
crystal - supports up to 24 channel faders.
Loudness Metering (#10589) - both crystal and sapphire are enabled for loudness metering.
Ember+ Control (#10591) - both crystal and sapphire can act as Ember+ providers and
consumers. This allows external devices to remotely control parameters within the console,
or the console to control parameters within an external device.
Minimixer (#10633) - two new level parameters (Level Left & Level Right) to permit output
level balancing have been added to the Minimixer function. The Minimixer Signal Flow diagram
has been updated.
Source -> Minimixer (#10634) - this new Source element type allows you to control any level
from a console fader, see Fader Control of Levels.
Source -> Jade (#10540) - this new Source element type allows you to interface to Lawo's
JADE (Journalist Audio Distribution Engine).
Logic -> MUX/DEMUX8 (#10632) - a new logic element has been added.
Source -> MF Keys: Voice Music Bus Control (#10635) - a new MF1 Key Mode allows MF
Key 1 to operate normally, or to enable/disable automatic switching onto a Voice or Music bus.
System -> Definition -> Parameter = PowerUp - a new Audio to Backplane state has been
added.
System -> Definition -> Parameter = Description (#11128) - the new Description element
allows you to enter text (to describe the project and system); the text is then displayed in the
Web Brower Interface.
System -> Definition -> Parameter = Local Consumers/Providers (#11111) - these new
elements support Ember+ consumer and provider control.
System -> Definition -> Parameter = Matrix Ember+ - this new element allows you to
remotely control, or be controlled by, an external matrix (via Ember+).
Save Project to/Load Project From Unit (#11115) - these options save and load the
system configuration to/from the crystal control system. This allows you to store the
configuration on the unit, and download it to another computer at a later date.
New VisTool MK2 features:
System Requirements - the System Requirements have been revised.
Licensing via Hardware Dongles (#10625) - the software license can now be activated by
hardware dongles. Plus it is possible to enable server-based licensing to move licenses from
PC to PC or licensing on virtual machines.
Ember+ Control - for on-screen parameter control and metering of a remote Ember+ device.
Fader Control in VisTool (#6926) - a graphical Fader element has been added to enable
fader value control directly through the GUI.
V4.2/1
Loudness Metering (#10589) - Loudness metering elements have been added to support
momentary, short term or integrated loudness measurements.
Stereo Correlation Meter - a PPM Correlator element has been added.
Overlay Elements - the Overlay element allows you to create an overlay area, linked to any
number of other elements, which appear when the overlay is active. For example, to show
and hide a set of menu options.
Box Elements - Box elements have been added to the Simple category.
Element Reorganisation - the Other and User elements have been reorganised.
User Graphics - user graphics are now stored as part of the VisTool project.
Display Snapshot Name (#7682) - a new option has been added to the MF Key functions so
that the current snapshot name (the last snapshot saved or loaded) may be displayed as text
in any Button or Box element.
DMS Meter Grouping (#9224) - the 256 DMS meters are presented in four Groups of 64 (to
match the system configuration).
Element Functions - the right-click Element functions have a new layout.
Main Menus - two new main menus (DMS and Docks) have been added.
Page Options - a new Rescale option has been added.
Project Settings - new Project Settings to set the grid size and virtual keyboard have been
added.
VisAdmin (#11845) - a new Overview window provides access to DMS Service
Administration and DMS Service Host settings.
VisAdmin Session Management (#11843) - a new Session Management window supports
multiple sapphire/crystal/Nova29 runtime sessions from a single PC. You can also configure
full screen or frame-less windows (to integrate VisTool alongside other applications).
Version 4.0/6 (Edition: July 26th 2012, SMcD) - a reworking of the manual, valid from build V4.0.x.x
V4.2/1

Warning
Exposure to excessive sound pressure levels can lead to impaired hearing and cause
damage to the ear.
Please read and observe ALL of the following notes:
Check all of the hardware devices for transport damage.
Any devices showing signs of mechanical damage or damage from the spillage of
liquids MUST NOT be connected to the mains supply or disconnected from the
mains immediately by pulling out the power lead.
All devices MUST be grounded. Grounding connectors are provided on all devices.
In addition, all low-voltage devices external to the system must also be grounded
before operation.
For Scandinavian countries, ALWAYS use a grounded mains connection, to
prevent the device from being grounded through Ethernet or other signal
connections.
All devices MUST be connected to the mains using the three-cord power leads
supplied with the system. Only supply electrical interfaces with the voltages and
signals described in these instructions.
Do NOT use the system at extreme temperatures. Proper operation can only be
guaranteed between temperatures of 10 C and 35 C and a maximum relative
humidity of 85%.
Neutrik PowerCon and Harting connectors must NOT be disconnected under load.
Only service staff may replace batteries.
Servicing of components inside a device MUST only be carried out by qualified
service personnel according to the following guidelines:
o Before removing parts of the casing, shields, etc. the device MUST be switched
off and disconnected from all mains.
o Before opening a device, the power supply capacitor MUST be discharged with a
suitable resistor.
o Components that carry heavy electrical loads, such as power transistors and
resistors, should NOT be touched until cool to avoid burns.
Servicing unprotected powered devices may only be carried out by qualified service
personnel at their own risk. The following instructions MUST be observed:
o NEVER touch bare wires or circuitry.
o Use insulated tools ONLY.
o DO NOT touch metal semi-conductor casings as they can bear high voltages.
V4.2/1
Defective Parts/Modules
Warning
crystal contains no user-serviceable parts. Therefore DO NOT open the devices
other than to perform the procedures described in this manual.
In the event of a hardware defect, please send the system component to your local
service representative together with a detailed description of the fault. We would
like to remind you to please check carefully whether the failure is caused by
erroneous configuration, operation or connection before sending parts for repair.
We recommend contacting our service department before sending parts for repair.
First Aid (in the case of electric shock)

Warning
DO NOT touch the person or his/her clothing before power is turned off, otherwise
you risk sustaining an electric shock yourself.
Separate the person as quickly as possible from the electric power source as
follows:
o Switch off the equipment.
o Unplug or disconnect the mains cable.
o Move the person away from the power source by using dry insulating material
(such as wood or plastic).
If the person is unconscious:
o Check their pulse and reanimate if their respiration is poor.
o Lay the body down and turn it to one side. Call for a doctor immediately.
Having sustained an electric shock, ALWAYS consult a doctor.
V4.2/1
Chapter 1: Overview
Chapter 1: Overview
Introduction
This chapter provides an overview of the crystal and its key features:
System Components
The Control Surface
The Base Unit
VisTool
Key Panels
Configuration and Templates
Signal Flow
Snapshots and User Rights Management
System Networking
Ember+
Software Diagnostics and Maintenance Tools
V4.2/1
Chapter 1: Overview
System Components
System Components
Each crystal may consist of up to four components:
Control Surface available in five standard frame sizes ranging from 4 to 16 channel faders.
(From Version 4.2 onwards, up to 24 channel faders.)
Base Unit handling all audio interfacing, routing, control and central signal processing
(DSP).
VisTool MK2 (optional) a software application which runs on an external PC to provide realtime displays and touch-screen control.
Key Panels (optional) a range of 19/1RU rack mounted Key Panels to provide additional
keys, talkback, etc.
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Chapter 1: Overview
The Control Surface
The Control Surface

crystal is available in a choice of frame sizes. Depending on the frame you have chosen, you will
have a number of Fader and Monitor Modules:
Fader Module provides 4 fader strips each with a dedicated rotary control, fader, ACCESS
key for central assignment and a number of MF (Multi-Function) keys for source-specific
control.
Monitor Module provides stereo metering (including correlation meter), 8 function buttons
for parameter and snapshot control, plus monitoring sections for loudspeaker and headphone
monitoring.
Any fader strip may control any type of channel (called sources), and sources come pre-configured
with signal processing (DSP) and functions such as signaling, talkback, conference bussing, etc.
Each frame connects to the Base Unit via the CAN bus, and may be powered from its own
PSU (included) or optional Redundant Power System (951/25).
V4.2/1
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Chapter 1: Overview
The Base Unit
The Base Unit

The heart of the crystal is the Base Unit:
Front Panel:
Rear Panel:
This is a 19/1RU unit which handles the following:

Audio Interfacing all audio connections are made to and from the base unit. As standard
there are 4 Mic/Line, 4 Line and 4 AES3 inputs, plus 8 Line, 4 AES3 and 2 stereo headphone
outputs. Two expansion slots at the front of the base unit can be used to fit additional Mic/Line,
Line, AES3 or SDI cards. Four MADI ports (64-channels each) provide further audio i/o
expansion and the ability to network the crystal to other Lawo systems.
Signal Processing a pool of DSP resource provides EQ, Dynamics, Limiting and Delay.
Each source is pre-configured so, for example, a DJ Mic may have EQ and Dynamics, while
the Programme output offers a Limiter.
System Connections the base unit connects to the control surface using a CAN bus
connection. There is also an Ethernet connection for remote PC configuration and Wordclock
for external synchronisation.
External Control - 8 GPIOs are included for signalling and fader starts. In addition, the RS422 port provides connection to radio automation systems.
12
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Chapter 1: Overview
VisTool
VisTool
VisTool MK2 is a software application which runs on an external PC and works in real time with
Lawo's crystal, sapphire, zirkon, Nova17 and Nova29.
Elements such as metering, timers, MF Keys, signaling and parameter displays can be viewed and
controlled from an external monitor connected to the VisTool PC:
Stand-alone Monitor
The VisTool PC is not included and must be provided by the customer.

You must install a VisTool PC in order to use VisTool snapshots and user rights
management.
To operate VisTool in real time (known as runtime), you must activate one of the following software
licences:
VisTool Standard included free of charge with crystal and sapphire, and activated by the
activation process. This licence runs the standard configuration for your product with a fixed
set of pages and elements.
VisTool Unlimited a paid upgrade available from www.lawo.de. This licence runs any
VisTool start script, including custom configurations designed by VisTool Edit.
VisTool Edit is used to design and build custom VisTool configurations. Each
configuration may contain multiple pages with any number of VisTool elements. You can
use VisTool Edit to tweak an existing configuration - for example, to change the metering
layout or add some MF Keys - or, you can design your own VisTool pages from scratch.
Elements may be sized and positioned as required; you can even include your own
custom graphics.
See VisTool Operation.
V4.2/1
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Chapter 1: Overview
Key Panels
Key Panels
Up to 15 Key Panels may be added to each system to expand the number of buttons and controls.
Different panels feature a range of MF Keys, self-labelling LCD buttons and other controls. Typical
applications include communications or matrix control.
The key panel options include:
TB-12 19/1RU panel with 12 backlit programmable buttons, talkback microphone and
loudspeaker:
KSC-T20 19/1RU panel with 20 backlit programmable buttons:
KSC-LCD16 19/1RU panel with 16 self-labelling LCD buttons:
KSC-LCD15P1 19/1RU panel with 15 self-labelling LCD buttons and 1 rotary control:
KSC-LCD14P2 19/1RU panel with 14 self-labelling LCD buttons and 2 rotary controls:
KSC-GPIO32 19/1RU panel with 32 GPIO contacts and 8 VCA inputs:
For details about the operation of these panels within your studio, please consult your systems
engineer.
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Chapter 1: Overview

The Standard Templates
To make crystal easy to operate out of the box without any complex configuration, the console is
delivered with a choice of standard templates:
Radio On-Air for the self-operated or traditional on-air radio studio.
Radio RAS for Radio Automation System (RAS) and DJ-operated setups.
Edit Suite for TV or radio edit suites.
The template defines how many source channels and summing busses you have, where you should
connect your audio inputs and outputs, the signal flow for each audio path, what functions are
programmed onto the control surface MF keys and how the console responds to external control
functions such as GPI signals.
For more details, see the Standard Templates.
The Configuration Tool

Each template is transferred to the console using a software application called the zirkon
Configuration Tool. This software can also be used to modify a template or programme a custom
configuration from scratch.
The system configuration defines several key aspects of the mixing allowing it to cover a wide range
of applications.
The configuration is not an operational tool, but can be used by your systems engineer to
customise the console for the studios requirements.
The configuration is created offline, using a software application called the zirkon Configuration Tool,
and then transferred to the console. Once transferred, the configuration resides within the control
system (in the Base Unit) and is loaded at boot up.
Settings defined by the configuration include:
Input and Output naming each input and output is named to clearly identify connections to
external equipment.
Sources each source is named (e.g. DJ, CD, etc.) and defined to be mono, stereo, 5.1,
5.1/2ch; or used as a MIDI control channel to work with DAWs (like ProTools).
Summing Busses each summing bus is named (e.g. GRP 1, AUX ST, etc.) and defined to
be mono, stereo or 5.1.
Signal Processing EQ, Dynamics, Limiter and Delay are available for all sources, and
some or all summing busses depending on the available resources. In addition, 16 De-Essers
may be configured for any mono source.
Control Surface Layout the configuration defines which sources are available for fader
strip assignment, and whether the console can be switched to access layers and/or virtual
Fader Modules.
MF (Multi-Function) Keys the configuration defines the function and colour coding applied
to all MF Keys. MF Keys are available on the VisTool displays and external Key Panels.
V4.2/1
15
Chapter 1: Overview
External Control Functions the configuration also defines how the console responds to
external control functions such as GPI signals or radio automation systems.
Logic Elements these elements are used to programme logical functions. For example, if
you need a function to be triggered by the result of a number of other conditions. Logic
elements include OR, AND, NOT, etc.
Connects "Connect" elements may be configured to control audio connection between
inputs and outputs. For example, to create a communications system or routing matrix.
Minimixer this is a stereo-in-stereo-out mix element designed principally for use within the
monitor chain of the system. Minimixers offer level control, dim, balance, phase reverse, etc.
In addition to programming and transferring configurations, the Configuration Tool can be used to
change the IP Address of a system.
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Chapter 1: Overview
Signal Flow
Signal Flow
Unlike an analogue console with a fixed number of input channels and outputs busses, the crystal
provides a pool of DSP resource which is allocated by the configuration. This means that your
console can have a mixture of input channels, groups, mains, auxiliary sends, conference busses,
etc. And, that each channel or bus may be allocated signal processing so that you can apply EQ,
Dynamics and Delay to both inputs and outputs.
Maximum Resources Available:
Sources
Each input channel on the crystal is called a source.
Only sources assigned to fader strips are active in the mix; if you remove a source from a fader strip,
then you will no longer hear it!
The naming of sources, assignment of signal processing and other attributes are all made within the
system configuration. Physical inputs are normally hard wired to sources. This allows sourcespecific channel features such as fader start or mic live signaling to follow the source when it is
assigned to a different fader strip.
Up to 100 sources may be defined within the configuration, and each may be mono, stereo, 5.1 or
5.1/stereo.
Up to 48 (mono) sources may then be summed together simultaneously during a mix.
A stereo source uses two summing resources; a 5.1 source uses 6 summing resources,
and so on.
On crystal, not all signal processing modules are available for every source; this depends on the
configuration, see The Standard Templates.
On crystal, 5.1 sources do NOT support DSP.
See Sources for more on operation.
V4.2/1
17
Chapter 1: Overview
Signal Flow
Summing Busses
Each bus on the crystal is called a summing bus, and can be mono, stereo or 5.1 (but not 5.1/
stereo).
The naming, assignment of signal processing and bus attributes are all made within the consoles
configuration, so please refer to the standard templates for details.
Up to 32 summing busses (mono) may be defined within the configuration.
A stereo bus uses two and a 5.1 bus uses 6 summing bus resources.
The first pair of busses is pre-defined as stereo PFL 1. This may be inserted into the studio monitors,
headphones or output to its own PFL speaker.
The remaining busses are user definable within the configuration as:
Normal summing busses these sums can be allocated DSP, assigned to fader strips and
assigned from sources during the show. Typically they are used to create aux sends, groups
or extra main outputs.
GP Sums General Purpose sums which do not need DSP or control surface assignment.
For example, a GP Sum may be used to create a talkback bus.
Conf Busses Conference busses have special conference facilities for generating a mix
minus (N-1).
Your busses should be named to match their application (e.g. AUX 1, GRP 1, PGM, etc.).
The signal flow for each summing bus is the same as for a source, so EQ, Dynamics, Limiter and
Delay may be applied depending on the resources allocated within the configuration. On crystal, 5.1
summing busses do NOT support DSP.
The configuration defines whether you can re-assign busses from the control surface, or whether
sources are hard wired to each bus. For example, sources may be hard wired to the programme
bus for simplicity and security.
If summing busses cannot be assigned to the control surface, then they are output from
the console at unity gain (0dB).
See Summing Busses for more on operation.
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Chapter 1: Overview

One of the major benefits of the crystal is the ability to store and recall personal settings.
Each crystal includes 5 internal snapshot memories, and unlimited snapshots may be saved and
loaded to and from a VisTool PC:
Local Snapshot Memories
VisTool Snapshots
In addition, the User Rights Management system can configure different levels of access for different
users. It can also define one or more snapshots to load when a user logs in. For example, to load a
full snapshot for the type of show, followed by a partial snapshot to recall the settings for their
microphone channel.
V4.2/1
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Chapter 1: Overview
System Networking
System Networking
Multiple crystal, sapphire, zirkon, Nova29, Nova17 and/or Nova73 systems may be networked in a
number of ways to share resources and exchange functions:
In this example, the Nova17 (Lawos stand-alone routing matrix) acts as the central routing hub for 3
crystal studios and an Announcers Booth (with TB-12 Key Panel). The VisTool PC and KSC.LCD16
Key Panel provide an additional operating station for access to the routing matrix.
Any of these users can benefit from:
Resource Sharing the consoles and routers are connected via MADI so that I/O resources
can be shared. For example, the Announcers microphone may be routed to any studio.
Matrix Control panels can be configured to control routing within the Nova matrix.
Remote System Administration all systems are connected to a TCP/IP network via
Ethernet. This provides remote access to maintenance pages and configuration files. A
central networked server can also be used to store snapshots so that personal settings may
be recalled in any studio.
Logic Control Signal Exchange a GPI/O Network allows any control signal, for example
signaling, to be exchanged via TCP/IP. The TCP/IP network may extend to the World Wide
Web, enabling a crystal in London to issue logical commands to a Nova29 in Oxford. For
example, the London presenter can press an Ad Break button which switches audio routing
in both London and Oxford so that different sets of local adverts play out to the different
transmission feeds.
For more information on networking, please contact your local Lawo representative.
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Chapter 1: Overview
Ember+
Ember+
Ember+ is a TCP/IP network control protocol that allows devices to remotely control parameters
within the crystal, or the crystal to control parameters within an external device.
Ember+ is a non-proprietary protocol, supported by a range of devices including Lawo's crystal and
sapphire consoles.
More details about the Ember+ protocol can be found at https://code.google.com/p/ember-plus/feeds.
V4.2/1
21
Chapter 1: Overview

crystal includes two important diagnostics and maintenance tools the Web Browser Interface
and SoP Explorer.
The Web Browser Interface

The crystal control system includes an integrated web server, allowing the system status to be
monitored via a web page running on a service computer. Components which can be monitored
include DSP card, Sync, Slot and general (Supplementary) information:
SoP Explorer
SoP Explorer is a programme for performing software updates of the sapphire Master Board, control
surface modules and I/O cards by transferring files from a service computer. By running SoP
Explorer you can review the current software status of all system components on your network, and
perform updates as required:
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Chapter 2: Getting Started

