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Monitor Calibration Procedure using the TMC-1

I have been asked several times how to calibrate the speakers using the TMC-1, you can find the answer buried in the reference manual or read this quick post.

There are two ways of calibrating the inputs and speaker outputs

1) Using the TMC-1

  • [Select]+[Page] to enter the select page

  • [Select]+[Setup] to enter Advanced setup

  • Adv Menu-2 Calibration Lock - select - Unlock All

  • [Page] to exit Setup

  • With [Sum] off, hold a input select key depressed you can trim an input -10/+20dB

  • [Ctrl] to select speaker solo

  • Hold a speaker key depressed and you can trim the speaker gain +/-4dB

2) Using the TMC-1v6 program

  • Select the 'Cal" page

  • enter the password "1984" 

  • You can the adjust the trim values and save/load them from disk.

Screenshot 2019-05-13 at 20.36.19.png

Hopefully this will help, but please Email or Call if you have any questions

Setting IP Address on the TMC-1

There are three ways of setting the IP Address on the TMC-1 as follows

DHCP

I have implemented DHCP on the TMC-1 as a one shot as I believe that in a studio setup it is better to use fixed ip addresses. When you enable DHCP on the TMC-1 the first number only will change to 00 to indicate that DHCP is active. If a new IP Address is allocated by the DHCP sever the display will update almost immediately, if there is no DHCP server present the IP address will revert to the original IP Address after about 5 seconds.

Recently a customer asked why they could only see the first number flicker when using DHCP to set the IP address of the TMC-1. This occurs when the DHCP Server is happy with the IP Address requested by the TMC-1. On the video below I have deliberately set the TMC-1 to a invalid IP address.

NHK order 8 TFT-422 Remote's and RM-6 synchroniser’s

NHK order 8 TFT-422 Remote's and RM-6 synchroniser’s

We designed the TFT-422 remote at the same time as we designed the DFC-422 Remote. The DFC remote is designed to fit in the AMS Neve DFC console. A number of DFC-422 remotes were built for Twickenham Studios , Goldcrest and others. A prototype of the TFT-422 was made and photographed but none were sold at the time. . The advantage of the TFT-422 over the UR-422 or SR-422 are that the 3.5” TFT Display that allows for the status of multiple machines to be displayed and that the 7 LCD macro keys may be reprogrammed without the need to update a paper label.

Protools 2018.8 Long Lock Time

Protools 2018.8 Long Lock Time

I received the following from a USB-422 user - Peter Persaud at Foley One, Toronto, Canada

Pro Tools sees our Soundmaster but the lock time is super long now. Almost 3-4 seconds. I can get it to work locally from Soundmaster instantaneously if I put the ‘Allow 9-pin Transport Commands in Local Mode’ but I can’t get it to chase to the Master video player. If I take it off and just run the Remote function the system locks but again the super long 3-4 second problem. It seems as if the Pro Tools is ‘slewing’ and trying to catch up to speed or something. The Soundmaster says it’s locked, the Pro Tools play bar is rolling but no sound and the Stop tally is solid in Pro Tools and the Play tally is blinking for the 3 - 4 seconds like I described Any thoughts on how I can tighten up the lock time?

TMC-1-MMP1 Follow Up at Eclair in Paris

TMC-1-MMP1 Follow Up at Eclair in Paris

Last week I visited Olivier Chouteau at Eclair in Paris, Olivier installed the first TMC-1-MMP1 system in a 7.1.4 studio. Daniel Gollety who makes the french translation of our manuals accompanied me on the visit - my French is not to good. Although configured as a 7.1.4 room one of the main reasons for using the TMC-1 is the ease in switching between Stereo, 5.1, 7.1 and 7.1.4.

Preset or Scene - Whats in a name?

Scene

Whilst checking and updating the TMC-1-DMon for the latest version of the D-Mon software I found that I had labeled two user definable keys as 'Preset', Not Good!

'Scene' seems to be used more and more  to describe setup presets, I have replaced the new TMC-1 'Preset' described in recent posts with 'Scene' and replaced the 'Preset' for the  D-Mon  with 'S.Preset'.

TMC-1-DMon

Whilst making the updates I added D-Mon Studio Preset to the TMC-1 Scene so that when changing the studio setup it is also possible to change the D-Mon Studio Preset. Please let me know if it is necessary to include Session snapshots? 

TMC-1 and Yamaha MMP1

TMC-1 and Yamaha MMP1

This week I have been interfacing the TMC-1 with the Yamaha MMP1. We have been waiting for a MMP1 since it was announced last year, a loan unit finally arrived last week . Before starting we had to buy a I-Pad (we are Android users and our OSC software runs on both), this arrived two days ago since then I have been writing code.

