Dynamic Automation; Introduction; Overview; Absolute Mode - Behringer DDX3216 Operating Manual

11. DYNAMIC AUTOMATION

11.1 Introduction

It has always been the dream of audio engineers to be able to
automate and save their often complex mixes of music and
soundtrack recordings. Just imagine the following scenario:
The recording of a movie soundtrack also involves the
recording of an orchestra and choir. A total of eight stereo
microphones, 32 backup and four room mics are connected to
the recording console, i. e. 44 microphones send their signals to
44 channels on the console. An additional 12 channels are used
as effect returns for special effects. The orchestra performs
the music piece for a 12-minute movie scene, with the dynamics
ranging from pianissimo to fortissimo. The signals are applied to
an analog studio console with 56 channels, and will be recorded
on a tape machine. During the mixdown, the dynamics of the
music need to be aligned with the dynamics of the movie scene.
Two engineers plus two assistants are seated in front of the
console to do a live mix of the 56 channels as the movie scene is
projected on a screen. In the 11
assistants forgets to open a muted channel...
You can certainly imagine what such a mistake meant when
powerful automation computers were not yet available. Often
enough, the entire mix had to be redone, if only for a tiny
correction. Soon everybody wished to have a system that would
allow for a time-based recording of all fader movements, and the
entire audio world was blissfully happy, when Rupert Neve
introduced his Necam 1 system in 1977—the world's first fader
automation with "moving faders" was installed in London-based
Air Studios. The RAM available for automation data was
16 Kbytes—which was an enormous capacity at the time.
Musicians and engineers alike were fascinated to see the faders
move as if by magic. For the first time ever, it was possible to
record, play back and—if need be—correct complete mixes.
Later on, Rupert Neve built on his Necam 1 system to develop the
"flying faders", which are today world-famous and used in many
of his big studio consoles. Yet, as the consumers' audio
expectations rose and new audio dimensions were opened up
with the introduction of the compact disk in the 80's, it soon
became clear that automating just the faders would not be enough.
Rather, all other control movements and positions had to be
made "recordable" as well. Not rarely, assistants were asked to
take a photograph of the console with all its control elements,
once a successful mix had been completed, so as to have at
least a basic idea of the settings, in case the mix had to be
restored. Even today, the dream of a "total recall", i. e. of storing
all settings of a console, can be realized only with enormous
cost when using analog technology—which is often beyond the
budgets of even renowned studios. Only since the advent of
digital technology in this domain of analog equipment has it been
possible to store and automate all parameters of a recording
console—easily and affordably.
Your DDX3216 features a comprehensive and flexible dynamic
automation system. The movements of almost all audio controls
on the console can be recorded and played back in relation to
timecode. Step by step, or more precisely: bit by bit, you can
create complex mixes no musician or audio engineer could
accomplish by hand. You can store and compare multiple versions
of a mix. Powerful tools ensure that you can edit your mixes at
any time, without having to sacrifice anything of what you have
achieved before. Examples of these are the "relative mode",
which allows you to make moves "on top" of previous moves, or
the dedicated automation switches in each channel, which enable
you to record specific channels, while others are played back or
controlled manually; and finally, the UNDO and REDO functions.
All of these complex tasks can be accomplished with the help of
an intuitive user interface. After all, it is your task to concentrate
on the mix–not the mixer!
40
th minute of the scene, one of the
11. DYNAMIC AUTOMATION

11.2 Overview

The dynamic automation records the position changes of all
control elements in relation to SMPTE or MIDI timecode. Almost all
audio controls of the console, except for the analog level controls,
setup and monitoring functions, are part of the automation.
Additionally, dynamic automation files store a snapshot of the
console at the beginning of a mix, i. e. when the automation is
played back, all controls (including those that were not moved)
will be reset to their original positions.
Automated controls are "control-sensitive", i. e. the mixer senses
when a control is moved away from its pre-programmed position,
and reacts accordingly. If a channel is in RECORD READY mode,
only those controls will be set to RECORD mode that are actually
moved. All other controls stay in PLAY MODE. This means that
there is no need to define which controls will be moved, before an
automation run is started. Simply start the multi-track recorder and
mix, and the DDX3216 will play back exactly what has been
recorded before, or will record what is being added.
The SETUP switch in the AUTO section in the left switch block
gives you access to the three DYNAMIC AUTOMATION menu
pages, on which you can adjust the global record functions
(e. g. automation enable/disable, data to be recorded, automation
source, etc.). Three additional switches in the switch block
(RECORD, PLAY and RELATIVE) allow you to directly access
frequently used automation functions, in order to set the controls
to playback, record or manual mode, or switch over between
the absolute and relative modes.
Thus, you have two basic automation modes available: absolute
mode and relative mode. Use the RELATIVE switch in the switch
block to switch over from the (default) absolute mode to relative
mode, and vice versa.

11.2.1 Absolute mode

Use this mode when you start a new console automation. All
control movements will be recorded, as they are made. During
playback you can see the parameter and fader positions change
according to the recorded data. As soon as a control enters
record mode, all previous movements will be overwritten and
replaced by the new positions. Also, you can record a specific
control in one channel, while you play back another control.
Normally, only those controls will be set to record mode that are
actually being moved, while all other control elements play back
their previously recorded position changes.

11.2.2 Relative mode

In relative mode, you can record relative changes made to an
already existing automation, i. e. the new movements are added
to the previously recorded positions. In this mode the faders
move to the "0 dB" position. When you start your multi-track
recorder, the faders will not move although the previously
recorded movements are shown in the display (menu pages
FADER and CHANNEL PROCESSING) and by the controllers.
When you edit a channel controller in RECORD READY mode, an
"offset" will be added to the previously recorded movement, i. e.
it will continue to play. But now the absolute control position is
higher or lower (depending on which offset has been added).
For example, do as follows to raise the volume level of a guitar
solo, but without changing the previously recorded fader
movements: enter relative mode (the faders move to their "0 dB"
positions), and set the "guitar channel" to RECORD READY.
Rewind the tape to the position shortly before the guitar solo,
and start playback. Move the fader of the "guitar channel" to the
desired position. Now, the new fader value will be added to the
previous automation data. When the guitar solo is over, stop the
tape and quit the automation. Set the guitar channel to PLAY and
listen to the result.
You can change from absolute to relative mode, and vice
versa, at any time during the mix, even if certain channels are
just being recorded. Any change-overs are done simultaneously
for the whole console. It is therefore not possible to have some
channels in absolute mode and some in relative mode.