Introduction
This chapter provides a quick introduction to using the console. The objective is not to teach every
single detail, but to introduce the basic operating principles. For more in depth knowledge, please
refer to Console Operation.
We are assuming that your console is fully commissioned such that a suitable configuration has
been transferred and all MF Keys are fully labelled.
Topics covered in this chapter are:
Fader Module Quick Reference
Monitor Module Quick Reference
Powering On
Logging In/Loading a Snapshot
Resetting Fader Positions
Monitoring a Signal (Quick-Start)
V4.2/1
23


Each Fader Module provides 4 fader strips with:
1
Rotary
Control
When the ACCESS key (3) is off (green), the

rotary control may adjust mic preamp gain,
digital gain, and pan or balance; press down on
the control to step through the available
functions.
The control is also used to adjust source
parameters and fader strip assignments.
MF Keys
1, 1b, 2, 2b
& OLED
When the ACCESS key (3) is off (green), the 4

small multi-function (MF) keys are programmed
by the configuration and vary from source to
source. Functions are labelled on the display
and may include PFL, bus assignment,
talkback, signaling, etc.
The keys are also used to adjust source
parameters and fader strip assignments.
ACCESS
Key
The ACCESS key is used to select a fader strip

for:
Source Parameter Control select an
ACCESS key (white) to adjust source
parameters.
Strip Assign - double-press an ACCESS key
(yellow) to select and assign a new source to
the fader strip.
Fader
The fader is a long life manual fader with a

scale from - to +9dB.
LAWO
Backlight
The LAWO backlight indicates either signal

present or the type of source/summing bus.
The colours used and their meaning is defined
by the configuration.
Label
This display shows the name of the source or

summing bus controlled by the fader strip. You
can use the User Labels software to edit labels
during runtime.
MF Keys
3&4
The two large multi-function (MF) keys are

programmed by the configuration. Typical
applications include fader START, PFL,
MUTE, etc. These buttons are labelled with an
inserted foil which can be replaced if their
application changes.
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V4.2/1


The 4-fader crystal has one Monitor Module; all other frame sizes include two.
1
Peak Meter This stereo peak meter is defined by the

configuration and includes a stereo
correlation meter.
On the first Monitor Module the meter
provides Follow Monitor metering. In other
words, it will meter the selected monitor
source.
Ambient
Light
Detector
This detector automatically adjusts the

brightness of buttons and displays according
to the ambient light level. The configuration
can disable the sensor or assign an on/off
MF Key.
Function
Buttons
On the first Monitor Module, these 8 buttons

are dual engraved and perform dedicated
functions as follows:
Source Parameter Control press INP,
DYN, LIM, DEL or EQ to adjust
parameters for the source in access. The
source in access is selected by the fader
strip ACCESS key (white).
Bus Assign Mode press BUS and then
select a page (1 to 5) to map bus
assignments onto the Fader Module.
Local Snapshot Control press and hold
SNAP RECALL and select a snapshot (1
to 5) to load. SNAP STORE works in a
similar manner. You may need to
UNLOCK the snapshot save function
(from an MF Key).
Rotary
Control &
MF Keys
The two rotary controls and MF Keys are all

defined by the configuration. Typically, they
provide monitor source selection and level
control for different monitoring outputs e.g.
loudspeakers (CR MONITOR) and
headphones (HP MAIN).
The configuration defines the exact layout
and operation of these controls.
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25

Powering On
Powering On
The crystal consists of several components: the Base Unit, control surface and options such as
VisTool, additional Key Panels and other networked consoles or routers:
1. The system has no on/off switch but starts automatically when connected to the mains
supply. Please install a master system power switch where applicable.
Components may be powered in any order. This means that you can begin VisTool operations
without power to the control surface. Remember though that the Base Unit's control system is the
heart of the system. Without power to the Base Unit, there is no DSP, no routing matrix and no
control!
If you have a redundant power supply unit, then this may feed up to five devices.
2.
Lets assume that you turn on the master power switch for all system components:
You will see an initial flicker of LEDs on the control surface modules
The Base Unit will begin to boot. While booting, you will see its progress in the Status display.
When the Base Unit finishes booting, the systems IP address appears in the Status display
and the system run LED (to the right of the RS422 connector) begins to flash at regular
intervals.
The console is now ready for operation - this takes approximately 20 seconds from power on.
At the end of boot-up process, the warm start data is automatically loaded. This data is
stored when the system was last shut down, and means that when you turn on, you will
get back to wherever you were before the last power off!
If this is the first time you have powered the crystal "out of the box", then there will be no
configuration and therefore no settings loaded. Before you can use the unit, you must
programme and transfer a configuration.
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Before you start creating your own setup, its a good idea to reset the console back to something
sensible.
If your system is configured with User Rights Management, then when you login to the console, a
snapshot may automatically load. This can be used to reset the console for your show or type of
work, see User Login.
If this is not the case, then you can load back an existing zero desk snapshot manually. The
crystals 5 internal snapshot memories are a great place to store and recall zero desk settings or
starting points for different types of show or production.
Your studio may operate a different policy. For example, all your user snapshots may be
stored on a VisTool PC, see VisTool Snapshots.
To load an internal snapshot:
1.
Press and hold the SNAP RECALL button.
You can see which snapshots contain data from the lit buttons in our example, we can choose to
load snapshot 1, 3 or 4:
2. Keep holding the SNAP RECALL button while you select a memory number e.g. press 4 to
recall snapshot 4.
The SNAP RECALL button flashes magenta to indicate a successful operation, and the consoles
settings update accordingly.
Depending on the settings within the snapshot, you may now be able to open up some source faders,
turn up the studio monitor control and hear audio!
If you are sat in front of a series of blank fader strips, then see Assigning Fader Strips. For more
details on snapshot operation, see Snapshots.
V4.2/1
27


The crystal faders are not motorised, and therefore the physical faders will NOT be positioned at the
correct levels if:
You recall a snapshot which resets fader levels.
You power on (and load the warm start data), having moved the faders.
You assign a summing bus to a fader strip. (Summing busses are not reset to match the
fader position when assigned to the surface).
You assign a new source to a blank fader strip with the fader open.
If a fader position needs to be reset, then the source label display will flash and you will see arrows
indicating the correct level of the source.
To reset the fader position:
1.
Move the fader up or down according to the direction of the arrows.
As you move closer to the correct source level, the number of arrows decreases.
2.
Keep moving the fader until the display stops flashing and the arrows disappear.
You will see the word locked in the display. This indicates that the source level is locked to the
fader position.
3.
You can now use the fader to control the source level.
The following pictures illustrate the procedure following the assignment of a summing bus ( PGM) to
a fader strip:
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Radio On-Air Configuration Template
Edit Suite Configuration Template
1.
On the fader strips, interrogate the sources using the label displays (e.g. LINE1, DJ1, etc.).
2.
Connect audio to a source (e.g. to Line 1).
If signal is present, the LAWO indicator will normally illuminate; green, yellow or red for levels
above -60dB, -1dB or +3dB respectively.
The LAWO backlight is defined by the configuration, and it operation may vary from this
description.
3.
Check that the channel is turned on:

Radio On-Air/RAS Template - select the channel ON (red when enabled).
Edit Suite Template - check that the channel MUTE is off (white).
4.
Open the fader.
Providing the source is assigned to the Programme bus (PGM), you will see level on the second
Monitor Module meter.
5. On the first Monitor Module, select the monitor source (PGM), turn up the level (CRM
MONITOR) and turn off MUTE and DIM.
You should now see level on the first Monitor Module meter and be hearing audio through your
loudspeakers!
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29

Troubleshooting
If you not hearing audio, then check the following:
1.
Is the LAWO backlight illuminated on the fader strip?
If not, there is no signal present at the source input. Check your input connection and input gain.
2. If yes, are you seeing level on the first Monitor Module (configured for follow monitor
metering)?
If not:
Have you selected the PGM monitor source selector button?
Is your source assigned to the Programme bus and the send level open? See bus
assignment & level control.
Is the source channel turned off or muted? Check the channel ON or MUTE buttons.
Is the summing bus master fader closed? Assign the bus master to a fader strip to check its
level, see Assigning Fader Strips.
3.
If you are seeing level on the follow monitor meter but still not hearing anything:
Check the control room monitoring level (CR MONITOR).
Check that you have not muted the loudspeaker output. (Depending on the configuration, this
may happen automatically if the DJ's mic fader is open.)
Finally, check that your loudspeakers are connected and turned on!
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Chapter 3: Console Operation

Introduction
This chapter looks at console operation in more detail, and assumes you have read the Overview and
Getting Started sections.
Some functions are dependent on the configuration, and therefore may vary from the
"typical operations" described. If you are running one of the standard configuration
templates, then please also refer to The Standard Templates.
In addition, your user rights may prevent you from accessing certain functions; please
consult your system administrator.
Frame Options
The Fader Strip
The User Labels Software
Assigning Fader Strips
The Monitor Module
Sources (including Input gain, EQ, Dynamics, Delay, etc.)
Summing Busses (including bus assign and mix minus operation.)
Snapshots
Monitoring
PFL (Pre Fade Listen)
Follow ACCESS Monitoring
Pool Sources
MF Key Functions
GPIO Functions
Metering Options
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Frame Options
Frame Options
crystal is available in a choice of frame sizes ranging from 4 to 16 faders. Depending on the frame
you have chosen, you will have a number of Fader Modules, and either one or two Monitor Modules:
Section of a 12-fader crystal console:
4-fader crystal
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The Fader Strip
The Fader Strip

Each Fader Module provides 4 identical fader strips which may
control any source or summing bus defined by the configuration.
Some functions are common to all crystal consoles, while
others (MF Keys 1 to 4) are configurable and therefore may vary
from system to system.
Example
MF Key Layout
Functions common to all consoles are:

The Rotary Control
The ACCESS key
The Fader
The LAWO backlight
Fader Labels
Functions which are configurable are:
MF Keys 1, 1b, 2 & 2b - labelled by the OLED.
MF Keys 3 & 4 labelled by inserted foils.
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The Fader Strip
Fader Strip Rotary Control

The rotary control steps through a number of functions including input gain, panning and input signal
selection (for pool sources).
The exact sequence of parameters varies depending on the type of source and its configuration. The
example below shows the parameters available for a mono microphone source, on a console
configured for 5.1:
1.
Turn the rotary control to adjust the first parameter (e.g. Mic gain).
The OLED display shows the amount of Mic gain in dB.

2. Press down on the rotary control to step to the next function digital Gain and turn to
adjust.
3.
Keep pressing down to step through the available parameters.
In each case the OLED shows the parameter and its value.
When you reach the end of the sequence, the control returns to the first parameter (Mic gain).
4.
When you are happy with the settings, let go of the rotary control.
After a few seconds the OLED times out.

5.
Turn the rotary control; it has reverted to the first parameter in the sequence Mic gain.
Tap down on the rotary control to step through the functions without making a change; the
OLED display shows the parameter function and value.
The sequence of parameters depends on the source type and its configuration. The steps include:
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The Fader Strip
Input Gain
On fader strips controlling a microphone source, you can adjust
two gain settings:
Mic gain this is the analogue pre-amplifier gain before
analogue-to-digital conversion; it may be set from +18dB
to +73dB. If you have a high level mic signal, use the
20dB PAD to lower the mic gain, see INP.
Gain this is digital gain within the channel DSP path; it
may be set from -30dB to +18dB.
On fader strips controlling other sources, such as line level,
AES or SDI, there is no mic gain, only digital gain.
On fader strips controlling a summing bus, there is no input gain
(mic or digital).
When adjusting input gain, use the signal present display to help set a good input level the LAWO backlight is normally green or yellow for a good operating level; if the light turns
red, then the source is overloading and may cause distortion.
The LAWO backlight is defined by the configuration, and its operation may vary from this
description.
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35

The Fader Strip
Pan or Balance
Pan parameters vary according to whether the source is mono, stereo or surround.
On a mono source, you can adjust:
Left/Centre/Right pan position

Front/Rear pan position
Slope from 0.0 to 1.0 (see below).
LFE low frequency effect level, from -120 to +9 dB.
Front/rear pan, slope and LFE level are only available if a surround bus is configured on
your console and surround parameters are enabled on the source.
The Slope adjusts signals feeding the discrete centre channel within the surround field. It may be
used to balance between discrete and phantom centre signals. To see the effect, position the source
at front centre, and adjust the slope to a setting of 1.0; the signal feeds only the discrete centre
output. Now set the slope to a value of 0.0; the signal feeds only left and right (phantom centre).
On a stereo source you can adjust the left/right balance, front/rear pan and LFE level. Centre slope is
not available.
On a surround (5.1) source, you can adjust LFE level only; the surround source is assigned directly
to the surround bus (e.g. left to left, centre to centre, etc.)
If a surround source is assigned to a stereo bus, then the source is downmixed according to the
surround downmix parameters set within the configuration. If a surround source is assigned to a
mono bus, then the stereo downmix is converted to mono by subtracting 3dB from, and then
summing, the L and R channels.
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The Fader Strip
Pool Source Signal Select
If pool sources are configured on your console, and a pool source is assigned to the fader strip, then
the rotary control is used to select the signal feeding the pool source. These operations appear at the
end of the parameter sequence:
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37

The Fader Strip
Fader Strip MF Keys

Each fader strip has six MF Keys which are programmed by the
configuration.
The 4 small MF Keys (1, 1b, 2 & 2b) can be used for functions
which vary from source to source. Functions are clearly labelled
on the display and may include PFL, bus assignment, talkback
and signaling. Red usually indicates that the function is enabled,
and green for disabled. However this depends on the
configuration.
Our example shows MF Keys configured for Talkback (TB),
conference bus assign (Conf) and signaling for incoming calls
from a telephone hybrid (RING):
The two large MF Keys (3 & 4) are labelled with an inserted foil
which means that they are normally programmed with the same
fixed functions across the console. Typical applications include
fader START, PFL, MUTE, channel ON and OFF, etc. The foils
can be replaced if the MF Key changes. The functions and
colour coding are programmed by the configuration.
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The Fader Strip
Access Key
The ACCESS key is used for:
Source Parameter Control
Fader Strip Assign
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The Fader Strip
The Fader
Each fader on crystal has a fader scale ranging from - to
+9dB; the 0dB position is clearly marked. The maximum position
is at +9dB to match the headroom of analogue and digital audio
interfaces.
Warning
Having set a good input level, be careful not to
overdrive the console output by setting fader levels too
high. Use the peak metering on the Monitor Module,
VisTool or external metering to guide you.
Also remember that if you assign a summing bus to a
fader strip, such as Programme ( PGM), then the
fader level will affect the gain structure through the
console.
During a live broadcast it is a good idea to set your
main summing bus levels to 0dB, preset your limiter
settings appropriately, and then remove the summing
bus from the fader strip for the broadcast.
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The Fader Strip
Signal Present or Source Type (LAWO Backlight)

The LAWO backlight indicates either signal present or the type of
source (or summing bus).
The LAWO Backlight on Bus Masters
For bus masters, the LAWO backlight indicates the type of
master. For example:
Programme Bus ( PGM) magenta
Record Bus ( REC) magenta
Auxiliary Bus ( AUX) blue
The colours used are defined by the configuration.
The LAWO Backlight on Input Sources
For input sources, the LAWO backlight may indicate the type of source (similar to above), or show
when signal is present. For each source there are three possible options:
Signal Present only illuminates only when signal is present. Up to 8 level thresholds can
be defined, each with its own colour code and state. For example:
o Green Fully Lit indicates signal above -60dB.
o Yellow Fully Lit indicates signal above -1dB.
o Red Blinking indicates signal above +3dB.
Source Colour only the LAWO backlight always indicates the type of source. For example,
magenta, cyan and white might be used to indicate different Guest microphones.
Mix Mode combines both of the above options; signal present takes priority. For example, if
your source is colour coded magenta, and you have the same signal thresholds as above:
o Magenta indicates the source type.
o Green indicates signal level above -60dB.
o Yellow indicates signal level above -1dB.
o Red indicates signal level above +3dB.
The LAWO backlight mode, source colour and signal present threshold levels are all defined by the
configuration.
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The Fader Strip
Labels
You can interrogate which sources, or summing bus masters, are assigned to the fader strips from
the labels at the bottom of each module (e.g. LINE 1, GUEST, HYB 1, etc.):
If a fader is controlling a summing bus, then the label is pre-fixed with a

distinguish bus masters from input sources (e.g. PGM).
sign to help
If the source label is flashing, then the fader position does not match the audio level of the
source. This will occur if faders are moved while the console is turned off, if you assign a
summing bus to a fader strip or if you assign a new source to a blank fader strip with the
fader open. If this is the case you will need to reset the fader position to match the source
level.
The source and summing bus labels are defined by the console configuration..
The User Labels software can be used to add user labelling to each source, or bus, during
runtime.
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The software application called User Labels can add up to two lines of user labelling to each source,
or bus. User labels can be edited during runtime from an external PC.
User Labels Software
Console Front Panel
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43

System Requirements
crystal
The crystal system MUST be running OS Version 3.4.0.17a software or higher.If the OS-Version is
lower than 3.4.0.17a, please contact your local Lawo representative or email service@Lawo.de.
User Labels PC
To install and run the User Labels software, your computer MUST meet or exceed the following
requirements:
Operating System: Windows XP Professional SP3 or Windows 7 Ultimate.
Processor: Intel Core i3 530 (or higher equivalent processor).
Random access memory (RAM): 2GB
Ethernet interface: 100MBit
If you have a VisTool PC, then it can be used to run the User Labels software.
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Installing the Software

The userlabels.exe setup application, included with your system, performs an automatic install of
the User Labels software.
1.
Copy the userlabels.exe application onto your computer.
2.
Double click on the userlabels.exe application icon:
This starts the DSA User Labels Setup Wizard:
3.
Follow the Wizard's instructions accepting the default options provided.
4.
When you reach the 'Summary' window, check the options and click Install.
The software is installed onto your computer; this may take a few minutes.
By default, files are installed in the location: C:\Program Files\DSA.
5.
When the installation is complete, a confirmation window appears.
6.
Click on Finish to exit the Setup Wizard.
If you have any problems with the software installation, please contact your local Lawo representative
or email service@Lawo.de.
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Network Connection
You should connect the User Labels PC to the Base Unit's Ethernet port either directly or via a
network switch. Do NOT use an Ethernet hub as this will interrupt the data stream. See the crystal
Technical manual for details.
The User Labels software uses the DMS service (the first DMS Channel) specified by the VisAdmin
programme, which is automatically installed when you install VisTool MK2. See the crystal
Technical manual for details.
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Viewing User Labels on the Console

To see user labels on the console, they must be enabled in the system configuration. The
configuration options define whether user labels are permanently on, off or toggled from an MF Key.
If your configuration has user labels enabled permanently, then you will always see three lines of text
for each fader label.
Alternatively, if your configuration allows you to toggle user labels, then you can switch between:
Display Name Only
User Labels On
1. Press the "User Labels" MF Key to turn on user labels globally across the console.
This function could be configured onto any MF Key. The configuration also determines
whether the two User Label lines are large or small.
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Editing User Labels