EDL Recorder Software

This week I rewrote the EDL Recorder software, the original software was written in Delphi some years ago, I rewrote the software in Xojo so that I can can be compile versions for for Mac or Windows and allows updates and improvements to be added in the future .

What is an EDL Recorder

When a live broadcast is made from multiple camera's, for example reality programs, the EDL recorder connected to the video mixer so that a EDL is generated as the mix engineer selects the live camera sources. Often highlight programs want to show what occurred before an event, the recorded EDL facilitates this.

The EDL Recorder software is used with the P2MMC which is available with 8 or 16 inputs.

The following improvements have been made to the EDL Recorder

  1. The EDL is generated using time of day so that it can be related to the original production.

  2. A conform key has been added allowing the Start Record time for the EDL to be set to any value.

More information is available on the this web page 

EDL Recorder

PD-3-Penta with two S3's and a MTRX Installed at Boom

Yesterday I was at Boom Post in Soho, they purchased a PD-3-Penta for
 use with two S3's and a MTRX in a 5.1 Post room.

PD-3 Monitor Controller/Pec-Dir

Although we have sold PD-3's to studios in USA, this was the first to be installed in London and I was eager to see how it performed in a working Studio instead of my test bench.

The PD-3 has two almost completely separate sections the Pec/Direct and TMC-1, each has its own processor and network connection. They share a power supply (5v or USB) and the TMC-1 Select Switch.
PD-3 Connections

PD-3 TMC-1

The day before I arrived Rory configured the TMC-1 section of the PD-3, renaming the inputs and defining the user key layout he wanted. As a post studio there was no need for Talk back or Listen back (unless the studio is used with Source Connect) . They have only two speaker sets 5.1 and Stereo TV (A sound bar) I set Advanced Menu 18 to disable the Alt Speaker selection so that the [Speaker] user key would toggle between Main and Mini Speaker outputs (named 5.1 and Stereo by Rory) instead of stepping through three selections.

New /improved User Key request

Boom requested a single key to switch between the 5.1 and Stereo speaker sets, switching the input and the Level at the same time.  Currently the [A/B Sel] user switch only switches the inputs and not the outputs. I have now implemented this  and the [A/B Sel]  source selection,  gain, format selection (Mono/Stereo/Stereo Downmix/5.1/7.1/Atmos) and speaker selection.

PD-3 Pec/Direct

Connection Problems

As Boom did not have any RS422 cables or connectors to make up the cables they could not check the Pec direct with protools. I brought with me two RJ45 to RS422 converters so that we could connect the PD-2 using Cat5 or Cat6 cables and a tie line between the studio and machine room.  In the Future we will include these with the PD-3 and PD-1-Net!

We connected up....... nothing, none of the  LED's on the USB-422 were flashing. I downloaded the USB test program and checked each Cat 5 cable - the first was broken or it could have been a crossover cable, often required in the days before auto switching. The second time we connected ,,,, still nothing. The Protools remote input was checked and correct. However we had disconnected and reconnected the USB-422, we reverted to the normal solution...

Restart Protools

 ... Hey Presto it worked! Both the Rx and Tx LED's on the A port of the USB were flashing merrily. 

Stem configuration using PD-Stem

As the track names on the Protools session were not correct for the PD-3 auto-stem routines we decided to use the new PD-Stem software to configure the Stems on the PD-3. Boom individual tracks for multiple channels so that we defined each stem as Mono so that there was only one track. We defined 8 Stems two of which were set to Print Master and Solo Safe. (The PD-3 uses Mutes for soloing the stems, this allows the Stems to be solo safe within Protools and be soloed by the PD-3). Once we downloaded the Stem Configuration to the PD-3 we found that the Tallies were working but not the commands - on Protools we had forgotten to Enable Record in Local mode! 

Record Control

In the USA PD-1 users are used to using the paddles to record directly, especially useful when there is more than one operator. Boom arm with the paddles and using a master record command to drop in and out of record, we set menu "Unit-3 Record Paddles" to "4=MastRec" this allows paddles 1-8 to Arm the tracks and the Master Paddle to be used for record on/off. To use an external record on/off key and keep the function of the Master Record Paddle set this menu to "3=Arm & Stay".

Once Boom have used the PD-3 for a few weeks Daniel and I will visit the studio again and find out how it performed in a studio environment instead of my test bench!





TMC-1 OSC Talent Remote and Cueing

Last week I was in LA, on Friday I met with Joe Gorfinkle, he and Wes Dooley took me to LAX, on the way we brainstormed on uses for multiple OSC Remotes, on my return I generated a talent Headphone cue screen.

