Page 1: Layers
ARTEMIS OPERATOR MANUAL V8.2 Shine - Ray - Beam - Light Digital Broadcast Production Console calrec.com Putting Sound in the Picture...
Page 2 England UK equipment without notice. Any changes we make Apollo, Artemis, Summa, Brio, RP1, Hydra Audio HX7 8EZ will be reflected in subsequent issues of this Networking and Bluefin High Density Signal document.
Page 3: Table Of Contents
Changes to Screen Locations in the Main Using layers Removing lists Application from V6.0 Layer Locking Sets 96kHz Overview for Artemis Layer Splits Adding ports to sets Allocating Signal Paths to Faders Turning off the B layer ControlOverview Assigning channels to faders...
Page 4 Stereo/Surround Spill Metadata Admin protection for Bus widths Passing encoded Dolby E Accessing the spill faders Buses at different sample rates Assigning paths on the spill panel LtRt / LoRo downmixes Changing the user section ARTEMIS Digital Broadcast Production Console...
Page 5 Lo/Ro & Lt/Rt Downmix Encoding AFL and PFL and Output Listen Peak Overload indicators Selecting Lt/Rt or Lo/Ro A/B path meters Meter Layout Presets PassingSignalsOutofArtemis 109 Output Listen (OPL) Meter Selectors Output Types and Patching Fader and Dynamics Meter Settings 144 Access from faders...
Page 6 Rehearse Status messages at different sample rates 182 Neither mode selected Clearing messages System Reset Surface indication Fail warning indicator External indication Reset buttons Source Offline indication on a path Technician Mode Intermittent Cable Failures ARTEMIS Digital Broadcast Production Console...
Page 7: Information
ARTEMIS INFORMATION calrec.com Putting Sound in the Picture...
Page 8: Important Information
Calrec documentation. your warranty, please observe static If in doubt, please check with a Calrec handling procedures, for example, use an customer support engineer before Modifications to this equipment by any appropriately grounded anti-static wrist carrying out any form of re-soldering.
Page 9: Health And Safety
Cleaning For cleaning the front panels of the equipment we recommend using a soft anti-static cloth, lightly dampened with water if required. CALREC Putting Sound in the Picture...
Page 10: Technical Support
Repairs Commissioning ensures the equipment +44 (0) 1422 842159 (9:00am-5:30pm) is correctly installed and fully functioning If you need to return goods to Calrec, for Email - Technical: support@calrec.com before it goes into use. whatever reason, please contact your enquiries@calrec.com...
Page 11: Introduction
ARTEMIS INTRODUCTION calrec.com Putting Sound in the Picture...
Page 12: Introduction
ConcordProcessors • Independent of system PC interface. The Shine - Ray - Beam - Light Artemis The 3.0 software release for Apollo and range provides 4 different DSP pack Artemis was huge. So huge, in fact,...
Page 13: Shine-Ray-Beam-Light Comparison
SHINE-RAY-BEAM-LIGHT COMPARISON SIGNAL PROCESSING AT 48 KHZ Artemis Shine Beam Light Input Channels Up to 16 from Main/ Up to 16 from Main/ Up to 16 from Main/ Up to 16 from Main/ Main Output Buses Group pool of 128...
Page 14 2 x 48 kHz routes 2 x 48 kHz routes 16 / 32 16 / 32 16 / 32 Hydra2 ports Audio Channels per Up to 256 Up to 256 Up to 256 Up to 256 Port 14 ARTEMIS Introduction Digital Broadcast Production Console...
Page 15: Changes To Screen Locations In The Main Application From V6.0
CHANGES TO SCREEN LOCATIONS IN THE MAIN APPLICATION FROM V6.0 FIG 1 - SCREEN LOCATION AND NAME CHANGES IN V6.0 ONWARDS For a long time, the Apollo and Artemis main application has grouped functions under the top-level menu items PreV6.0 PostV6.0...
Page 16: 96Khz Overview For Artemis
96KHZ OVERVIEW FOR ARTEMIS Withv8.0,ArtemisShine,Ray,Beam The console patching screens and For the following, at 96kHz the Artemis andLightconsolescannowworkat required list indicate which ports, HPB, consoles have half the numbers as at 96kHzsamplingfrequency(sample aliases, or boxes are at a different sample 48kHz for each desk/pack size: rate).
Page 17: ControlOverview
ARTEMIS CONTROL OVERVIEW calrec.com Putting Sound in the Picture...
Page 18: Configuration Pc Overview
Installation of software unauthorised In these cases only one of the pair will be button in the main application main menu’. by Calrec may impact on the PC’s connected to the system PC, the other performance and as such can invalidate...
Page 19: Touch Overview
TOUCH OVERVIEW Artemis makes great use of touch FIG 1 - TOUCH/TAP technologies to provide direct interaction with on screen controls. Touch the screen momentarily and then release in the same position The configuration display, surface displays and assign TFTs are all touch sensitive...