1. Start the "User Labels" application either by selecting its desktop icon or by selecting START ->
All Programs -> DSA -> User Labels:
This is the default file path created during a standard install.
The application opens with an empty window:
When online, the

flag at the bottom left of the window indicates that the software is
communicating correctly with the crystal system. If this flag does not appear, then check the
network connection to the system.
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2. To transfer the current labels from the console, select Load from Desk.
The window updates to show the Name, Display name and User Label Lines for all sources and
busses defined in the configuration. You will see all sources and busses even if they are not
assigned to a fader strip:
3. Click in the User Label - Line 1, or User Label - Line 2, fields to edit or add a name. You may
enter up to 8 characters in each line:
The Name and Display fields are defined by the configuration and cannot be edited by
the User Labels software.
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49

4. When you have finished editing, select Save to Desk to transfer the new User Labels to the
console. This can be done at any time, even when the console is on-air:
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User Labels: Other Buttons & Menu Options

The "User Labels" software includes some other buttons and menu options:
Clear Table - select this button to clear the User Labels
for all sources and busses in the table.
Data Menu:
o Load from Desk - transfers the current user labels
from the console.
o Save to Desk - transfers user labels from the
software to the console.
o Export... - use this option to export the current user
label table as an .xml file. You can use this to copy
user labels from one system to another.
o Import... - use this option to import user labels from
an .xml file.
o Exit - closes the User Labels software application.
View Menu:
o Identifier - displays the internal System Number. This
number cannot be modified and is for information only.
o Font... - select to open the Font dialogue box. You can
use this to adjust the on-screen font for the user labels
table.
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User Labels: Snapshots & Warm Start Data

User labels for all source and busses in the configuration are saved when you save a snapshot. This
means that you can save and recall labels for specific shows along with other settings, see
Snapshots.
The last User Labels are stored in the console's warm start data. This means that when you power
on you will get back to wherever you were when the power was last turned off!
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Any source or summing bus defined in your configuration may be assigned to any fader strip.
Please note the following:
The crystal supports summing of up to 48 (mono) sources simultaneously during a
mix; a stereo source uses two summing resources; a 5.1 source uses 6 summing
resources.
All sources assigned to fader strips are active in the mix. This means that on larger
control surfaces, you may have more faders available than summing resource.
A source can only be assigned once; you cannot assign a source to two different
faders.
The configuration defines whether operators can assign all, or a subset of sources,
to fader strips. Therefore, it may be possible that your system does not allow fader
strip assignment for simplicity of operation. In addition, your user rights may prevent
you from assigning fader strips.
Depending on the configuration, your console may support pool sources. Pool
sources allow you to change the input to a source from the fader strip.
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53

Assigning a Source (or Bus) to a Fader Strip

1.
If you are replacing an existing source, then make sure that the fader is closed.
2.
If the source you wish to assign is controlled from a different fader, then close the open fader.
These two steps prevent sources being taken off-air accidentally, and only apply to
sources; you can move a bus from one fader strip to another without changing its level.
3. Double-press the ACCESS key on the fader strip layer you wish to assign. You must press
twice in quick succession.
The ACCESS key turns yellow to indicate that you are in source assign mode.
You can press and hold the ACCESS key to enter the source assign mode, as an
alternative to the double-press. However, if you use this method you will need to keep
pressing the key throughout the rest of the operation.
4.
Turn the rotary control to scroll through the options.
The name of the selected source is shown in the OLED display e.g. EXT1.
Summing busses are prefixed with a
54
to distinguish them from input sources.
V4.2/1

5.
To assign the selected source, or bus, press the Take MF Key.
You will see the user label update at the bottom of the fader strip:
The ACCESS key cancels (returns to green) and the MF Keys and rotary control return to their
default mode of operation.
If EXT1 was controlled from a different fader strip before the assign, then the source is
moved in other words, you will see a blank fader strip where EXT1 used to be.
If the fader label does not update, then the assignment has failed. This may occur if:
You try to replace a source without closing its fader.
You select a source already assigned to another fader strip layer without closing its fader.
You have reached the limit of 48 mono source sums.
If you have assigned a summing bus, or a new source to a blank fader strip with the fader
open, then you will need to reset the fader position to match the level of the source.
V4.2/1
55

Clearing a Fader Strip

You can use the source assign procedure to remove the current source, or bus, from a fader strip
layer leaving it blank.
Removing an input source from the control surface removes it from the mix. Therefore,
you can only remove a source if the fader is closed to prevent you accidentally taking a
source off air! This does not apply to summing busses, as busses remain active at all
times.
1.
Close the fader (only necessary if you are removing an input source).
2.
Double-press the ACCESS key. Press twice in quick succession.
The ACCESS key turns yellow and the MF Keys update:
3.
Press the Remv MF Key.
The source is removed resulting in a blank fader strip.
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The Monitor Module
The Monitor Module

The 4-fader crystal has one Monitor Module; all other frame sizes include two.
The upper controls are common to all consoles, while the lower MF Keys and rotary (VCA) controls
are configurable and therefore may vary from system to system. The drawings below show the
functions configured for each of the standard templates:
Radio On-Air Template
Edit Suite Template
Functions common to all consoles are:

Bus Assignment
Snapshot Control
Functions which are defined by the configuration are:
MF Keys labelled by inserted foils.
Rotary (VCA) Controls 1 & 2 labelled by inserted foils.
Ambient Light Detector the configuration can disable this function or assign an on/off MF
Key.
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57

Sources
Sources
Each input channel on the crystal is called a source.
Only sources assigned to fader strips are active in the mix; if you remove a source from a fader strip,
then you will no longer hear it!
The naming of sources, assignment of signal processing and other attributes are all made within the
system configuration. Physical inputs are normally hard wired to sources. This allows sourcespecific channel features such as fader start or mic live signaling to follow the source when it is
assigned to a different fader strip.
Up to 100 sources may be defined within the configuration, and each may be mono, stereo, 5.1 or
5.1/stereo.
Up to 48 (mono) sources may then be summed together simultaneously during a mix.
A stereo source uses two summing resources; a 5.1 source uses 6 summing resources,
and so on.
On crystal, not all signal processing modules are available for every source; this depends on the
configuration, see The Standard Templates.
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Sources
Source Parameters
The following diagram shows the maximum amount of DSP which may be allocated to a source:
Every source features:

Analogue Input section available for sources fed from microphone inputs; includes mic
gain, 48V and high pass rumble filter.
Digital Input section available for every source; includes digital gain, phase reverse, pan or
balance, surround parameters.
Metering meter points for input, pre and post processing (can be displayed on VisTool).
Fader a fader for level control.
Bus Assign bus sends with pre/post fader selection and variable level control.
In addition, the following DSP modules may be assigned by the configuration:
EQ 3-band parametric EQ plus High and Low Pass Filters.
Dynamics Gate, Expander, Compressor and De-Esser sections.
Limiter independent limiter.
Delay adjustable in ms, metres or frames.
Stereo use more resource than a mono source.
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59

Sources

Source parameters are controlled from the Fader Module when the ACCESS key is switched into
source parameter mode (white). This allows you to adjust settings for the source in access, one
source at a time:
Your user rights or the configuration may prevent you from accessing DSP parameters.
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V4.2/1

Sources
Operating Principles
1.
Put a source into access by pressing its ACCESS key.
The ACCESS key turns white, and the 16 MF Keys and 4 rotary controls within the 4-fader
module update; they can now be used to control source parameters for the selected fader strip.
The type of parameters are selected from the Monitor Module e.g. INP:
In our example, we are controlling input parameters (INP) for a microphone source. The OLED
displays show variable parameters and their values (Mic, Gain, Pan), and label the option buttons
(Pad On, Phantom On, Rumble 80Hz). The button colours indicate:
Red = enabled.
Green = disabled.
Grey = the button has no function.
In our example, the Phantom Power (48V) and 20dB Pad are both turned on; the 80Hz Rumble filter
is off.
2.
To adjust each parameter use the displays to guide you.
3.
To adjust parameters for a different source, select a different ACCESS key:
The example above shows the input parameters (INP) for a stereo line level source.
Only one source can be in access at a time.
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61

Sources
4.
To change to a different set of parameters, select a different function button e.g. press EQ:
The colour coding of the non-selected ACCESS keys follows the parameter sections, so
blue for EQ, yellow for INP, etc.
Also the INP, DYN, LIM, DEL and EQ buttons are half lit if the DSP section is available for
the source in access. In our example, all five DSP modules are available. If a button is not
lit, then this DSP module is not configured for the selected source.
On the left (master) OLED are two dots. These show that there are two pages of functions for the
EQ section:
5.
Press down on the left (master) rotary control to step to the next page.
On some OLEDs you will see an arrow. This shows which parameter which will be
adjusted when you turn the rotary control. Sometimes, you have a choice of two
parameters: in our example, turn to adjust Gain or press down and turn to adjust
Frequency.
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V4.2/1

Sources
6. When you have finished setting parameters, deselect the white ACCESS key on the fader
strip.
The controls return to their default mode of operation (indicated by the green ACCESS keys):
The next few pages look at each DSP module in more detail.
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Sources
INP
1. With an input source in ACCESS, select the INP function button on the Monitor Module to
access input parameters.
No input parameters are available for summing busses, so the INP button is inactive when
a bus is in access.
Input parameters vary depending on whether a source is mono, stereo or surround and how it is
connected (mic or line/digital):
Mono Sources
For a mono mic source, the following parameters are applied in the analogue domain before
analogue-to-digital conversion:
Mic analogue microphone pre-amp gain from +18dB (or -2dB with PAD) to +73dB.
Pad switch on the PAD to reduce the mic gain by 20dB; the mic gain value updates
accordingly.
Phantom On - switch on to enable 48V phantom power.
80Hz - switch on to insert a high pass rumble filter to roll-off subsonic frequencies at 80Hz.
Gain digital gain from -30dB to +18dB.
Pan left/centre/right panning applied to stereo or surround summing bus assignments.
For a mono line level or digital source, there is no analogue input section and so the available input
parameters are:
Pan left/centre/right panning applied to stereo or surround summing bus assignments.
Use the fader strip rotary control to adjust other pan parameters such as front/rear pan,
LFE level, etc.
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Sources
Stereo Sources
For a stereo source, the available input parameters are:

Stereo input options to deal with problem sources:
o l->b the left input is routed to both sides of the stereo channel.
o r->b the right input is routed to both sides of the stereo channel.
o mono left and right inputs are summed with a -3dB gain offset.
o side the left input and right input are reversed (left input to right side of channel, and right
input to left side of channel).
The status of the source is displayed in the second OLED in our example, stereo = normal
stereo input routing (default).
Phase to phase invert the left input of the stereo source.
Bal left/right input balance.
Basis this is the left/right width which can be reduced or expanded.
Turn the Bal/Basis rotary control to adjust Balance; push down and turn to adjust Basis.
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Sources
Surround Sources
On a surround (5.1) source, the available input parameters are:
There are no pan parameters as on a surround (5.1) source, you can adjust LFE level only
(from the fader strip rotary control). The surround source is assigned directly to the
surround bus (e.g. left to left, centre to centre, etc.)
If a surround source is assigned to a stereo bus, then the source is downmixed according
to the surround downmix parameters set within the configuration. If a surround source is
assigned to a mono bus, then the stereo downmix is converted to mono by subtracting
3dB from, and then summing, the L and R channels.
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Sources
DYN
The dynamics DSP module may be configured for input sources and summing busses. The section
includes an independent gate, expander and compressor.
A Limiter is available as a separate DSP module. A de-esser may also be configured for
mono sources.
1. With a source, or summing bus, in ACCESS, select the DYN function button on the Monitor
Module.
The controls update to show parameters for one of the dynamics sections - in our example, the
Compressor (COMP):
2.
To page to the next section, press down on the left (master) rotary control.
The controls and displays update to show the Expander (EXP):
3.
Press again to page to the Gate.
4.
If you have a mono source with a De-esser, then press again to page to the De-esser.
5.
Press again to return to the Compressor.
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67

Sources
>> Compressor
1.
The following parameters are available for the compressor:

DYN switch on to enable all dynamics sections: compressor, expander, gate (and deesser).
COMP switch on to enable the compressor.
Both DYN and COMP must be enabled (red) for the compressor to be active. If the
master DYN button is not enabled, then the COMP button is dim to indicate that the
compressor is not yet active.
Gain makeup gain from -12dB to 0dB.
THRS threshold from -93dB to +27dB.
Ratio ratio from 1:1 to 1:16
ATT attack time from 0.16ms to 82ms
RLS release time from 10ms to 5000ms
2.
68
Turn the ATT/RLS rotary control to adjust attack; push down and turn to adjust release.
V4.2/1

Sources
Note that the characteristic of the compressor is optimised for radio on-air operation:
The ratio pivot point moves around the working point according to the input signal level and not
around a fixed threshold. This allows the ratio to adapt without having to change the level
considerably.
V4.2/1
69

Sources
>> Expander
1.
The following parameters are available for the expander:

EXP switch on to enable the expander.
Both DYN and EXP must be enabled (red) for the expander to be active. If the master
DYN button is not enabled, then the EXP button is dim to indicate that the expander is not
yet active.
Ratio ratio from 1:1 to 1:0.1
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Sources
>> Gate
1.
The following parameters are available for the gate:

GATE switch on to enable the gate.
Both DYN and GATE must be enabled (red) for the gate to be active. If the master DYN
button is not enabled, then the GATE button is dim to indicate that the gate is not yet
active.
ATT attack time from 0.16ms to 82ms
2.
Turn the ATT/RLS rotary control to adjust attack; push down and turn to adjust release.
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71

Sources
>> De-esser
A simple de-esser may be configured for mono sources. It can be used to reduce excess sibilant
consonants such as s, z and sh when dealing with human speech.
The de-esser must be enabled for the source within the configuration; if de-essing is not
configured, then you will not be able to access this page of parameters.
1.
The following parameters are available for the de-esser:

DYN switch on to enable all dynamics sections: compressor, expander, gate and de-esser.
DeEss switch on to enable the de-esser.
Both DYN and DeEss must be enabled (red) for the de-esser to be active. If the master
DYN button is not enabled, then the DeEss button is dim to indicate that the de-esser is
not yet active.
Reduction this is the amount of gain reduction applied to the sibilant frequencies:
o Values from 1 to 6 reduce the gain of the unwanted sibilant frequenices; the higher the
value, the more gain reduction.
o Above 6, the gain reduction remains at its maximum, and the affected frequency range
broadens.
female/male select female or male to change the centre frequencies affected by the deesser; these are optimised for either male or female voices.
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Sources
LIM
The limiter DSP module is separate from the dynamics and may be configured for input sources and
summing busses.
1. With a source or summing bus in ACCESS, select the LIM function button on the Monitor
Module:
2.
The following parameters become available:

LIM switch on (red) to enable the limiter.
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Sources
DEL
The delay module may be configured for input sources and summing busses.
1. With a source or summing bus in ACCESS, select the DEL function button on the Monitor
Module.
2.
The following parameters become available:

DELAY switches the prepared delay time in or out of circuit: red = on.
Time the delay time is displayed and adjusted in either ms, meters (m) or frames (frms).
Turn any of the three rotary controls to set the time.
Depending on whether the system is running at 48kHz or 44.1kHz, the delay time may be adjusted as
follows:
74
48kHz Operation
44.1kHz Operation
Delay (ms)
0 to 340
0 to 368
Delay (meters)
0 to 112
0 to 121
Delay (frames)
0 to 8
0 to 9
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Sources
EQ
The EQ module may be configured for input sources and summing busses. The EQ section includes
a 3-band parametric equaliser, plus high and low pass filters.
The filters can be used either as fixed slope filters (12dB per octave) or shelving EQ.
1. With a source or summing bus in ACCESS, select the EQ function button on the Monitor
Module.
The controls update to show parameters for one of the pages of EQ - in our example, the 3-band
parametric equaliser:
2.
To page to the filter bands, press down on the left (master) rotary control.
The controls and displays update accordingly:
3.
Press again to return to the parametric EQ.
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Sources
>> 3-band Parametric Equaliser
1.
Enable the EQ button (red) to switch on the EQ section.

The EQ button switches the whole EQ section (3-band equaliser and filters) on or off.
2.
Turn each of the rotary controls to adjust Gain for the equaliser band.
Gain may be adjusted from -15dB to +15dB.

3.
Push down and turn each of the rotary controls to adjust the frequency.
Frequency may be adjusted from 20Hz to 18kHz.

4.
Press the + or buttons to increase or decrease the Q.
Q may be adjusted from 0.7 to 5.0.
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Sources
>> 2-band Filters
1.
Enable the EQ button (red) to switch on the EQ section.

The EQ button switches the whole EQ section (3-band equaliser and filters) on or off.
2.
On the HP filter band:

Select HPF to switch the filter band to a high pass filter; turn the rotary control to adjust
frequency.
Select LoSh to switch the filter band to a low frequency shelving EQ; turn the rotary control to
adjust gain; press down and turn to adjust frequency.
3.
On the LP filter band:

Select LPF to switch the filter band to a low pass filter; turn the rotary control to adjust
frequency.
Select HiSh to switch the filter band to a high frequency shelving EQ; turn the rotary control to
adjust gain; press down and turn to adjust frequency.
When the filter bands are set for high or low pass, they operate as fixed slope filters (12dB per
octave).
When the filter bands are set for shelving EQ, gain may be adjusted from -15dB to +15dB.
Frequency for both filter bands may be adjusted from 20Hz to 18kHz.
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Summing Busses
Summing Busses
Each bus on the crystal is called a summing bus, and can be mono, stereo or 5.1 (but not 5.1/
stereo).
The naming, assignment of signal processing and bus attributes are all made within the consoles
configuration, so please refer to the standard templates for details.
Up to 32 summing busses (mono) may be defined within the configuration.
A stereo bus uses two and a 5.1 bus uses 6 summing bus resources.
The first pair of busses is pre-defined as stereo PFL 1. This may be inserted into the studio monitors,
headphones or output to its own PFL speaker.
The remaining busses are user definable within the configuration as:
Normal summing busses these sums can be allocated DSP, assigned to fader strips and
assigned from sources during the show. Typically they are used to create aux sends, groups
or extra main outputs.
GP Sums General Purpose sums which do not need DSP or control surface assignment.
For example, a GP Sum may be used to create a talkback bus.
Conf Busses Conference busses have special conference facilities for generating a mix
minus (N-1).
Your busses should be named to match their application (e.g. AUX 1, GRP 1, PGM, etc.).
The signal flow for each summing bus is the same as for a source, so EQ, Dynamics, Limiter and
Delay may be applied depending on the resources allocated within the configuration. On crystal, 5.1
summing busses do NOT support DSP.
The configuration defines whether you can re-assign busses from the control surface, or whether
sources are hard wired to each bus. For example, sources may be hard wired to the programme
bus for simplicity and security.
If summing busses cannot be assigned to the control surface, then they are output from
the console at unity gain (0dB).
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Summing Busses
Bus Assignment & Level Control

Bus assignments are made using the 4 small MF Keys and rotary control on each fader strip. The
fader strip controls are switched into bus assign mode using the BUS and dual engraved function
buttons INP 1, DYN 2, LIM 3, DEL 4, EQ 5 on the Monitor Module. Each page provides access to
up 4 bus assignments, and up to 5 pages may be configured. This provides access to up to 20
busses, each of which may be mono, stereo or 5.1.
1.
On the Monitor Module, select the BUS and 1 function buttons.
The fader strips are switched into bus assign mode globally across the console:
The fader strip MF Keys are colour coded to show:

Red = bus assign on (pre fader)
Yellow = bus assign on (post fader)
Green = bus assign off
The available busses, and the order of pre/post/off switching, are defined by the configuration. In
our example, we can assign sources onto busses named PGM or REC.
2.
To access more busses, select a different page for example, press 2 for page 2:
Up to 5 pages may be configured, but not all may be used. If a page is available then its function
button is half lit. In our example, we can choose page 1 or 2; pages 3 to 5 are unused.
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Summing Busses
3. Having selected the correct bus assign page, press a fader strip MF Key to
assign the source to a bus. Each press cycles through the available options.
The OLED shows the send level to the selected bus - in our example to the AUX.
4. Turn the rotary control to adjust the Aux send level; the level may be adjusted
from -120dB to +9dB.
5.
Press down on the rotary control to step through the other send levels.
After each press the OLED updates to show the bus name and its send level.
Warning
Be very careful when adjusting bus send levels to main output busses such as
programme. These levels should be set to 0dB unless operating in special circumstances.
Otherwise you will not achieve unity gain through the gain structure of the console.
You may be able to adjust bus send levels from the faders if an MF Key or other control
trigger has been programmed to access this function.
6. When you have completed all your bus assignments, deselect the Monitor Module BUS
button to return the fader strip MF Keys and rotary controls to their default functions.
The BUS button is half lit when deselected:
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Summing Busses
Conference Bussing (Mix Minus/N-1)

The conference system is used to generate mix minus/N-1 feeds for particular sources within your
configuration.
Each source within the system receives an automatically switched mix minus feed. When their
source fader is open (on-air), they will hear programme minus themselves, and when their source
fader is closed (off-air), they will hear the conference bus minus themselves this allows members
of the conference to hear each other while they are off-air.
Lets take an example where the configuration has defined conference feeds for 3 sources: DJ1,
Guest and HYB 1 (defined by the Radio On-Air standard template). Note that the operation of the
Edit Suite template is identical; simply replace the 3 sources with MIC 1, MIC 2 or TEL. For the
Radio RAS template, you can generate conference feeds for any of the following sources: DJ (MIC
1), any Guest (MIC 2, 3, 4), and the Hybrids (HYB 1, HYB 2).
Setting Up the Monitoring

In order for our system to operate correctly the mix minus feed for each source must be returned to
the correct destination. In our example, we are assuming:
1.
The DJ is listening to their mix minus feed on his/her headphones.
2.
The studio guest is also listening on his/her headphones.
3. The telephone guest (HYB 1) is receiving the correct mix minus feed. For the Radio On-Air
template, the hybrid send is available on Line output 5. For details on other connections, see The
Standard Templates.
Depending on the configuration, the conference bus may be switched automatically to the monitoring
when active. Alternatively, you may need to switch the monitoring manually if this is the case, there
will be a CONF button on the monitor source selector.
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Summing Busses
Operation
Once you have configured the correct monitoring, then the conference system operates as follows:
1. Turn on the CONF bus assign buttons for all sources within the conference in our example,
on the DJ 1, Guest and HYB 1 fader strips.
This routes each source onto the conference bus; the CONF buttons will turn red, yellow (flashing)
or white depending on the status of the faders:
For the conference system to work you must have at least two sources with CONF
enabled. Also note that the lamp colours may be configured differently in your system.
Each source within the conference system now receives an automatically switched mix minus
feed; what they hear will depend on the status of the three source faders:
2.
Close all three source faders.
When all the conference faders are closed, the CONF buttons become red and all sources will
hear the conference bus minus themselves. In other words, they can hear each other, but not
themselves, and chat off-air:
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Summing Busses
3.
Now open one of the faders e.g. the DJ fader.
The DJ source is now assumed to be on-air, and the DJs monitor feed is automatically switched
to programme minus themselves. This is reflected by the flashing (yellow) CONF button:
The CONF buttons on the studio and telephone guest fader strips remain red. This is because
their faders remain closed, and so the two guests are still hearing the conference bus minus
themselves and can continue their off-air conversation. Also, if you close the DJ fader, the DJs
monitor feed reverts to a conference bus mix minus, so they can rejoin the off-air conversation if
required.
4.
Finally, open both the DJ and studio Guest faders.
Both the DJ and studio Guest are now on-air, and so they will hear programme minus themselves
(yellow flashing CONF buttons):
In this mode, there are less than two active conference sources and so the conference system is
cancelled. The Telephone Guests monitor feed is automatically switched to a Programme mix
minus. This state is reflected by the white CONF button.
5.
To cancel the conference for any of the sources, deselect the CONF button.
The CONF buttons turn green (off) and the sources monitor feed receives programme minus
themselves at all times.
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83

Snapshots
Snapshots
One of the major benefits of the crystal is the ability to store and recall personal settings.
Each crystal includes 5 internal snapshot memories which are saved, loaded and erased using the
SNAP STORE and SNAP RECALL buttons on the Monitor Module:
Unlimited snapshots may also be saved and loaded onto PC using the optional VisTool
software, see VisTool Snapshots.
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Snapshots
Whats Stored?
The following settings are saved in a snapshot:
Fader Strip Assignment the assignment of sources and busses to fader strips.
User Labels - the two User Label text lines for all sources and busses within the
configuration.
DSP settings Input Parameters, EQ, Dynamics, Limiter, Delay and Bus Sends for all
sources and busses.
Fader Levels (optional) the configuration determines whether fader levels are stored and
recalled. Saving of fader levels is recommended for production systems, but not for on-air to
avoid accidental recalls during a live transmission.
Bus Assignment the assignment of sources onto any of the consoles summing busses,
with level adjustment.
Logical States up to 32 logical states can be saved.
Matrix Connects up to 128 matrix connections can be saved.
Snapshots save settings for all sources and summing busses even if they are not
assigned to a fader. You may you specify whether snapshots save and load parameters
for all faders of the console, or only up to a certain fader number.
Warning
It is not recommended that snapshots are loaded during a live broadcast as to do so may
result in sources being taken off air!
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Snapshots
To save a snapshot:
1.
On the Monitor Module, press and hold SNAP STORE:
If a memory has already been used, then the numbered buttons, 1 to 5, illuminate in red. A green
button indicates a free memory.
Your configuration may use UNLOCK to protect snapshots from being saved or erased by
accident. If this is the case, then you will need to activate UNLOCK (usually an MF Key)
before you can access SNAP STORE.
In addition, your user rights may prevent you from saving or erasing the 5 local snapshot
memories.
2. Keep holding the SNAP STORE button and select a memory number e.g. press 4 to save
the consoles settings into memory 4.
The SNAP STORE button flashes magenta to indicate a successful operation.
If you select a used memory, then its contents are overwritten.
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Snapshots
To load a snapshot:
1.
On the Monitor Module, press and hold SNAP RECALL:
You can see which snapshots contain data from the lit buttons in our example, we can choose
from snapshots 1, 3 or 4:
2. Keep pressing and holding the SNAP RECALL button while you select a memory number
e.g. press 4 to recall snapshot 4.
The SNAP RECALL button flashes magenta to indicate a successful operation, and the consoles
settings update accordingly.
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87

Snapshots
To erase a snapshot:
1.
On the Monitor Module, press and hold both the SNAP RECALL and SNAP STORE buttons.
Your configuration may use UNLOCK to protect snapshots from being saved or erased by
accident. If this is the case, then you will need to activate UNLOCK (usually an MF Key)
before you can access erase.
In addition, your user rights may prevent you from saving or erasing the 5 local snapshot
memories.
You can see which memories are used from the red buttons in our example, snapshot
memories 1, 3 or 4:
2.
Keep pressing and holding while you select a memory number e.g. press 3.
The snapshot memory is erased.

3.
To check the erase has worked, press and hold SNAP RECALL.
The memory should now be clear (unlit):
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V4.2/1

Monitoring
Monitoring
Depending on the frame size of your console, you will either have one or two Monitor Modules.
Each Monitor Module contains MF Keys and two rotary controls which are programmed by the
configuration. Typically, these provide source selection and level control for different monitor outputs.
The configuration defines the exact layout and operation of these controls so please refer to The
Standard Templates for more details.
V4.2/1
Monitor Module MF Key Layout
89


Up to 2 independent PFL busses may be defined by the
configuration. Each bus may route to a separate PFL speaker,
or appear automatically on your speakers or headphones when
PFL is active.
Radio On-Air Template
PFL is usually available on one of the fader strip MF Keys. You

can select different PFL modes from VisTool.
Below is a description of the default PFL mode (PFL SUM):
1.
On a closed fader select PFL.
The source is routed onto the stereo PFL bus.

Multiple PFLs may be selected to listen to a number of
sources.
2.
Edit Suite Template
Now open the fader.
The PFL is cancelled.

3.
Then select PFL on an open fader.
The source is put into a state called PFL prepare.

4.
If you now close the fader, PFL will be enabled.
PFL Clear
Often one of the Monitor Module MF Keys will be programmed
for PFL Clear. This provides a handy way of cancelling all active
PFLs across the console.
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V4.2/1


A common monitoring function which may be supported by your configuration is follow ACCESS
monitoring. This monitors the source "in access" so that you can hear it while adjusting source
parameters:
1.
On the Monitor Module, first select the FOLLOW ACCESS monitor source selection button:
2.
Then select ACCESS on the source you wish to monitor:
You will hear the post-fader output of the selected source.

3.
If you change the source in ACCESS, the monitoring automatically follows.
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91

Special Configuration Functions
Special Configuration Functions

This section deals with functions which must be programmed by your configuration. Your console
may support some or all of the following:
Pool Sources
MF Key Functions
GPIO Functions
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Pool Sources
Pool Sources
Pool sources allow operators to change the input to a source from the fader strip, instead of having
hard-wired input connections.
For example, lets say that your crystal Base Unit is connected to a larger matrix, such as a Nova73,
via 16 MADI tie lines. By configuring 16 pool sources, one for each MADI tie line, and a matrix source
pool within the Nova73, you can access Nova73 signals via any of the 16 pool sources.
If pool sources are supported by your configuration, then you will find them when you perform a fader
strip assignment:
1.
Double-press an ACCESS key to enter source assign mode in the usual manner:
2. Turn the rotary control to scroll through the available source and summing
bus options until you reach the pool sources in our example, the pool
sources are labelled Pool 1, Pool 2, and so on up to Pool 16.
3.
Select the pool source and press Take to assign it to the fader strip.
In our example, this has assigned Pool Source 1 (the first stereo MADI tie line
from our Nova73) to the fader strip.
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Pool Sources
You can now use the fader strip rotary control to select an input from your matrix source pool.
4. Press down on the rotary control to step through the input gain and panning parameters until
you reach the Pool Source Group select:
These parameters will only appear on fader strips assigned to a Pool Source.
5.
With the arrow pointing at the pool group (MADI), turn the rotary control to change the group.
6.
Then press down again on the rotary control, and turn to select a signal e.g. In 3.
7.
Press the Take button to assign the input to the source.
The Label at the bottom of the fader strip updates to show:

MADI the matrix source pool Group name.
In 3 the matrix source pool Signal name.
POOL 1 the source label.
The pool source Group and Signal names come from the input names
defined within the configuration of the connected router.
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MF Key Functions
MF Key Functions
MF Keys appear on the Fader Module, Monitor Modules, VisTool and Key Panels such as the KSCLCD16. They may be used for a variety of applications:
Source-specific functions see Fader Strip MF Keys.
Monitoring
On-Air signaling
Talkback to a variety of destinations.
Return Talkback allowing others to talk to you!
Tone send tone to programme or other destinations.
Clipboard Operations to copy/paste DSP (EQ, DYN, LIM) settings from/to the source in
access.
REC Mode to switch sources to a record bus.
Ambient Sensor to enable or disable the sensors.
Unlock can protect functions such as snapshot or clipboard operations.
Plus many other functions.
The functionality and colour coding of each MF Key is defined by the configuration so please refer to
The Standard Templates for more details.
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95

GPIO Functions
GPIO Functions
The system also supports a variety of GPIO functions which allow the console to respond to external
functions:
Fader Starts see Fader Strip MF Keys.
Hybrid Signaling see Fader Strip MF Keys.
Emergency Mute to mute the programme output.
Red Light mutes the speaker output when the red light status is active. This could be
configured to respond to certain sources being on-air, or be activated manually from an MF
Key.
Plus many other functions.
GPIO functionality is defined by the configuration so please refer to The Standard Templates for more
details.
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Metering Options
Metering Options
You may run VisTool metering pages on an external monitor connected to the VisTool PC:
Stand-alone VisTool Monitor
V4.2/1
97
Chapter 4: The Standard Templates

Introduction
This chapter covers the signal flow, source and summing bus attributes, MF Key, monitoring,
talkback and GPIO functions programmed by each of the configuration templates. Please make sure
that are familiar with the general Console Operation first.
Your user rights may prevent you from accessing certain functions; please consult your
system administrator.
Template Comparison Table
Radio RAS Configuration Template
A new standard template for Version 4.0 software is currently in development and will be available
soon.
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V4.2/1


To make the crystal easy to operate out of the box, the console is delivered with one of the following
standard configuration templates:
Radio On-Air for the self-operated or traditional on-air radio studio.
Radio RAS for Radio Automation System (RAS) and DJ-operated setups.
Edit Suite for TV or radio edit suites.
Any template may be downloaded to any of the crystal frame options, with the exception
that a 4-fader crystal may not run the Radio On-Air template.
The following table provides a quick comparison of the features offered by each template:
Edit Suite
Radio On-Air
Radio RAS
4, 8 or 12 Fader
8, 12 or 16 Fader
4, 8, 12 or 16 Fader
Slot 1 I/O Card
Line (optional)
Line (optional)
n/a
Slot 2 I/O Card
SDI (optional)
n/a
n/a
Mic Inputs
Hybrids
Busses (Main, Record,

Aux)
Busses (SDI)
n/a
n/a
Mix Minus Busses
Source Snapshots
n/a
n/a
on 8, 12 and 16 fader
desks.
RAS Implementation
n/a
n/a
Fader start/stop on MF Key

3
Desk Size
Expansion Cards:
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99

Radio On-Air
Radio On-Air
The Radio On-Air template can be downloaded to any crystal console except the 4-fader model. It is
designed for the self-operated or traditional radio studio.
Topics covered in this section are:
Signal Flow
Sources
Summing Busses
Fader Strip MF Keys
Monitor Module Functions
Additional MF Key Functions
Return Talkback Functions
Monitoring and Talkback Connections
GPIO Connections
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Radio On-Air
Signal Flow
For signal flow diagrams of the Radio On-Air template, please refer to the crystal downloads area at
www.lawo.de (click on Login).
V4.2/1
101

Radio On-Air
Sources
Source
Label
Physical Connection
Mono/
Stereo
EQ
Dyn
Lim
Dly
Special
Functions
DJ 1
Input 1 (Mic)
Mic/Line Input (rear)
Mono
On-Air (GPO 8)
DJ 2
Input 2 (Mic)
Mono
On-Air (GPO 8)
Guest 1
Input 3 (Mic)
Mono
On-Air (GPO 8)
Guest 2
Input 4 (Mic)
Mono
On-Air (GPO 8)
Hybr 1
Input 5 (Line)
Mono
RING
Hybr 2
Input 6 (Line)
Mono
RING
Line 1
Inputs 7&8 (Line)
Stereo
AES 1
Inputs 1&2
AES3 Input (rear)
Stereo
Fader start
(GPO 4)
AES 2
Inputs 3&4
Stereo
Fader start
(GPO 5)
AES 3
Inputs 5&6
Stereo
AES 4
Inputs 7&8
Stereo
LINE 2
Inputs 3&4 (Line)
Expansion Slot 1
Stereo
(optional, front panel)

EXT 1
Inputs 5&6 (Line)
Stereo
EXT 2
Inputs 7&8 (Line)
Stereo
LineUp
n/a
Internal Source
Mono
Line Input 1 on the optional expansion card (slot 1) is unused. Line Input 2 is reserved for
an external talkback input. This input is switched by the return talkback function.
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Radio On-Air
Summing Busses
Name
PGM
Mono/
Assign
Stereo
to Strip
Stereo
Label
EQ
Dyn
Lim
Dly
Physical Connection/Application
Line Outputs (rear) 1&2
PGM
AES Outputs (rear) 1&2

Mono
REC
Stereo
Expansion Slot 1, Line Out 1 (optional,

front panel)
REC

Aux 1
Stereo
AUX 1
Aux 2
Stereo
AUX 2
Aux 3
Stereo
AUX 3
Expansion Slot 1, Line Outs 7&8

DJ1
Stereo
n/a
Internal mix minus bus for the source

labelled DJ1.
Stereo
n/a
Internal mix minus for the source

labelled Guest1.
Mono
n/a
Mix minus bus for the source labelled

Hybr1.
Mix
Minus
Guest1
Mix
Minus
Hybr1
Mix
Minus
Hybr2
Line Output (rear) - Output 5

Mono
n/a
Mix minus bus for the source labeled

Hybr2.
Mix
Minus
PFL

Stereo
n/a
PFL monitoring bus.

Follow
Access
Stereo
n/a
Internal bus used for Follow Access

monitoring.
A mono sum of the programme (PGM) output is provided on Line Output 1 of the optional
expansion card (slot 1).
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103

Radio On-Air
Fader Strip MF Keys

MF Keys 3 & 4
The two large MF Keys on a Radio On-Air console perform the following functions across all fader
strips:
ON and OFF
When the ON button is enabled (red) the post-fader output of the source is on.
When the OFF button is enabled (green) the post-fader output of the source is switched off.
Note that the two buttons intercancel.
MF Keys 1, 1b, 2 & 2b

The four small MF Keys perform different functions depending on the source assigned to the fader
strip:
PFL (pre fade listen)

When enabled (yellow) the source is routed onto the PFL bus, see PFL (Pre Fade Listen).
Conference Bus Assign
The DJ 1, Guest 1, Hybrid 1 and Hybrid 2 sources can be assigned onto the CONF bus for mix
minus monitoring, see Conference Bussing.
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Radio On-Air
Talkback (TB)
The Guest 1, Guest 2, Hybrid 1 and Hybrid 2 source have a talkback (TB) MF Key.
Press TB to activate the talkback; the MF Key turns red and the DJ 1 source is routed pre-fader to
your selected destination:
TB to Guest 1 or Guest 2 routes DJ 1 to the guest headphone output (Headphone 2).
TB to Hybrid 1 routes DJ 1 to the Hybrid 1 send.
TB to Hybrid 2 routes DJ 1 to the Hybrid 2 send.
Only one talkback line can be active at a time. This is indicated on other sources by a
yellow TB button.
The TB button will also light (flashing yellow) when a source is attempting to talk to you,
see Return Talkback.
In our example we are talking to the Guest headphones (red TB buttons on Guest 1 and Guest 2).
On the fader strips controlling Hybrid 1 and Hybrid 2, the yellow TB buttons indicate that talkback is in
use:
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105

Radio On-Air
Hybrid Signalling
The Hybrid 1 and Hybrid 2 sources have an extra button RING. This button flashes yellow when
an incoming call is received (activated by GPI input 6 or 7).
Press RING to take the call; the button lights in red (this activates GPI output 6 or 7):
106
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Radio On-Air

The Radio On-Air template defines functions for two monitor modules:
Metering
The two meters are assigned as follows:
Meter A (Left) automatically follows the CR Monitor
source selector.
Meter B (Right) always meters programme (PGM).
Monitoring
Each of the monitoring sections control two stereo monitor
outputs:
HP DJ
The HP DJ rotary control adjusts the level of the DJs
headphone output (Headphone 1).
The HP DJ MF Key is used to name the rotary control and has
no function; to mute the DJs headphones turn the level off.
CR Monitor
The CR MONITOR rotary control adjusts the level of the control
room monitor output.
The CR MONITOR MF Key is used to name the rotary control
and has no function. Press the MUTE button to mute the control
room monitor output. Press DIM to dim the output by 20dB.
Note that the CR Monitor output will automatically be muted
when the console is on-air.
HP Guest
The HP Guest rotary control adjusts the level of the Guest headphone output (Headphone 2).
The HP Guest MF Key is used to name the rotary control and has no function; to mute the Guests
headphones turn the level off.
ST Monitor
The ST MONITOR rotary control adjusts the level of the studio monitor output.
The ST MONITOR MF Key is used to name the rotary control and has no function. Press the MUTE
button to mute the studio monitor output. Press DIM to dim the output by 20dB.
V4.2/1
107

Radio On-Air
Monitor Source Selector
The HP DJ and CR Monitor outputs share a single monitor
source selector, as do the HP Guest and ST Monitor outputs.
This allows you to make independent monitoring selections for
the DJ and for the Guest/studio.
Each monitor source selector is identical. You can select from:
PGM the stereo programme bus.