The TMC-1 implementation of OSC allows for multiple controllers to be used simultaneously. You can use the sample OSC pages that I designed or design your own talent controls. The talent can then control his own monitors using a tablet or mobile phone app. 

TMC-1 OSC

The four selection keys(Link, Cue 1, Cue 2 and Cue3) allow the talent to select the sources, there is a fader for the level and a Talk key to activate the Listen Back input.

The 3, 2, 1, Go LED's are activated by Midi Note On messages from the DAW and can be used to cue the talent.

I will add talent screens for each of the Cue sends to the OSC file available from the TMC-1 page.

New User Keys - Talkback to All

Whilst in LA I added a [T/B All] and [T/B Alx] user keys, as the name suggests these keys talk to all cue outputs and do not require any setup. By positioning them in logical order with the talkback keys  the numbers of subsequent user keys have changed. This changes the user key numbers for OSC. To simplify OSC implementation The TMC-1 now displays both the Number and Name of the last user key depressed in the top line of the TFT Display. 

I-Mon AES Revisions

My plans for the I-Mon changed on the first day of the AES in New York, where I was informed that Netflix and possibly Amazon had decided on 9.1.6 as there home cinema format! I decided to include this format in the new I-Mon design. Unfortunately this will put back the release of the I-Mon Analogue immersive Monitoring system to January 2018.

Dolby also informed me that in most installations the Surround bass extension speakers are placed next to the LFE speaker. To simplify installation I decided to provide Surround bass extension via the main LFE output.

What does this imply for the I-Mon design?

The A-Mon frame has 32 inputs and 24 outputs with an extra 8 outputs if External Metering available as an option.

To optimise the use of inputs and outputs I decided to add the extra 4 inputs and outputs required by 9.1.6 to the 7.1.4 design using links on the board and software settings. This allowed the I-Mon to be configured for 9.1.6, 7.1.4 or 7.1.6 using links to assign inputs and outputs.

The metering switching also needs to be enhanced to allow all 16 outputs to be monitored in two banks of 8.

I-Mon Revised specifications for 7.1.4, 9.1.4 and 9.1.6

I-Mon Immersive Monitor Controller

Note. Links are used to switch between Cue Input 3 or T/B input 2 and L/B Mic input 2

Design Considerations for the I-Mon Immersive Audio Monitoring system

The I-Mon is our new 7.1.4 Immersive Audio Monitoring system, based on our existing A-Mon Monitoring system with a number inputs and outputs reassigned. The combination of the I-Mon and TMC-1 is a stand alone Atmos capable system for the smaller studio.

The problem with analogue circuitry is that unlike digital systems the routing is defined by the hardware. The modular design of the A-Mon enabled the I-Mon to be made by redesigning a single board.

I-Mon Specification

Inputs

::

Outputs

Main Input : 7.1.4

Alt Input: 7.1

2 dedicated Stereo inputs

2 or 3 Stereo and/or cue inputs

Stereo AFL input

1 or 2 Talk back inputs

1 or 2 Listen back inputs

Main Output: 7.1.4

Alt Output or Rear Bass Extension: Stereo

Mini Output: Stereo

4 Cue Send Outputs

Stereo Downmix Output

Optional External Meter O/P

Slate Out

You can download a I-Mon/A-Mon/XMon comparison chart  

comparison.pdf

The I-Mon uses the same chassis as the A-Mon and has the same number of inputs, outputs and internal switches, the design of the I-Mon involved some compromises and rethinking,

1) Remove some A-Mon features for listening to 5.1 and 7.1 on Stereo speaker or 7.1 on  5.1 speaker layouts - No Centre speaker, No Rear speakers, No LFE Speaker.

2) Reassign  2 Stereo inputs  as 4 Overhead inputs

3) Reassign 4 of the Alt outputs as 4 Overhead outputs

4) reassign 2 of the Alt outputs as Left and right Surround Bass Extension or Stereo Alt Output.

5) Cue input 1 can reconfigured as 2nd Talkback and 2nd Listen Back inputs.

6) Reassign SLS and H/P metering as Overhead input metering

7) Move Left and Right Metering to after Left and Right Source selection to allow SLS and H/P metering when PFL active

8) Add switching enabling the Cue Inputs be used as stereo inputs

9) Add an External metering output.

10) Add an Ethernet remote control connection

The PCB layout for the new card is now complete, we are now consulting with users before ordering and making the PCB's and metalwork. We welcome your input, especially before we commit the design to hardware!

Delivery for the I-Mon is currently about 6 weeks.