Page 20: Surface Control Overview
TFT touchscreen in the centre of the lower half of the display. the targets presented. Once complete, change the panel mode to refresh the display. 20 ARTEMIS Control Overview Digital Broadcast Production Console...
Page 21: Surface Panel Overview
SURFACE PANEL OVERVIEW A typical Artemis control surface is FIG 1 - FADER CONTROL PANEL AND UPSTAND TFT PANEL COMBINATION made up of a number of identical surface panels in the control bed to make up the required quantity of physical faders.
Page 22 Changing fader Layers 1-12 affects all the faders in the control surface unless layer or user splits have been put in place, or the fader has been locked to the surface. 22 ARTEMIS Control Overview Digital Broadcast Production Console...
Page 23: Monitor & Reset/Oem Meter Panels
Each can switch between controlling monitor 1 and monitor 2 as well as having access Customer Switches to miscellaneous monitor/headphone outputs. “Dedicated Monitor Controls” on page for details. CALREC Putting Sound in the Picture...
Page 24: Alternate Fader/Monitor Panel
AlternateFader/MonitorPanel ARTEMIS FADER/MONITOR PANEL There is an alternate Monitor panel that is designed to fit in the space of a standard fader panel which is a combination of the bottom half of an 8 fader panel and the monitor spill/joystick panel which is shown on the previous page.
Page 25: Panel Modes
CALREC Putting Sound in the Picture...
Page 26: Assigning Paths
ASSIGNING PATHS An important concept of Calrec FIG 2 - A/B PATH ASSIGNMENTS To assign either of these paths, press the consoles is that of assignability. relevant button above or below the display (above for path A, below for path B).
Page 27: User Splits
Please refer Clicking the Reset all to User 1 button will to the monitoring section for details on remove all user splits. configuring monitoring for multiple users. “Monitoring for multiple users” on page 120“ CALREC Putting Sound in the Picture...
Page 28: Layers
This is currently a factory set option active faders irrespective of the current LayerSplits and Calrec should be contacted for layer selection. Layer locking is carried In the left hand button cell of the modes activation.
Page 29: ControlPanelModes
ARTEMIS CONTROL PANEL MODES calrec.com Putting Sound in the Picture...
Page 30: Processing
Inserts, Autofaders and External Control. also shows separate Dynamics 1 & 2 position of the Insert in the audio chain. 30 ARTEMIS Control Panel Modes Digital Broadcast Production Console...
Page 31: Send-Route
The last two columns of control cells provide pan controls for positioning of the path’s output. Note: Artemis now displays Aux Sends in 16s rather than 8s and any undefined buses are removed from the display rather than greyed out. See Fig 1.
Page 32: Output Mode
Assign button, allowing that bus to be assigned and be the focus of PROCESSING & SEND-ROUTE panel modes without the need to have the bus on a physical fader. See Fig 1. 32 ARTEMIS Control Panel Modes Digital Broadcast Production Console...
Page 33: Monitor Mode
The button cell at the bottom left switches the left hand side of the TFT screen between talkback functions and a user memory load / save screen see Fig 2. FIG 2 - MEMORIES SCREEN ON CONSOLE MONITOR MODE CALREC Putting Sound in the Picture...
Page 34: Wilds Mode
Wilds to be transferred between Apollo & wild assignment areas can be assigned delay, could be assigned to a wild controls. Artemis consoles. to many controls including input, output, equaliser, dynamics, auxs, pan, group and Some controls such as pre eq/pre fader monitor levels.
Page 35: Assigning And Clearing
Copy Path settings row. See “Memory Isolation” on page function within LAYER TOOLS (see 157. Getting Signals into Artemis>Allocating Signal Paths to Faders for more details). AlternateFaderWilds Wildspages Whilst assigning a control, if a faders If a path is moved or cloned, all wilds...
Page 36: Wildable Controls
WILDABLE CONTROLS 36 ARTEMIS Control Panel Modes Digital Broadcast Production Console...
Page 37: Strips Mode
Tapping on the TFT overview expands that strip to allow access to all the bus outputs of that type to add or remove routes to that output from that channel. See Fig 1. CALREC Putting Sound in the Picture...
Page 38: A/B Path Indicator
Touch the BACK TO MODES button to return to the typical Modes and Layers row display. This process is illustrated in Fig 2. 38 ARTEMIS Control Panel Modes Digital Broadcast Production Console...
Page 39: GettingSignalsIntoArtemis
ARTEMIS GETTING SIGNALS INTO ARTEMIS calrec.com Putting Sound in the Picture...
Page 40: I/O Boxes & Hydra Patchbays Sample Rate Selection In H2O
FIG 1 - I/O BOXES & HYDRA2 PATCHBAYS SAMPLE RATE SCREEN IN H2O BeamandLightconsolescannow workat96kHzsamplingfrequency. There are 2 elements to 96kHz operation of Artemis consoles:- Configuring the DSP and configuring the I/O to run at different sample rates. Consolesat96kHz The consoles can switch between 48kHz &...