REC the stereo record bus.
PFL the stereo PFL bus.
AUX 1 stereo auxiliary send.
AUX 3 stereo auxiliary send
EXT 1 the inputs connected to the source LINE 5 (Expansion Card Slot 1 Line Inputs 5&6).
EXT 2 the inputs connected to the source LINE 6 (Expansion Card Slot 1 Line Inputs 7&8).
Follow Access the follow access bus, see Follow ACCESS Monitoring.
CONF the mix minus bus for the source DJ 1 (left) or Guest 1 (right), see Conference
Bussing.
108
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Radio On-Air

On the second monitor module, the 8 function buttons are additional MF Keys. These are
programmed by the Radio On-Air template as follows:
Alarm
This MF Key lights if there is a problem with a control surface module.
On-Air
The console has two On-Air states which will light both of the ON AIR MF Keys as follows:
ON AIR (red) lights when any microphone source (DJ 1, DJ 2, Guest 1 or Guest 2) have
their faders open and ON buttons enabled.
ON AIR (yellow) lights when any other source has their fader open and ON button enabled.
Note that the sources do not have to be assigned to a summing bus for the on-air state to be active.
When the console is on-air, GPI output 8 is active.
Also note that the ON AIR MF Keys will flash (red) if the emergency mute function is active.
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109

Radio On-Air
TB EXT
Press TB EXT to talk to an external communications output. This routes the DJ 1 source (pre-fader)
to the output called TB Send (Line Output 2 of the optional expansion card slot 1).
The TB EXT button lights (red) when talkback is active.
Note that only one talkback line can be active at a time. This is indicated on sources by a yellow TB
button:
Note that the TB EXT button will also light (flashing yellow) when someone is attempting to talk to
you, see Return Talkback.
REC Mode
Press this button to globally change the bus assignments to the programme and record busses
across the console.
First, view your PGM and REC bus assignments by selecting the BUS function button and layer 1
(INP 1):
Press REC MODE and all sources are removed from the PGM bus and assigned to the REC bus.
Turn off REC MODE and all sources are removed from the REC bus and assigned to the PGM bus.
This function is great for switching between live broadcast and off-air recording. However,
be aware that the button will reset any individual bus assignments which you may have
made.
110
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Radio On-Air
Global PFL Off
If a PFF button is active, then the Global PFL Off MF Key lights (red):
Press Global PFL off to cancel all active PFL selections.
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111

Radio On-Air

Two return talkback functions are programmed by the Radio On-Air configuration. Both functions are
actioned by GPI inputs:
Talkback from Guest 1 or 2 to HP DJ
This function can be programmed onto an external button so that a guest can talk to the DJs
headphone output. The function is triggered by GPI input 1.
When GPI input 1 is active, the TB buttons on Guest 1 and Guest 2 fader strips light (flashing
yellow) and the Guest 1 and Guest 2 sources are summed and routed to the HP DJ (Headphone 1)
output.
Talkback from TB EXT to HP DJ
This function can be programmed onto an external button in order to talk to the DJs headphone
output (Headphone 1) from another location. The function is triggered by GPI input 2.
When GPI input 2 is active, the TB EXT button on the second monitor module lights (flashing yellow)
and the TB EXT source (pre-fader) is routed to the HP DJ (Headphone 1) output.
112
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Radio On-Air

Name
Mono/
Stereo
Physical Connection
Application
TB EXT
Mono
Expansion Slot 1, Line Input 2

Connect an external talkback source for use with

return talkback.
TB Send
Mono
Expansion Slot 1, Line Output 2

Connect this output to your external

communications feed. Active when the TB EXT MF
Key is used.
CR Monitor
Stereo
Connect your control room loudspeakers here.

Sources are assigned from the CR Monitor source
selector with level, mute and dim.
ST Monitor
Stereo

Connect your studio loudspeakers here. Sources

are assigned from the ST Monitor source selector
with level, mute and dim.
PFL
Stereo

Connect an external PFL speaker here. There is no

PFL level.
DJ Headphone
Stereo
Headphone Output 1 (rear)
Connect the DJ headphones here. The monitor

source follows the CR Monitor selector. Separate
level is provided by the HP DJ control.
Guest
Headphone
Stereo
Connect the Guest headphones here. The

monitor source follows the ST Monitor selector.
Separate level is provided by the HP Guest control.
V4.2/1
113

Radio On-Air
GPIO Connections
Physical
Connection
Function Name
Action
GPIO Input 1
Return Talkback:
Routes a sum of the sources Guest 1 and Guest 2 to the DJ

headphone output and lights the TB MF Keys on the Guest fader
strips (flashing yellow).
Guest to HP DJ
GPIO Input 2
Return Talkback:
TB EXT to HP DJ
Routes the source TB EXT to the DJ headphone output and lights the
TB EXT MF Key (flashing yellow).
GPIO Input 3
Emergency Mute (see

below)
Cuts the programme bus output, and lights the ON AIR buttons
(flashing red).
GPIO Input 4
Unused.
GPIO Input 5
Unused.
GPIO Input 6
Hybrid 1 Signaling
Lights the RING MF Key on the Hybrid 1 source to signal an incoming

call.
GPIO Input 7
Hybrid 2 Signaling
Lights the RING MF Key on the Hybrid 2 source to signal an incoming

call.
GPIO Input 8
DSP disable (see below)
Disables the ACCESS key so that DSP parameters are locked during
normal operation.
GPIO Output 1
Return TB Signalisation
Signals that return talkback is active.
DJ Mic to Guest
GPIO Output 2
DJ Mic to EXT
GPIO Output 3
TB in use
Signals that a talkback button (TB or TB EXT) is active.
GPIO Output 4
Fader start
For the source AES 1.
GPIO Output 5
Fader start
GPIO Output 6
Hybrid 1 Call Pickup
Press the RING MF Key on the Hybrid 1 source to pick up an incoming

call.
GPIO Output 7
Hybrid 2 Call Pickup
Press the RING MF Key on the Hybrid 2 source to pick up an incoming

call.
GPIO Output 8
On-Air
Signals that the consoles Mic on-air state (ON AIR red) is active.
Emergency mute
This state can be triggered by an external switch connected to GPI input 3.
When active, the programme (PGM) bus is muted. This is indicated by flashing red ON AIR buttons
on the second monitor module.
114
V4.2/1

Radio On-Air
DSP Disable
When active, a source cannot be put into access; you cannot select the ACCESS button. This locks
the consoles DSP parameters so that the operator cannot adjust Input, Dynamics, Limiting, Delay or
EQ.
Fader Starts
A fader start is programmed for each of the sources AES 1 and AES 2. On these sources, open the
fader to activate a GPI; the GPI will then action the playback device.
V4.2/1
115

Radio RAS
Radio RAS
The Radio RAS template can be downloaded to any crystal console. It is designed for Radio
Automation System (RAS) and DJ-operated setups.
Signal Flow
Sources
Summing Busses
Fader Strip MF Keys
o DJ Monitoring (Speaker & Headphones)
o Guest Headphone Monitoring
Talkback & Return Talkback Functions
Additional MF Key Functions and Unlock Functions
GPIO Connections
116
V4.2/1

Radio RAS
Signal Flow
For signal flow diagrams of the Radio RAS template, please refer to the crystal downloads area at
V4.2/1
117

Radio RAS
Sources
Source
Label
Physical Connection
MIC 1
Input 1 (Mic)
Mono/
Stereo
Mono
EQ
Dyn
Lim
Dly
Special
Functions
Redlight
(GPO 5)
MIC 2
Input 2 (Mic)
Mono
Redlight
(GPO 5)
MIC 3
Input 3 (Mic)
Mono
Redlight
(GPO 5)
MIC 4
Input 4 (Mic)
Mono
Redlight
(GPO 5)
HYB 1
Input 5 (Line)
Mono
HYB 2
Input 6 (Line)
Mono
RAS 1
Inputs 1&2
AES3 Input (rear)
Stereo
Fader start
(GPO 1)
RAS 2
Inputs 3&4
Stereo
Fader start
(GPO 2)
RAS 3
Inputs 5&6
Stereo
Fader start
(GPO 3)
CD
Inputs 7&8
Stereo
Fader start
(GPO 4)
LineUp
n/a
Internal Source
Mono
Line Input 7 is reserved for an external talkback input. This input is switched by the return
talkback functions.
Line Input 8 is spare.
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Radio RAS
Summing Busses
Name
PGM
Mono/
Assign
Stereo
to Strip
Stereo
Label
EQ
Dyn
Lim
Dly
PGM

Mono
Line Out (rear) 7.
REC
Stereo
REC
Aux 1
Stereo
AUX 1
DJ
Stereo
n/a

labelled MIC1.
Stereo
n/a
Internal mix minus for the sources

labelled MIC2, 3, 4 .
Mono
n/a

HYB1.
Mix
Minus
Guest
Mix
Minus
Hybr1
Mix
Minus
Hybr2

Mono
n/a
Mix minus bus for the source labeled

HYB2.
Mix
Minus
PFL

Stereo
n/a
PFL monitoring bus.
A mono sum of the programme (PGM) output is provided on Line Output 7.
V4.2/1
119

Radio RAS
Fader Strip MF Keys

The diagram below shows the MF Key and default source assignments for fader strips 1 to 4. Other
fader strips are configured in a similar manner.
All source channels have ON/OFF and PFL buttons below the fader. Some also have TB (talkback)
and CONF (conference) buttons, above the MF Key display, depending on the source.
ON/OFF Button (MF Key 3)
The ON/OFF button controls the channel on/off switch. On RAS channels it controls the remote fader
up/down to start/stop the RAS playout.
Internally all channels have two faders in serial: a manual fader, operated from the desk,
and a RAS fader. Both faders have to be open to get audio through the channel.
The ON/OFF buttons control the RAS fader (fully open or fully closed) in order to achieve the manual
on/off switch. In addition, the RAS fader can be controlled by the automation system. This allows all
channels to be switched on/off from the desk or from the RAS.
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Radio RAS
PFL Button (MF Key 4)
The PFL button actions pre-fade listen.
PFL cannot be selected on bus masters: PGM, REC or AUX.
TB Button (MF Key 1)
The DJ can talk with his microphone (MIC 1), pre-fader to:
Hybrid 1 and Hybrid 2 press the TB button on the DJ (MIC 1) channel.
The Guest Headphones press the TB buttons on the MIC 2, MIC 3 or MIC 4 channels.
The Aux Output press the TB button on the AUX master channel.
CONF Button (MF Key 1b)
For communication, each of the following sources may take part in an off-air conference: the DJ (MIC
1), any Guest (MIC 2, 3 and 4), and the Hybrids (HYB 1 and HYB 2). See Conference Bussing.
Press the CONF button on each participants channel to activate the conference. The participants
are able to talk to each other, pre-fader, providing their faders remain closed. As soon as a fader
opens, the participant is removed from the conference.
The feeds to the DJ Speakers/Headphones, Guest Headphones and Hybrid returns are
automatically switched to receive the conference bus as soon as the relevant conference
partners are connected.
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121

Radio RAS

The Radio RAS template defines functions for two monitor modules.
The second Monitor Module (E) is not fitted to 4-fader consoles.
The configuration provides:

1 x stereo Speaker output - with volume control from Monitor Module F (SPK Volume).
2 x Headphone outputs for the DJ and Guest with volumes controlled from HP DJ
(Monitor Module F) and HP GUEST (Monitor Module E).
The two meters are assigned as follows:
Meter A (Left) automatically follows the DJ Monitor source selector.
Meter B (Right) always meters programme (PGM).
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Radio RAS
DJ Monitoring (Speaker & Headphones)
The DJ monitoring feeds both the Speaker and DJ Headphone outputs.
Monitor Source Selection
The monitor source is selected from middle set of buttons on
Monitor Module F:
PGM the Main bus. Note that this includes tone if Tone
to PGM is active.
REC the Record Bus (stereo)
AUX the Aux Bus (stereo)
RAS 1 the AES input from RAS 1 (stereo)
HYB 1 the analogue input from Hybrid 1 (mono)
HYB 2 the analogue input from Hybrid 2 (mono)
CD the AES input from the CD player (stereo)
Mono, Phase and Side
The selected monitor source can also be heard in mono (press
MONO), with the phase changed (press PHASE) or with the
side changed (press SIDE).
Speaker Level, Mute and Dim
The SPK Volume rotary control, and MUTE and DIM buttons
adjust the level of the Speaker output. DIM will dim the output by
20dB.
In addition, the Speaker output is automatically dimmed by 20dB if TB Ext is active. This prevents
feedback occurring when talking and listening to the external talkback feed.
If both the DIM button and talkback dim (triggered by TB EXT) are active, then the amount of dim is
added and the outputs are dimmed by 40dB.
DJ Headphone Level
The HP DJ rotary control adjusts the level of the DJ Headphone output.
The DJ Headphone output is automatically dimmed by 20dB if TB Ext is active. There is no manual
mute or dim for the Headphone output.
Red Light
The Speaker output will mute automatically when the Red Light is active. The Red Light is active if
any of the MIC 1 (DJ), MIC 2, MIC 3 or MIC 4 faders are open, or if the Redlight button is active.
V4.2/1
123

Radio RAS
Conference and PFL
The off-air conference bus is automatically switched to the Speaker and DJ Headphone outputs when
the DJ is in connected to one or more conference partners (CONF active and faders closed). See
Conference Bussing.
The PFL bus is automatically switched to the Speaker and DJ Headphone outputs when
PFL is active.
If both PFL and conference are active, then PFL takes priority.
PFL and conference appear on both left and right monitor outputs. Once PFL and conference are
deactivated, then the monitor source returns to the current selection.
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Radio RAS
Guest Headphone Monitoring
Monitor Source Selection
The monitor source for the Guest Heaphone output is selected
from middle set of buttons on Monitor Module E:
PGM the Main bus. Note that this includes tone if Tone
to PGM is active.
REC the Record Bus (stereo)
AUX the Aux Bus (stereo)
Guest Headphone Level
The HP Guest rotary control adjusts the level of the Guest
Headphone output.
There are no buttons to Mute, Dim or return Talkback to the
Guest Headphones.
Conference and PFL
The off-air conference bus is automatically switched to the
Guest Headphone output when at least one guest (MIC 2, MIC 3
or MIC 4) is in conference (CONF active and faders closed).
See Conference Bussing.
Once the conference is deactivated, then the monitor source
returns to the current selection.
If Monitor Module E is not fitted, then the Guest Headphones receive either PGM or the
conference signal (n-1) if conference is active.
Audio is routed at unit gain so please use an external volume control for the Guest
headphones in this case.
V4.2/1
125

Radio RAS
Talkback & Return Talkback Functions

The Radio RAS template defines the following talkback
functions:
Talkback from External to DJ
Talkback from an external feed (Line in 7) is received on the DJ
Headphones and Speaker outputs (left and right) when the
External Talkback GPI (GPI 1) is active.
When talkback is received, it is mixed with the selected monitor
source on both left and right monitor outputs. The monitor
source is dimmed by 20 dB while talkback is being received.
Talkback from DJ to External
The DJ can talk to the external feed (Line out 8) by pressing the
TB Ext button.
While TB Ext is active, the Line out receives the DJ channel
(MIC 1) pre-fader. At all other times, the external talkback feed is
muted.
Talkback from DJ to Guest
The DJ can talk to the Guest Headphones (left and right) by
pressing any of the TB buttons on the Guest channels (MIC 2, 3
or 4).
Talkback from DJ to Hybrid 1 or 2
The DJ can talk to Hybrid 1 or Hybrid 2 by pressing the TB
buttons on either of the Hybrid channels (HYB 1 or HYB 2).
Normally, each Hybrid output receives its mix minus/conference
signal. When talkback is active, the conference signal is
replaced by the DJ channel (MIC 1) pre-fader.
Talkback from DJ to Aux
The DJ can talk to the Aux output by pressing the TB button on
the Aux channel (AUX).
Normally, the Aux outputs are fed from the AUX bus. When
talkback is active, the Aux bus is replaced by the DJ channel
(MIC 1) pre-fader.
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V4.2/1

Radio RAS

The second Monitor Module (E) provides a number of additional functions. (Note that the second
Monitor Module is not fitter to 4-fader consoles).
Ext Sync
This button lamp illuminates to indicate the active sync source:
Green = sync from AES Input 1
Blue = sync from Wordclock Input
Off = internal sync
If both Wordclock and AES sync sources are connected, then
Wordclock takes priority.
Global Alarm
This button lamp flashes if any of the following system alarms
are active: Temperature Base Unit, Temperature Proc Unit, Fan
1 low, Fan 2 low.
Press the button to acknowledge the alarm. If the alarm remains
active, then the button stays lit (steady state). If the alarm has
been cleared, then the lamp goes out, reflecting that all is ok with
the system.
Redlight
This button switches the Red Light (GPO 5) on or off manually.
The button lamp illuminates when Red light is active.
PFL Clear
This button lamp illuminates when PFL is active. Press the
button to clear all active PFLs.
TB Ext
This button activates external talkback to the DJ Speaker outputs
and Headphones.
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127

Radio RAS
Unlock Functions
Each of the buttons at the top of Monitor Module E must be unlocked by using the UNLOCK button
(MF Key 24):
1.
Press and hold UNLOCK.
2.
While holding UNLOCK, select the required function.
The functions which must be unlocked are:

SAVE Clip. (MF Key 17)
Press this button, while holding UNLOCK, to save DSP settings
(EQ, DYN, LIM) from the selected channel (in access) to the
clipboard.
This function allows you to copy settings so that they may be
loaded to another channel.
LOAD Clip. (MF Key 18)
Press this button, while holding UNLOCK, to load DSP settings
(EQ, DYN, LIM) from the clipboard to the selected channel (in
access).
RESET Clip. (MF Key 19)
Press this button, while holding UNLOCK, to reset the DSP
settings (EQ, DYN, LIM) on the selected channel (in access) to
their default values.
DELETE Clip. (MF Key 20)
Press this button, while holding UNLOCK, to delete the DSP
settings (EQ, DYN, LIM) from the clipboard.
Tone to PGM (MF Key 21)
Press this button, while holding UNLOCK, to switch tone to the
programme bus (PGM). When active, the button lamp flashes in
red. This function toggles so press and hold UNLOCK, and
press Tone to PGM again to cancel the tone.
Ambient Sensor (MF Key 22)
Press this button, while holding UNLOCK, to enable the ambient
light sensor. When enabled, the brightness of displays and
lamps across the surface is automatically adjusted according to
the ambient light level.
This function toggles, so press and hold UNLOCK, and press
Ambient Sensor again to disable the function. When disabled,
the brightness of displays and lamps is set to maximum.
128
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Radio RAS

Name
Mono/
Stereo
Physical Connection
Application
TB EXT
Mono
Line Input 7 (rear)

return talkback.
TB Send
Mono
Line Output 8 (rear)

Key is used.
SPEAKER
Stereo

Sources are assigned from the DJ Monitor source
HP DJ
Stereo

source follows the DJ Monitor selector. Separate
level is provided by the HP DJ control. There is no
mute or manual dim.
HP Guest
Stereo
Connect the Guest headphones here. The

monitor source follows the Guest Monitor selector
on Monitor Module E. Separate level is provided by
the HP Guest control.
If Monitor Module E is not fitted, then the Guest
Headphones receive either PGM or the conference
signal (n-1) if conference is active.
AES Outputs 5 & 6 provide a "Follow monitor" feed which outputs the DJ Monitor source
selection. Use these to connect to an external PPM.
V4.2/1
129

Radio RAS
GPIO Connections
Physical
Connection
Function Name
Action
GPIO Input 1
TB from External
Talkback from an external feed (Line in 7) is received on the DJ

Headphones and Speaker outputs (left and right) when this GPI is
active.
GPIO Input 2
Emergency Mute (see

below)
Mutes any on-air feeds.
GPIO Input 3
External SPKR Mute
Mutes the SPEAKER outputs when active.
GPIO Input 4
External SPKR DIM
Dims the SPEAKER outputs when active.
GPIO Input 5
Unused.
GPIO Input 6
Unused.
GPIO Input 7
Unused.
GPIO Input 8
Unused.
GPIO Output 1
Fader start
For the source RAS 1.
GPIO Output 2
Fader start
GPIO Output 3
Fader start
GPIO Output 4
Fader start
For the source CD.
GPIO Output 5
Redlight
The relay closes automatically when any mic fader is open (MIC 1, 2,
3 or 4), and the on/off button is switched to ON. The relay also closes
if the Redlight MF Key is active.
GPIO Output 6
Unused.
GPIO Output 7
Unused.
GPIO Output 8
Unused.
Emergency Mute (GPI Input 2)

GPI input 2 is configured for an Emergency Mute. When the GPI is activated, all PGM outputs are
muted for as long as the GPI remains high.
There is no signaling on the surface to reflect the Emergency Mute status, and the
monitoring of PGM signals continue as normal. This is done deliberately to deal with an
unauthorized break-in! Should the studio be compromised, the Emergency Mute can be
activated (from outside the studio) without the unauthorised personnel knowing they are
off-air.
Fader Starts (GPI Outputs 1 to 4)
Each relay closes (no pulse relay) when the fader is open (fader opened manually and on/off button
switched to ON). The relay opens when the fader is closed (fader closed manually or on/off button
switched to OFF).
130
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Edit Suite
Edit Suite
The Edit Suite configuration can be downloaded to any crystal console. It is designed for TV or radio
edit studios.
Sources
Summing Busses
Fader Strip MF Keys
Talkback Functions
GPIO Connections
V4.2/1
131

Edit Suite
Signal Flow
For signal flow diagrams of the Edit Suite template, please refer to the crystal downloads area at
132
V4.2/1

Edit Suite
Sources
Source
Label
Physical Connection
Mono/
Stereo
EQ
Dyn
Lim
Dly
Special
Functions
MIC 1
Input 1 (Mic)
Mono
On-Air (GPO 8)
MIC 2
Input 2 (Mic)
Mono
On-Air (GPO 8)
TB EXT
Input 3 (Mic)
Mono
Talkback
TEL 1
Input 4 (Mic)
Mono
GPI (hybrid
signalling)
Line 1
Inputs 5&6 (Line)
Stereo
Line 2
Inputs 7&8 (Line)
Stereo
AES 1
Inputs 1&2
AES3 Input (rear)
Stereo
Fader start
(GPO 4)
AES 2
Inputs 3&4
Stereo
Fader start
(GPO 5)
AES 3
Inputs 5&6
Stereo
AES 4
Inputs 7&8
Stereo
LINE 3
Inputs 1&2
Expansion Slot 1
Stereo

LINE 4
Inputs 3&4
"
Stereo
LINE 5
Inputs 5&6
Stereo
Ext 1 monitor
source
LINE 6
Inputs 7&8
Stereo
Ext 2 monitor
source
SDI 12
Inputs 1&2
Expansion Slot 2
Both

SDI 34
Inputs 3&4
"
"
SDI 56
Inputs 5&6
"
"
SDI 78
Inputs 7&8
"
"
LineUp
n/a
Internal Source
Mono
V4.2/1
133

Edit Suite
Summing Busses
Name
Sum 1
Mono/
Assign
Stereo
to Strip
Stereo
Label
EQ
Dyn
Lim
Dly
SUM1

Sum 2
Stereo
SUM2

Aux 1
Stereo

AUX 1

Aux 2
Stereo

AUX 2

SDI
Stereo
SDI12
Expansion Slot 2,SDI Outs 1&2

Stereo
SDI34

Stereo
SDI56

Stereo
SDI78

1&2
SDI
3&4
SDI
5&6
SDI
7&8
Mic1
Stereo
n/a

labelled MIC1.
Mono
n/a

TEL1.
Mix
Minus
Hybrid
Mix
Minus
PFL

Stereo
n/a
PFL monitoring bus.

Follow
Access
134
Stereo
n/a
Internal bus used for Follow Access

monitoring.
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Edit Suite
Fader Strip MF Keys

MF Keys 3 & 4
The two large MF Keys on an Edit Suite console perform the following functions across all fader
strips:
MUTE
When enabled (red) the post-fader output of the source is muted.
PFL (Pre-fade Listen)
When enabled (yellow) the source is routed onto the PFL bus, see PFL (Pre Fade Listen).
MF Keys 1, 1b, 2 & 2b

The four small MF Keys perform different functions depending on the source assigned to the fader
strip:
Bus Assign
Sources can be assigned to SUM 1 and SUM 2 by pressing the upper MF Keys.
The MIC 1 and TEL 1 sources can also be assigned onto the CONF bus for mix minus monitoring,
see Conference Bussing.
Signalling
The TEL 1 source has an extra button GPI. This button lights (red) when an incoming call is
received (activated by GPI in 6). Press GPI to take the call. (This activates GPI output 6.)
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Edit Suite

The Edit Suite template defines a single monitor module. You can download the Edit Suite template to
consoles with two monitor modules. However, the second module will be unused (blank).
Metering
The stereo peak and correlation meter will automatically follow
your monitor source selection.
Monitoring
HP Main
The HP MAIN rotary control adjusts the level of the main
headphone output (Headphone 1).
Press the HP MAIN MF Key to mute the headphone output (HP
MAIN turns red).
Monitor Source Selector
The first three rows of small MF Keys provide monitor source
selection for the HP MAIN and CR MONITOR outputs. You can
select from:
SUM 1 stereo summing bus.
SUM 2 stereo summing bus.
EXT 1 the inputs connected to the source LINE 5
(Expansion Card Slot 1 Line Inputs 5&6).
EXT 2 the inputs connected to the source LINE 6
(Expansion Card Slot 1 Line Inputs 7&8).
Follow Access the follow access bus, see Follow
ACCESS Monitoring.
CONF the mix minus bus for the source MIC 1, see
Conference Bussing.
CR Monitor
The CR MONITOR rotary control adjusts the level of the control
room monitor output.
Press the CR MONITOR MF Key to mute the output. Press
DIM to dim the control room monitor output by 20dB.
Note that the CR Monitor output will automatically be dimmed
when talkback is active, and muted when the console is on-air.
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Edit Suite
PFL to Mon
Press the PFL to MON key to switch the stereo PFL bus to the
headphone and control room monitor outputs:
The key lights fully bright if PFL is active on a source. If no PFL
buttons are active, then the key is half lit.
Note that PFL replaces the current monitor source selection;
when you deselect PFL to MON, you will return to your previous
selection in our example, SUM 1.
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Edit Suite
Talkback Functions
TB EXT
Press TB EXT to talk to an external communications output.
This routes the MIC 1 source (pre-fader) to the output called TB
Send (Line Output 6).
The TB EXT button lights (yellow) when talkback is active and
the control room monitor output is automatically dimmed.
Note that the TB EXT button will also light (red) when someone
is attempting to talk to you see Return Talkback.
TB
Press TB to talk to the second headphone output. This routes
the MIC 1 source (pre-fader) to the Headphone 2 output.
The TB button lights (yellow) when talkback is active and the
control room monitor output is automatically dimmed.
Note that the TB button will also light (red) when a guest is
attempting to talk to you see Return Talkback.
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Edit Suite

Two return talkback functions are programmed by the Edit Suite configuration. Both functions are
actioned by GPI inputs:
Talkback from MIC 2 (Guest) to HP MAIN
This function can be programmed onto an external button so that a guest can talk to the main
headphone output. The function is triggered by GPI input 1.
When GPI input 1 is active, the TB button on the monitor module lights (red) and the MIC 2 source
(pre-fader) is routed to the Main HP (Headphone 1) output.
Talkback from TB EXT to HP MAIN
This function can be programmed onto an external button in order to talk to the main headphone
output (Headphone 1) from another location. The function is triggered by GPI input 2.
When GPI input 2 is active, the TB EXT button on the monitor module lights (red) and the TB EXT
source (pre-fader) is routed to the Main HP (Headphone 1) output.
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Edit Suite

Name
Mono/
Stereo
Physical Connection
Application
TB EXT
Mono
Line Input (rear) 3

return talkback.
TB Send
Mono
Line Output (rear) 6

Key is used.
CR Monitor
Stereo

Sources are assigned from the CR Monitor source
PFL
Stereo
Connect an external PFL speaker here. There is no

PFL level.

Main
Headphone
Stereo

source follows the CR Monitor selector. Separate
level is provided by the HP MAIN control.
Second
Headphone
Stereo
Connect the Guest headphones here. This output

is identical to the main headphone output, but
without level or mute. Please use an external
volume control for the Guest headphones.
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Edit Suite
GPIO Connections
Physical
Connection
Function Name
Action
GPIO Input 1
Return Talkback:
Routes the source MIC 2 to the main headphone output and lights
the TB MF Key (red).
MIC 2 to HP MAIN
GPIO Input 2
Return Talkback:
TB EXT to HP MAIN
Routes the source TB EXT to the main headphone output and lights
the TB EXT MF Key (red).
GPIO Input 3
Unused.
GPIO Input 4
Unused.
GPIO Input 5
Unused.
GPIO Input 6
TEL 1 Signaling
GPIO Input 7
Unused.
GPIO Input 8
DSP disable (see below)
Disables the ACCESS key so that DSP parameters are locked during
normal operation.
GPIO Output 1
Lights the GPI MF Key on the TEL 1 source to signal an incoming call.
MIC 2 to HP MAIN
GPIO Output 2
TB EXT to HP MAIN
GPIO Output 3
Unused.
GPIO Output 4
Fader start
GPIO Output 5
Fader start
GPIO Output 6
TEL 1 Call Pickup
Press the GPI MF Key on the TEL 1 source to pick up an incoming

call.
GPIO Output 7
Unused.
GPIO Output 8
On-Air (see below)
Signals that the consoles on-air state is active.
DSP Disable
When active, a source cannot be put into access; you cannot select the ACCESS button. This locks
the consoles DSP parameters so that the operator cannot adjust Input, Dynamics, Limiting, Delay or
EQ.
Fader Starts
A fader start is programmed for each of the sources AES 1 and AES 2. On these sources, open the
fader to activate a GPI; the GPI will then action the playback device.
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Edit Suite
On-Air
The console is on-air when the following conditions are true for either the MIC 1 or MIC 2 sources:
Faders open.
MUTE buttons off.
Note that the sources do not have to be assigned to a summing bus for the on-air state to be active.
When the console is on-air, GPI output 8 is active.
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Chapter 5: VisTool Operation

Introduction
This chapter deals with the real time operation of VisTool MK2 (VisTool runtime). Please refer to the
crystal Technical Manual for details on VisTool installation, and creating custom configurations using
VisTool Edit.
VisTool may run with sapphire, zirkon/Nova17, crystal and Nova29 systems.
Screenshots from a variety of products are used to illustrate this chapter.
What is VisTool?
VisTool Licences
VisTool Standard: Elements
o Buttons
o Metering
o Access Source Information
o Clock & System Time
o Timers
VisTool Snapshots (PC Snapshots)
User Rights Management
VisTool Unlimited: Application Examples
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What is VisTool?
What is VisTool?
VisTool MK2 is a software application which runs on an external PC and works in real time with
Lawo's crystal, sapphire, zirkon, Nova17 and Nova29.
Elements such as metering, timers, MF Keys, signaling and parameter displays can be viewed and
controlled from an external monitor connected to the VisTool PC:
Stand-alone Monitor
The VisTool PC is not included and must be provided by the customer.

You must install a VisTool PC in order to use VisTool snapshots and user rights
management.
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VisTool Licences
VisTool Licences
To operate VisTool in real time (known as runtime), you must activate one of the following software
licences:
VisTool Standard included free of charge with crystal and sapphire, and activated by the
activation process. This licence runs the standard configuration for your product with a fixed
set of pages and elements.
VisTool Unlimited a paid upgrade available from www.lawo.de. This licence runs any
VisTool start script, including custom configurations designed by VisTool Edit.
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Starting VisTool
VisTool automatically starts in "runtime" when you open a start script.
If you have a VisTool Unlimited licence, then you may open any start script including
custom configurations created by VisTool Edit. For example, you may have a choice of
start scripts for different types of show.
If you have a VisTool Standard licence, then you must open the standard configuration
start script. The start script must be generated from the VisTool .mdb file supplied with the
system by your system administrator.
1.
Double-click on the VisTool start script icon on your computer's desktop:
VisTool loads the data and automatically starts up in runtime. You should see your VisTool screen
(s) come to life. For example:
Stand-alone Monitor
If not, then check the following:

Do you have a valid software licence for the start script? To open a custom start script, you
must purchase a VisTool Unlimited licence from www.lawo.de.
Do you have a valid network connection between the VisTool PC and the Lawo system? If not,
then dynamic elements, such as meters, cannot interact with the system.
Is VisTool correctly installed and configured? See the crystal Technical manual for details.
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Closing VisTool
VisTool runtime pages open in full screen mode or frame-less windows (frame-less windows are
supported from Version 4.2 software onwards).
Note that there is no menu bar or exit/resize options.
To close VisTool:
1.
Press ALT + F4 on your PC keyboard.

If a "close password" is enabled for the configuration, then you cannot close VisTool
without entering the password. This prevents you accidentally closing VisTool during an
on-air transmission. Please ask your systems engineer if you wish to bribe them for the
password!
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Page Navigation
If your VisTool configuration supports multiple pages, then you may change pages as follows:
1.
Press the PAGE UP or PAGE DOWN keys on your VisTool PCs keyboard.
2. OR press a physical MF Key on the console control surface this option must be
programmed within the console configuration.
3. OR select the on-screen VisTool page buttons. In our example, there are 4 page select
buttons on the right hand side of the display; the current page button (MAIN) is illuminated in red:
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Touch Screen Operation

If you have a touch-screen interface fitted to your VisTool PC then you can touch on-screen
elements, such as buttons and timers, to operate them.
If not, use your mouse to select on-screen elements.
Or, for common functions, ask your systems engineer to programme a physical MF Key!
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The following elements are included in the VisTool Standard configuration. These elements may
also be included in VisTool Unlimited configurations (supported by sapphire, zirkon/Nova17,
crystal and Nova29 systems).
VisTool Standard (for crystal)
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Buttons
Buttons
Buttons on VisTool come in a variety of shapes and sizes, and may operate as MF Keys.
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Buttons
MF Keys
These buttons action a function when touched, or
pressed. Typical applications include:
Changing the Timer mode
Changing meter sources for a VisTool Meter
Access to system options, such as PFL modes,
ambient sensor on/off, etc.
Selecting SDI streams for SDI channels.
Snapshot management.
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Buttons
PFL Modes
On crystal, you can change the console's PFL mode from VisTool MF Keys:
The available options are:

SUM (default mode) multiple PFL buttons may be selected. Where faders are closed,
sources are summed onto the PFL Bus; when a fader is opened, PFL is cancelled. Where
faders are open, sources are put into PFL Prepare and will be summed onto the PFL Bus
once the fader is closed.
SUM R identical to PFL Mode SUM but PFL recurs if you open the fader (cancel the PFL)
and then close the fader. In this mode, PFL is only cancelled by deselecting the PFL button.
PFL identical to PFL SUM, but PFL buttons intercancel such that only one source may ever
be in PFL or PFL prepare.
PFL R - identical to PFL Mode PFL but PFL recurs if you open the fader (cancel the PFL)
and then close the fader. In this mode, PFL is only cancelled by deselecting the PFL button.
PFL A - this mode is called PFL Always and is identical to PFL Mode SUM with the exception
that it allows open faders to be put into PFL rather than PFL Prepare.
PFL AR - this mode is a combination of PFL Always and PFL Recurring which means that
PFL is never cancelled by opening a fader.
PFL PUSH PFL is momentary. This means PFL is active when you press the PFL button,
and cancels on release.
PFL DJ - allows you to prepare a fader level which is applied when you put the fader on-air.
Press PFL and adjust the fader level. Then deselect PFL and press START to put the fader
on-air - the fader jumps to the prepared level. (Note that the prepared level is applied only
once. So, if you take the fader off-air, and then press START again - the fader jumps to 0dB
as normal.)
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Buttons
SDI Group Selectors
If you have an SDI SD or HD embedder/de-embedder card fitted to your system, then you can select
the SDI stream from VisTool MF Keys.
SDI streams can contain up to 16 audio channels (mono) which
are divided into four 4-channel Groups:
Group 1: SDI channels 1-4.
Group 2: SDI channels 5-8.
Group 3: SDI channels 9-12
Group 4: SDI channels 13-16
The crystal SDI module is able to route a maximum of 8 mono
channels to/from the 16-channel SDI stream.
The 8 channels available from the SDI card are split into two
Blocks:
SDI In 1-4 available as sources.
SDI In 5-8 available as sources.
Similarly, the 8 channels returning to the SDI card are divided
into two Blocks:
SDI Bus 1-4 available as busses.
SDI Bus 5-8 available as busses.
Each block can receive signals from any one of four SDI Groups
(Group 1 to 4).
Use the Group select buttons to decide which incoming group of channels feeds SDI In 1-4 and 5-8,
and which outgoing group is fed from SDI Bus 1-4 and 5-8. The buttons are colour coded to indicate:
Red the group is assigned to the SDI block.
Yellow the group is assigned to another SDI block.
Green the group is not assigned.
In our example, Group 1 (SDI channels 1-4) is assigned to SDI In 1-4, and Group 2 (SDI channels 58) to SDI In 5-8.
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Faders
Faders
From Version 4.2 software, VisTool supports faders in choice of size, scale and style. An on-screen
fader may be linked to any physical fader on the console:
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Metering
Metering
VisTool supports several different types of meter element: PPM, VU, Loudness, Channel State and
Gain Reduction.
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Metering
PPMs
PPMs may be configured for channel metering, main metering, for the source in access or as DMS
meters:
Main Meters
Channel Meter
Channel Meters (1 to 60) - meter the source or bus assigned to the channel fader strip. They
are mono, stereo or 5.1 according to the fader strip assignment, and include the Display
name of the source or bus - in our example, LINE 1.
Main Meters (A, B, and 1 to 4) - the sources for these stereo main meters are defined by the
system configuration and include the Display name of the source or bus - in our example,
PGM and REC.
Access Input, Access PreComp, Access PostComp, etc. - these meters show the level at
different signal flow points for the channel in access. They are usually included in pages
showing Access_Source_Information.
DMS Meters (256 presented in 4 groups of 1 to 64) - these meters are defined by the system
configuration, and can be used to meter any source, mono, stereo, 5.1 or 5.1+2 channel.
They include the label defined by the configuration.
The PPM meter scale can be DIN, UK, NORDIC or DIG, and is configured by VisTool Edit.
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Metering
VUs
VUs may be configured using the same options as for PPMs.
The meter scale and characteristics are modelled on an analogue VU.
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Metering
Loudness Metering
Loudness Bargraph (as an Add-On to a PPM)
Integrated Loudness Measurement
From Version 4.2 software, the console supports loudness metering conforming to the ITU-R
BS1770.
Loudness meters may be assigned to a main meter, to the source in access or DMS meter, and
work in parallel to the regular PPMs. See the PPM assignment options for details.
Loudness Metering Bargraphs

When using bargraphs, a single bargraph represents the average energy of the summed component
channels: mono, stereo or surround. The average is measured using either a Momentary (400ms
sliding window) or Short term (3s sliding window) integration time.
The bargraph colour indicates whether loudness is above or below the Target Level. Scale markers
indicate a tolerance of +/- 1 LU/LK.
Integrated Loudness Measurement

The integrated loudness measurement provides a very useful tool for measuring loudness over long
periods of time. For example to measure the loudness of a complete programme transmission.
The measurement can usually be started, stopped, paused or reset from buttons beside the display.
In our example, the integrated loudness measurement is reading -23 LUFS (Loudness Units Full
Scale).
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Metering
Channel State & Channel State 10
This element is designed to fit alongside the channel PPM, and provides an overview of channel
status.
The element is configured to a specific fader strip by VisTool Edit, and includes:
DSP Status (EQ, DYN, COMP, EXP, GATE, LIM, DELAY) these indicators turn from green
to red whenever the DSP module is on. DYN is the status of the master dynamics on/off;
COMP, EXP and GATE show the status of the individual sections.
Bus assignments show the name and status of the first 10 (or 20) bus assignments as
defined within the system configuration:
o Red indicates a pre-fader assignment.
o Yellow indicates a post-fader assignment.
o Green indicates no assignment.
Gain Reduction - these three meters show gain reduction for:
o D = Dynamics
o L = Limiter
o S = De-esser
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Metering
Gain Reduction
This element can exist by itself, separate from the Channel State. The element
is configured to a specific fader strip by VisTool Edit. The three meters show
gain reduction for the:
D = Dynamics
L = Limiter
S = De-esser
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Access Source Information
Access Source Information

VisTool supports several elements to provide feedback on the source in access.
The elements shown are configured by VisTool Edit , and may include:
SourceName displays the name of the source in access (e.g. mic mo).
SourceName_Alt as above, but uses the "old" design of the element (used by previous
versions of VisTool).
Source - displays the status of input parameters (e.g. Mic Gain, 48V, etc.) for the source in
access:
Bus (or Bus 20) - show the name and status of the first 10 (or 20) bus assignments as
defined within the system configuration:
o Red indicates a pre-fader assignment.
o Yellow indicates a post-fader assignment.
o Green indicates no assignment.
Delay delay time.
Dynamic Expander, Gate and Compressor graph and parameters.
Eq EQ graph and parameters.
Limiter Limiter graph and parameters.
Panning - XY pan position and surround parameters.
PWB Pan, Balance or Width parameters.
When a DSP module is in circuit, its parameter graph is shown in red. When a DSP
module is out of circuit, the graph is shown in green.
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Clock & System Time
Clock & System Time

The VisTool clock shows the internal time of your PC, and is configured by VisTool Edit:
Or, you can use VisTool Edit to add the System Time as a text element within any VisTool page:
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Timers
Timers
VisTool Standard includes timers; VisTool Unlimited can support up to 6 timers configured by
VisTool Edit.
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Timers
Timer Mode & Name

Timers can run in Count-Up/Count-Down mode, or be
configured to follow a source. If so, you may be able to select
the Timer mode from MF Keys for example:
Follow Mic the timer automatically runs when at least
one mic is on air.
Follow OnAir the timer runs when at least one
source (mic, line, etc) is On Air.
Free the timer is controlled by the Start, Stop and
Reset buttons shown opposite.
Each timer is named, so if you have mode buttons it will be
renamed accordingly. - in our example, TIMER 1 Up.
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Timers
Free Mode: Count Up/Count Down

If the timer is set to Free mode, then it is operated from the Start, Stop and Reset buttons, and can
Count-Up or Count-Down:
Count-Up
1.
Select the + sign on the VisTool screen to use the timer in count-up mode:
2.
Press Start to start the timer.
The timer starts counting up from 00:00.

3.
Press Stop and the timer will stop at the current time.
4.
Press Start again and the timer will restart from the current position.
5.
You can reset the Timer clock to 00:00 either by:

Selecting the + sign while the timer is running.
Pressing the Reset button.
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Timers
Count-Down
1.
Select the - sign to change the timer to count-down mode.
2.
Click on the timer to open its properties:
The Preset time is the reset value. In other words, when you reset the timer, it will return to
this setting.
The Alarm value is the time below which the timer number turns red.
Use the + and - buttons to adjust each field.
3.
Select OK to confirm the new settings.
4.
Now press Start to start the timer.
The timer starts counting down from the Preset time.

When the timer reaches the Alarm value, the numbers turn red to warn you that you are almost
out of time!
5.
You can stop and start the timer as before.
6.
You can reset the timer clock to the Preset time either by:
Selecting the - sign while the timer is running.
Pressing the Reset button.
If the timer counts down to 00:00 and no stop signal arrives, it will then start to count up
showing how many seconds you are overrunning! In this case, the Alarm status remains
active until the timer is reset.
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VisTool Snapshots are snapshots which are saved and loaded to/from a PC file..
For details on what may be stored and recalled in snapshots, see Console Operation: Snapshots.
Snapshots save settings for all sources and summing busses even if they are not
assigned to a fader. You may you specify whether snapshots save and load parameters
for all faders of the console, or only up to a certain fader number. (Use Snapshot
faderoffset in System -> Definition -> Parameter = Fader to set this option.)
Warning
It is not recommended that snapshots are loaded during a live broadcast as to do so may
reset matrix connections or take sources off air!
MF Keys either on the console front panel or on a VisTool page may provide access to the save, load
and erase PC snapshot functions.
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To load a VisTool snapshot

1. Select the Load PC Snap button. This MF Key could be on the front panel or VisTool touchscreen.
The Snapshot load window appears.
2.
Select a Group from the top of the window (e.g. TomsSnaps):
If your system is configured with User Rights Management, then the snapshot groups you
can access are defined by your administrator.
In addition, your administrator can set your default snapshot group (this is the group which
is automatically selected whenever you Save, Load or Erase a PC snapshot.)
3.
Then select a snapshot from the list (e.g. Talk Show):
4.
Before you select OK, check the snapshot Type:

Full snapshots store and recall all settings.
Source snapshots store settings for the source in access only (crystal & sapphire only).
5.
To load a Full snapshot, select it and OK.
The snapshot settings are loaded to the system.

6.
Before loading a Source snapshot, check if there is a source in access:
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If yes, then the Source snapshot settings are recalled to the source in access. Only
parameters which are available on the source are loaded.
If no, then the Source snapshot settings are recalled to the original source. This is the source
which was in access when the Source snapshot was saved.
7.
Select the Source snapshot and OK to load it.
The snapshot settings are loaded accordingly.

If you are working from VisTool, and the Display SnapShotName MF Key function is configured,
then the name of the current snapshot will appear on the display.
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To save or erase a VisTool snapshot

You can save and erase PC snapshots in a similar manner.
If your system is configured with User Rights Management, then the snapshot groups you
can access are defined by your administrator.
In addition, your administrator can set your default snapshot group (this is the group which
is automatically selected whenever you Save, Load or Erase a PC snapshot.)
When saving snapshots, your system may be configured with one or both of the following MF Keys:
Save snap saves a Full snapshot.
Save source snap saves a Source snapshot with settings for the source in access
(crystal & sapphire only).
When you save, you will be asked to enter a name for the snapshot and a comment.
Similarly, your system may be configured with an Erase Snap MF Key.

If you are working from VisTool, and the Display SnapShotName MF Key function is configured, then
the name of the current snapshot will appear on the display.
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The User Rights Management system brings more security to the installation, since different users
may have different levels of access to specific functions. In addition, it can simplify the consoles
operation snapshots which load when the user logs in can reset the console for their show.
The system allows administrators to define user groups, users and snapshot groups. A user may
belong to one or more user groups, and snapshot groups are available to all users within each group.
When a user logs in, they have access to the snapshot groups defined for their user group. In our
example, the DJs have access to the "Music" snapshot group, while the Newsreaders have access
to "News". Tom is a member of both the DJs and News user groups, and therefore can access both
"Music" and "News" snapshot groups:
Any user group can have administrator access - in our example, the group called "Administrators".
Administrators can create and edit user groups, and define their user rights. This determines which
operations users may access for example, whether they can save, load or delete snapshots,
whether they can control DSP parameters, whether snapshots are loaded when they login, and so
on. See The Admin Pages for more details.
User rights management data is saved along with VisTool snapshots to/from a file on your PC
(VisConfigurations.mdb)..
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User Login
If your console is configured with user rights management, then you will have access to a "Login" MF
Key. To login to the console, you will need your user name and password, as defined by an
administrator.
If this is the first time anyone has logged in to the system, then the initial administrator user
is called "admin" and the password is "default".
If an administrator has reset your password, then it will be "0000".
1. Select the Login button. This MF Key could be on the front panel or VisTool touch-screen. It
may require you to press and hold an Unlock MF Key in order to access the function.
The 'Login' window appears (either on your external VisTool display or the Visual Extension):
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2.
Enter your User name (e.g. sue) and Password:
3.
Then select Login:
Providing your user name and password are correct, you are logged in to the console, and the
'Login' window closes.
One or more snapshots may automatically load when you login to reset the console for
your show. Administrators, please see User Snapshot Properties.
After login, your user rights affect the following operations:
Snapshots - which VisTool snapshot groups you can access, and whether you can
save, load and/or delete snapshots.
Other console operations - such as Source Parameter Control, Channel Parameter
Control, Fader Strip Assignment, etc.
Administrators, please see User Group Snapshots and User Group Rights for more
details.
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Logout
You can also use the 'Login' window, to "log out". This will leave the console in a default or safe state,
as defined by the console configuration.
1.
Select the Login button to open the 'Login' window.
2.
Select Logout.
The console may reset, for example to a safe (blank) state.

The 'Login' window, if re-opened, shows that the Current User is Nobody:
To operate the console from this state, you must log back in, see User Login.
The logout state is controlled by the Administrator settings for the user called "Nobody".
Therefore the operation on your console may vary from that described above. In our
example, it is the login snapshot for the user "Nobody" which resets the console to a blank
state, and the user rights for "Nobody" which prevent access to console operation.
To change this behaviour, you must login as an Administrator and edit the login snapshot
and user rights for the user "Nobody" in the usual manner. See the Admin Pages.
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Changing Your Password

Once you are logged in, you may change your password as follows:
1.
Select the Login button to re-open the 'Login' window.
You should see that you are logged in as the Current User.
You cannot change your password if you are not logged in!
If you have forgotten your password, then an Administrator can reset it to 0000.
Administrators, please see Password Reset.
There are no restrictions on the characters used for a password.
2.
Select Change Password:
3.
Enter your new Password twice and select OK:
4.
Test the new password by logging out and logging in.
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Administrator Login
In order to create or edit users, user groups and snapshot groups, you must login as an
administrator.
To login as administrator for the first time:
1.
Enter the following details at the Login window:

User name = "admin"
Password = "default"
2.
Select Login:
Providing the user name and password are correct, you are logged in to the console as an
administrator, and the Login window closes.
To change the administrator password:
Having logged in as "admin", you can change the "admin" password at any time, see Changing Your
Password.
To login as a user with "administration" rights
If your user group has "administration" access, then you can use your normal user login to access
the Admin pages.
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The Admin Pages

1. To access the Admin pages, re-open the Login window, and select Admin:
The three options allow you to:

Edit Snap Group - create or rename snapshot groups.
Edit Group - create user groups and define:
o which snapshot groups can be accessed, and whether users can load, save and delete
snapshots.
o whether the user group has Admin page access.
o which console operations ("rights") are available to the users within the group.
Edit User - create users and define:
o which user groups they belong to.
o their user name and password.
o their default snapshot group (opens when they choose to load or save snapshots).
o their login snapshots (load after the user logs in).
2. Select OK to exit the 'Login' window without making any changes.
If the Admin page options are greyed out, then you are not logged in as an administrator:
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Edit Snap Group
This option is used to create and rename snapshot groups.
1. From the Admin page options, select Edit Snap Group:
The 'Edit Config Group' window opens, with a list of snapshot groups on the left (Snap Group),
and snapshots stored within each group on the right (Snaps):
2. To create a new snapshot group, select New. (Or, to edit an existing group, select a name and
then Properties).
The 'Snap Group Properties' window appears:
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Caption - enter a name for the snapshot group, e.g. Music Shows.
Comment - you can enter comments if you wish.
3. When you have finished editing, select OK.

The 'Edit Config Group' window updates to show the new snapshot group - Music Shows:
4. Continue selecting OK to confirm and close all the Admin windows.

For users to access the new snapshot group, you must add it to a user group. All
members of the user group will then be able to access the snapshot group, according to
the snapshot group access options.
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Edit Group
This option is used to create and edit user groups. You can define:
which snapshot groups can be accessed, and whether users can load, save and delete
snapshots.
whether the user group has Admin page access.
which console operations ("rights") are available to users within the group.
To Create or Edit a User Group
1. From the Admin page options, select Edit Group:
The 'Edit User Group' window appears, with a list of user groups on the left (Group), and the
snapshot groups they may access on the right (Snap Group):
2. To create a new user group, select New. (Or, to edit an existing group, select its name and
then Properties).
The 'User Group Properties' window appears.
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General Properties
1. Select the General tab to edit the:
Caption - enter a name for the user group, e.g. DJs.

Admin - tick this box to enable Admin access. This allows all users within the group to open
and edit the Admin pages.
Snap Groups - this area defines the snapshot groups which users can access (see next
page). On the left are all snapshot groups defined in the VisTool snaphots database. On the
right are the snapshot groups which are available to the user group.
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To Add Snapshot Groups to the User Group
1. Select a snapshot group from the list on the left - e.g. TomsSnaps:
2. Select Add:
TomsSnaps moves to the right. This will make it available to all users within the DJs user group:
3. Select which snapshot operations are allowed for TomsSnaps by ticking, or unticking, the
relevant boxes:
Load Access - users can load source snapshots.

Save Access - users can save source snapshots.
Load - users can load full snapshots.
Save - users can save full snapshots.
Delete - users can delete snapshots.
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4. Repeat steps 2 and 3 to add more snapshot groups to the user group:
5. Or, use Del to remove a snapshot group from the user group's access.
By creating multiple snapshot groups, and defining different snapshot operations for each
user group, you can control which users can save and delete important snapshots.
The Snap Groups list shows all snapshot groups defined in the VisTool snaphots
database. If you have not yet created any snapshot groups, then this list will be empty. Go
to Edit Snap Group to create some snapshot groups.
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User Group Rights
1. Select the Rights tab to edit the user group rights.
What you see in this window depends on your system configuration. Up to 32 "rights" may be
named and defined by the configuration. Our example includes 4 "rights":
2. Tick, or untick, the boxes to activate each option - in our example:

DSP Parm - source parameter control.
Channel Parm - channel parameter control.
Assign Enable - fader strip assignment.
Local Snap save - the ability to save (overwrite) the 5 local snapshot memories.
In our example, all users within the DJs user group will be able to control source parameters,
channel parameters and assign fader strips. They will not be able to save settings to the 5 local
snapshot memories.
To Close and Save Your Changes
1. When you have finished editing both the General properties and the user group Rights, select
OK.
The 'Edit User Group' window updates to show the new user group - DJs - and its available
snapshot groups - TomsSnaps:
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Other Edit Group Operations
The following operations are available from the 'Edit User Group' window:
Copy - select a user group from the list plus Copy to make a copy of an existing user group.
All General properties and Rights are copied into the new user group name.
Delete - select a user group and Delete to delete an existing user group.
Warning
The Delete user group operation cannot be undone, so take care when using this function.
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Edit User
This option is used to create and edit users. You can define:
which user groups they belong to (and therefore which snapshot groups they can access.)
their user name and password.
their default snapshot group (opens when they choose to load or save snapshots).
their login snapshots (these are snapshots which load automatically after the user logs in).
To Create or Edit a User
1. From the Admin page options, select Edit User:
The 'Edit User' window appears, with a list of users on the left (User), and the user groups they
belong to on the right (Group):
2. To create a new user, select New. (Or, to edit an existing user, select a name and then
Properties).
The 'User Properties' window appears.
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General Properties
1. Select the General tab to edit the:
Caption - enter a name for the user, e.g. Sue.

Password - enter a password for the user (the default is 0000). This can be changed by the
user once they login, see Changing Your Password.
Reset - resets the user's password to 0000. (Very useful if a user forgets their password).
User Groups and Member of - defines which user groups the user belongs to (see next
page).
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To Add the User to a User Group
1. Select a user group from the list on the left - e.g. DJs:
2. Select Add.
DJs moves to the Member of list on the right; Sue is now a member of the DJs user group:
3. Repeat steps 1 and 2 to add the user to more user groups:
4. Or, use Del to remove a user group.

Each user can belong to several user groups. In our example, Sue is a member of the DJs
and Sendung user groups. This means that she can see all snapshot groups assigned to
these user groups, and access their user group rights.
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Snapshot Properties
1. Select the Snapshots tab to edit the default snapshot group, and order of any login snapshots,
for the user:
Default Snap Group - select a snapshot group from the drop-down menu - in our example,
Music Shows. This becomes the group which is automatically selected whenever the user
attempts to Save, Load or Erase a VisTool snapshot.
Snapshot Order - snapshots entered in this list are loaded immediately after the user logs in.
This can be used to automatically reset the console for the user's show, or type of work,
whenever they login to the console.
2. To configure the console to load snapshots after login, use the Add and Del buttons to move
entries from the Snapshots list (on the left) to the Snapshot Order list (on the right):
The Snapshots list (on the left) shows everything available in the user's snapshot groups.
Remember that the available snapshot groups are defined by editing the user group.
3. Use the Up and Down buttons to change the order in the Snapshot Order list (on the right).
Snapshots load from top to bottom after the user successfully logs in.
In our example, the system will load the full snapshot for the talk show, followed by the
source snapshot for the DJ - Tom. By entering multiple snapshots in this list, you can
easily configure the console for individual users.
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To Close and Save Your Changes
1. When you have finished editing both the General and Snapshots properties, select OK.
The 'Edit User' window updates to show the new user - Sue - and their user groups - DJs and
Sendung:
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This section looks at functions which can only be supported by VisTool Unlimited. There are many
possibilities, but the most common applications include:
Matrix Control
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Matrix Control
Matrix Control
A common application for VisTool is to create a matrix control panel using on-screen buttons. The
example below shows three rows of buttons:
The top row selects the source using MF Buttons.

The middle row selects the destination using MF Buttons.
The bottom row displays the name of the source connected to the destination using Text
Buttons.
The
icon represents the mute source (silence).
Routes are first selected using the top and middle rows, and then confirmed using the TAKE MF
Button. This method provides the advantage that several assignments can be pre-selected and then
confirmed with one TAKE operation.
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Matrix Control
To make a route:
1.
Select a source from the top row of buttons (e.g. in01L):
The selected source button blinks in yellow.

2.
Now select a destination (e.g. out02L):
The pre-selected source blinks in yellow on the third row of buttons below the selected destination.
3.
To confirm and make the route, press TAKE:
The route is made, and the source and destination buttons turn red to show that they are now
assigned. The name of the source assigned to out02L is shown in the text button beneath it.
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Matrix Control
4. Using this method, you can make multiple assignments by selection a source and then a
destination several times:
The pre-selections blink in yellow.

5.
To confirm and make the routes, press TAKE:
The amount of time for which a pre-selection is active is set within the configuration.
Therefore if you wait too long before pressing TAKE, the pre-selections will cancel.
In our example, we have used a Screen Module MF Key (TAKE1). However, the Take
control signal can be any logic control signal GPI, MF Key, etc.
You can also configure a matrix control system without a TAKE function. For example, if
you wish routes to be made by selecting a source and then a destination. This will alter the
operation such that only one route can be made at a time first select the source, then the
destination and the route is made.
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Source Parameter Control (PARM)
Source Parameter Control (PARM)

VisTool can be used to provide on-screen buttons (PARM) to control processing modules such as
EQ, Dynamics, etc.
The PARM control buttons always adjust parameters for the source in access.
The example below shows EQ ON, GAIN + and GAIN PARM buttons, along with Access Keys to
allow source selection. The VisTool screen also incorporates an EQ graph so that you can see what
you are adjusting:
To control parameters for a source:

1. Select a source, either by pressing a VisTool Access Key (e.g.mono), or pressing ACCESS 1
or ACCESS 2 on the console surface.
2.
Select the EQ ON button to turn the equaliser on or off.
For switched functions such as EQ On/Off, red indicates that EQ is on; green indicates that EQ is
off.
3. Select the Gain + or Gain buttons below each equaliser band to boost or cut the current
frequency.
For variable functions such as EQ Gain, use the + and buttons to increase or decrease the
parameter value.
The list of PARM control functions is very comprehensive and provides access to virtually
all source parameters.
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Glossary
Glossary
48kHz or 44.1kHz
See Sample Rate.
Access
On crystal and sapphire consoles, much of the source parameter

operation is performed by selecting a fader strip. This is otherwise known
as putting a source in access.
Attack Time
In the context of dynamics processing (compressor, limiter, gate or

expander), the attack time defines the duration over which an input signal is
measured. The longer the attack time, the slower the processor will react.
For example, when using a gate, a fast attack time causes the gate to open
quickly when signal exceeds the gate threshold.
Aux
Auxiliary
An Aux is a general purpose mono, stereo or multi-channel summing bus
which can be used for a variety of applications such as sending to outboard
effects devices.
Aux Send
Auxiliary Send
Source channels feed onto each aux via their Aux Send. The aux send from
each channel can be either pre or post fader and has variable level control.
Aux Master
Auxiliary Master
The Aux Master is a master source channel used to control the level and
processing of the Aux output. The direct output of the Aux Master is the
signal routed to the outboard effects send.
Aux Return
Auxiliary Return
The Aux Return is the name given to the return channel from the outboard
effects device. This channel controls the level and processing of the effect
as it is summed into the rest of the mix.
Band Pass Filter
See Filters.
Balance
Balance is applied to the input of a stereo channel and is the ratio between
the left and right input levels. When Balance is set to its default value, the
level of left and right inputs are equally weighted.
Bargraph
An optical display instrument in the shape of a LED bar for displaying signal
level.
Clean Feed
See Mix Minus.
Compressor
A dynamics processor used to smooth out uneven signal levels. For

example, when a presenter shouts and then whispers, they are producing
sound which has a wide dynamic range; one moment it is very loud and the
next very quiet. This can mean that if we listened to this signal on our radio
without compression, we would forever be turning the level up and down! A
compressor smooths the signal such very loud audio is reduced in level
and very quiet audio is increased in level. This results in smaller dynamic
range ideal for radio transmission.
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Glossary
Configuration
The console configuration is a file created by the zirkon Configuration Tool

software. This file is then transferred to the consoles system unit where it
is then loaded every time the console powers on. The configuration defines
key elements of the system such as sources, summing busses, signal
processing, MF Key functions.
DALLIS
Lawos modular I/O interfacing system based on 19 frames using plug-in

cards for different interfaces.
dB
deciBel
A unit of transmission giving the ratio of two powers.
The number of bels is the logarithm to the base 10 of the ratio of the two
powers. One decibel equals one tenth of a bel.
dBu
dBu is used to describe levels within the analogue domain, and is a

measure of absolute voltage level based on 0dBu = 0.775 Volts (RMS). dBu
is often used to indicate nominal broadcast operating levels. For example,
in the EBU normal broadcasting level = +6dBu.
dBFS
dB Full Scale
dBFS is used to describe levels within the digital domain. 0dBFS describes
the systems internal clipping point; this is the maximum level which may be
handled by the system without signal distortion. For example, your system
may be set for +18dBu = 0dBFS. If your normal broadcast level is +6dBu
then this leaves an operating headroom of 12dB.
Delay
The signal output from a delay module is x ms behind the signal input to the
module. Delay is often applied to audio sources whose video has
undergone digital video processing; delay is required such the audio
remains in sync with the video.
Direct Out
Direct Output
The direct output of a source channel is the output of the individual source.
Direct Outputs are often used to provide a record or snoop feed of a single
source, and may be taken from various points within signal flow: pre fader,
post fader, etc.
DSP
Digital Signal Processing

Digital signal processing (DSP) is the study of signals in a digital
representation and the processing methods of these signals.
Within crystal, DSP is also used as the collective name given to the
processing chips, within the system units Master Board, which provide
audio signal processing such as equalization, dynamics and delay.
Dynamics
Dynamics is the collective terms given to audio processing which responds

to changes in signal level. For example, a Compressor, Limiter, Gate or
Expander.
In crystal and sapphire, Dynamics is also used to describe the dedicated
DSP module containing the three sections Gate, Expander and
Compressor.
EQ
Equaliser.
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Glossary
An equaliser is a processor which changes the frequency characteristics of

a signal, for example to increase the amount of treble or bass components
in the signal.
Expander
A dynamics processor used to magnify changes in the dynamic range of

the input signal. For example, to reduce noise in speech pauses. See also
Compressor.
Fader
A potentiometer used to adjust the gain of a signal.
Filters
Filters are equaliser sections which are used to cut out or reduce specific
frequency bands within the signal. For example, a Low Pass Filter cuts out
high frequencies so will result in less treble to the sound. A High Pass Filter
cuts out low frequencies, for example you may use this to remove
unwanted low frequencies like hum or rumble. A Band Pass Filter cuts out
both high and low frequencies allowing frequency components within the
band to pass through the signal; for example, you may use this type of filter
to create a telephone effect on a normal voice.
Gain
Adjusting the gain of a signal results in a change in the perceived level or

amplitude. An increase in gain (positive values) results in amplification and
a reduction in gain (negative values) in attenuation.
Gate
A dynamics processor used to remove unwanted signals below a certain

threshold level. For example, if a gate is applied to a presenters
microphone source, then when they speak signal level exceeds the gate
threshold and the gate opens, while if they make a low level sound, like
shuffling in their seat, the gate remains closed. The result is that only the
signal we want to hear is output from the source channel!
GPI
General Purpose Interface (IEEE488) is a standardised platform

independent short-range digital interface, to allow switching connections
between broadcast equipment from different manufacturers.
Headroom
The amount of operating level which is in reserve between normal operating

level and 0dBFS.
High Pass Filter
See Filters.
Insert Point
A connection point within the source channel which interrupts the signal
flow and routes out to a piece of external equipment and returns back to the
source channel.
Insert send = route out from the source channel to the external device.
Insert return = input to the source channel from the external device.
Limiter
A dynamics processor used to stop signals exceeding a certain threshold

level. For example, you may place a limiter across the main output of the
programme to prevent a sudden increase in level exceeding the clipping
point of your transmission feed and causing signal distortion.
Low Pass Filter
See Filters.
Mix Minus
Mix Minus, Clean Feed and N-1 are all terms used to describe a feed which
is created from a number of channels minus a particular channel or
channels. For example, to provide telephone hybrids with a feed of the
programme minus the incoming phone call.
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Glossary
MF Key
Multi Function Key

Programmable keys which can be used for a variety of functions as set in
the consoles configuration.
Module
Within crystal and sapphire, this term is used to apply to the control
surface Fader, Central and Extension modules, or to the different sections
of signal processing (EQ, Dynamics, etc.)
Monitor
Term used to describe the outputs and functionality of feeds to

loudspeakers or headphones for the purpose of listening to a mix.
ms
milliseconds
Unit of time measurement.
M-S
Middle and Side Stereo

Used to describe an arrangement of two coincident microphones, one
pointing to the front (Middle) and the other (bidirectional) at right angles
providing a Side signal. crystal and sapphire provide M-S to X-Y decoding
to turn the Middle and Side signal into normal Left and Right stereo.
Nova17
A stand alone routing matrix with networking capabilities; the name given to
the sapphire system unit without a control surface.
Nova29
A stand alone routing matrix with networking capabilities; the name given to
the crystal Base Unit without a control surface.
Nova73
A stand alone routing matrix with networking capabilities; this is a large

matrix related to the mc 2 series of Lawo consoles.
N-1
See Mix Minus.
On-Air
Term used to indicate that a radio or TV programme is being broadcast.
Overload
Occurs when the signal level is too large for the system, resulting in signal
distortion.
Panning
Used to control the left/right position of a mono source when routed to a

stereo or multi-channel output. For example, if a source is panned left, the
entire signal from the source is routed to the left side of the summing bus. If
a source is panned centre, equal levels are applied to the left and right
sides of the summing bus, etc.
PFL
Pre Fade Listen

Used to listen to signals before the application of fader level. Provides a
way of listening to a source when the fader is closed to check its signal
before the fader is opened to route it onto the programme output.
Phantom Power
This is the power supply required when working with condenser

microphones. The console supplies 48V to the microphone via the audio
connector.
Programme
The main output of a live broadcast console. This is the mix which feeds
the transmission chain.
RAS
Radio Automation System control protocol is Lawos universal protocol for

communication between a mixing console (MIXER) and a radio automation
system (RAS).
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Glossary
Ratio
In the context of a compressor or expander, the ratio defines how much

compression or expansion is applied. For example, the high the
compressor ratio, the more signal levels above the compressor threshold
will be compressed.
Release Time

expander), the release time defines the time taken for the action of the
processor to subside. For example, when using a gate, a short release
time will cause the gate to close quickly after signal falls below the gate
threshold.
Remote MNOPL
The remote control protocol RemoteMNOPL is a LAN based client-server

network byte order protocol to enable third party systems to control Lawos
digital mixing consoles or standalone routers.
Roll-off Frequency
See Shelving EQ.
Routing
Signal Routing
Term used to describe the connection made between an input and output.
RS422
Type of serial interface used by the crystal to communicate with external

devices such as radio automation systems.
Rumble Filter
Name given to the High Pass Filter which can be inserted in the analogue
microphone preamplifier. Used to cut out or reduce unwanted low
frequencies, such as rumble, before analogue-to-digital conversion.
Sample Rate
The speed at which the internal processing of the system takes samples
respective to values from a continuous, analogue audio signal to make a
discrete, digital one. For example, when running at 48kHz, incoming
analogue audio is sampled at a rate of 48000 values per second.
Shelving EQ
A shelving equaliser band is used to increase or decrease high or low

frequency components of a signal. The slope of the shelf defines how
steeply the gain increase/decrease is applied. The roll-off frequency defines
the frequency at which signal level is reduced by 3dB.
Slope
See Shelving EQ.
Source
Used within the crystal and sapphire to describe a channel setting

including input signal and associated attributes (e.g. DSP parameters, MF
Key functions, etc). Becomes active when assigned to a fader channel.
Different to Input - the term for a pure input (the physical interface).
Sum
Summing Bus
The result of several audio signals mixed together within the console.
Telephone Hybrid
Device which deals with bi-directional signals to/from a 2-wire phone line.
One line provides an incoming feed from the phone line (e.g. the guests
voice), and the other sends signal back to the receiver (e.g. the mix minus
feed).
Threshold

expander), the threshold defines the signal level at which the processor
starts to act. For example, the gate threshold sets the level at which the
gate will open and then close.
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Index
Index Directory
Edit Suite template

131
Emergency mute
96, 130
EQ
59, 75
Expander
70
-444.1kHz
74
48kHz
74
48V phantom power
64
-AACCESS keys
39, 61
ACCESS source
157, 162
Administrator login
177
ALARM
109, 127
Ambient sensor
95, 128
Assigning fader strips
53
Aux busses
79
-BBalance
36, 64
Basis (width control)
64
Bus assignment
79, 160
-CChannel meters
157
Channel ON
38, 104, 120
Channel signal flow
17, 59
Clearing a fader strip
56
Clipboard
128
Clock
163
Compressor
68
Conference busses
38, 78, 81, 104, 120, 123, 135
Configuration templates
98
Configuration Tool
15
Control surface frame options
11
Copy & Paste DSP
128
-DDALLIS
12
De-esser
72
Delay
59, 74
Diagnostics
22
DIM
107, 123, 136
Direct Out
59
DJ monitoring
123
DMS meters
157
DSP Disable
141
Dynamics
59, 67, 160
202
-E-
-FFader labels
42
Fader scale
40
Fader start
114, 130, 141
Fader strip overview
33
Fader strip source assign
53
Filters
77
91
-GGain
34, 35, 64
Gain reduction metering
160, 161
Gate
71
Global PFL off 109, 127
GP sums
78
GPIO functions
96, 114, 130, 141
Guest monitoring
107, 125
-HHeadphones
107, 123, 136, 140
High pass filter
64, 77
-IInput control (INP)

Inserts
59
64
-KKey Panels
14
-LLabels
42
LAWO backlight
41
Left/right input control
LFE level
36, 64
Limiter
59, 73
Login
173
64
-M Main meters
Master Board
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157
12
Index
Matrix control
193
Meter scale
157
Metering
97, 107, 122, 129, 136, 156
MF keys
38, 89, 95, 104, 109, 120, 127, 135
Mic gain
34, 35, 64
Mix minus
38, 78, 81, 104, 120, 135
Monitor Module
57, 89, 107, 122, 136
Monitoring
89, 107, 113, 122, 129, 136, 140
Mono (a stereo input)
64
MUTE
38, 107, 123, 135, 136
-NN-1
38, 78, 81, 104, 120, 135
Networking
20
-T -
-OOn-air
Standard templates
98
START fader
38
Stereo sources
64
Studio monitoring
107
Subwoofer level
36, 64
Summing busses
17, 78, 103, 119, 134
Surround downmix
64
Surround pan
36, 64
Surround sources
64
Sync
127
System components
10
System configuration
15
System time
163
System Unit
12
95, 109, 141
-PPAD
64
Pan
36, 64
Parametric Equaliser
76
Password
176
PC snapshots
19, 168
38, 78, 90, 104, 120, 123,
135
Phase reverse
64
Pool sources
37, 93
Powering on
26
PPMs
157
-RRadio On-Air template

100
Radio RAS template
116
REC Mode
109
Red light
96, 123, 127, 130
Reset DSP
128
Return talkback
95, 112, 126, 139
Talkback
38, 95, 104, 109, 113, 120, 126, 127, 129,
130, 138, 140
Telephone hybrid (GPI)
135
Telephone hybrid (RING)
38, 104
Templates
98
Timers
164
Tone
95, 128
-UUnlock
95, 128
User Labels software
43
User rights management
19, 172
-VVCA grouping
160
VisTool licensing
145
VisTool operation
143
VisTool snapshots
19, 168
VUs
158
-WWeb browser interface

Width control
64
22
-SSignal flow
17, 101, 117, 132
Signal present (LAWO)
41
Slope (pan control)
36
Snapshot groups
179
Snapshots
19, 84, 168
SoP Explorer
22
Source parameters
59, 60, 196
Sources
17, 58, 102, 118, 133
V4.2/1
203

Lawo Crystal Operators Manual V4.2 1

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Changes to This Manual

Important Safety Instructions

The Standard Templates

crystal Operators Manual

Getting started Operation

Useful tips and short cuts.

crystal Operators Manual

Changes to This Manual

Changes to This Manual

crystal Operators Manual

Changes to This Manual

crystal Operators Manual

Important Safety Instructions

Important Safety Instructions

crystal Operators Manual

Important Safety Instructions

First Aid (in the case of electric shock)

crystal Operators Manual

crystal Operators Manual

crystal Operators Manual

The Control Surface

crystal Operators Manual

The Base Unit

This is a 19/1RU unit which handles the following:

crystal Operators Manual

The VisTool PC is not included and must be provided by the customer.

crystal Operators Manual

KSC-T20 19/1RU panel with 20 backlit programmable buttons:

KSC-LCD16 19/1RU panel with 16 self-labelling LCD buttons:

KSC-GPIO32 19/1RU panel with 32 GPIO contacts and 8 VCA inputs:

crystal Operators Manual

Configuration and Templates

The Configuration Tool

crystal Operators Manual

crystal Operators Manual

crystal Operators Manual

crystal Operators Manual

Snapshots and User Rights Management

crystal Operators Manual

crystal Operators Manual

crystal Operators Manual

Software Diagnostics and Maintenance Tools

The Web Browser Interface

crystal Operators Manual

Chapter 2: Getting Started

Chapter 2: Getting Started

crystal Operators Manual

Chapter 2: Getting Started

Fader Module Quick Reference

When the ACCESS key (3) is off (green), the

When the ACCESS key (3) is off (green), the 4

The ACCESS key is used to select a fader strip

The fader is a long life manual fader with a

The LAWO backlight indicates either signal

This display shows the name of the source or

The two large multi-function (MF) keys are

crystal Operators Manual

Chapter 2: Getting Started

Monitor Module Quick Reference

Peak Meter This stereo peak meter is defined by the

This detector automatically adjusts the

On the first Monitor Module, these 8 buttons

The two rotary controls and MF Keys are all