Page 41: Input Source Organisation
A port is a physical input to, or output to remotely control which consoles are console they were edited on. from the Artemis system. As all I/O is feeding which outputs, and the ability to contained in a Hydra2 network, each input...
Page 42: Port Lists
‘Input Alloc’ button. The ‘Default List’ is will appear allowing selection of the created automatically and contains all destination list. Select the destination list available input or output ports. and touch OK. 42 ARTEMIS Getting Signals Into Artemis Digital Broadcast Production Console...
Page 43: Sets
From Set’ button. Ports can be added to an existing set by selecting them and touching the ‘Add To Set’ button. This will bring up a popup dialogue which allows the user to select the destination set. CALREC Putting Sound in the Picture...
Page 44: Allocating Signal Paths To Faders
FIG 4 - MODES AND FUNCTIONS ROWS - TOOLS>FADER ASSIGNMENT>NEW CHANS FIG 5 - MODES AND FUNCTIONS ROWS - TOOLS>FADER ASSIGNMENT>TRACKS* *Note: Auxs and Tracks on Faders available in V7.0 onwards 44 ARTEMIS Getting Signals Into Artemis Digital Broadcast Production Console...
Page 45: Assigning Buses To Faders
16 for up to 32 auxs and the track OUTPUTS panel mode. present to allow the view to page through buses arranged in four pages of 16 for up the different groups. to 64 tracks. CALREC Putting Sound in the Picture...
Page 46: Moving / Swapping Paths
If no blank fader is Main bus to more than one fader. available, the existing paths cannot shuffle and the blank will not be inserted. 46 ARTEMIS Getting Signals Into Artemis Digital Broadcast Production Console...
Page 47: Layer Locking Faders
1. Use the middle four button cells to up on the main application screen. select the path elements that you wish to copy by toggling on/off the buttons “Input Port Protection” on page 58 above each option. for more information. CALREC Putting Sound in the Picture...
Page 48: Fader Setup Screen
From V7.0 it is now possible to assign where the path is to be moved to. the same type, for example, an Artemis auxs and tracks to faders from the Shine User Memory can be transferred...
Page 49: Input Types And Patching
1/2 switch takes place at the front input 1 and input 2 is performed from the PROCESSING panel mode. types of DSP inputs available to patch of the DSP channel path - all processing, CALREC Putting Sound in the Picture...
Page 50: Patching Input Sources To Faders
!! pending !! until multiple connected destinations. When a physical order and box ID rather than by source has more than one destination and the alphabetic label order. 50 ARTEMIS Getting Signals Into Artemis Digital Broadcast Production Console...
Page 51: Over-Patching, Removing & Moving
Hydra2 domain active Alias file. Changing the active alias Patching” on page 110 for more details in the I/O box rather than console DSP file allows for the audio on aliased patches on output patching. CALREC Putting Sound in the Picture...
Page 52: Patching Shortcuts
PatchingShortcuts FIG 4 - PATCHING SHORTCUTS IN MAIN APPLICATION From V6.0 there are some added shortcuts on the Apollo and Artemis surfaces and in the main application, which will dramatically speed up the patching workflow. The first few shortcuts are in the patching screens on the main application.
Page 53: Custom Fader Labels
FIG 7 - ENTER CUSTOM FADER LABEL FIG 8 - SOURCE LABEL HIERARCHY AbilitytoReceiveExternalSource LabelsviaSW-P-08 Apollo and Artemis can now receive and display external labels over SW-P-08. This can be incredibly useful when integrating with external matrices, as it allows the source labels from the external matrix to be passed through to faders on the surface.
Page 54: Input Controls
±6dBcoarsegain This control allows coarse gain adjustments to be made to the mic/line input gain. Pressing the + or - buttons will boost or attenuate the gain by 6dB respectively. 54 ARTEMIS Getting Signals Into Artemis Digital Broadcast Production Console...
Page 55: Input Trim
A pool of assignable input delay (256 legs signal by ±24dB inside the channel path. trim controls. These can be linked by for Artemis Shine, 128 legs for Ray, Beam This is the only input gain control available simultaneously pressing the INPUT 1 and &...
Page 56: 48V
Fig 2 on the previous page shows the signal feeds the right leg of the stereo signal flow of Artemis’ input section for a stereo input with input 1/2 selection. path, this is a ‘normal’ stereo setup.
Page 57: Replay
Replay set to input 2, regardless of which input they were previously assigned to. Pressing ON again will deactivate Replay and switch all paths in the Replay Set to input 1, see Fig 1. CALREC Putting Sound in the Picture...
Page 58: Input Port Protection
The left hand check box column is used to protected. main application screen, see Fig 2 above choose which settings to overwrite. Initially right. all changes are de-selected. 58 ARTEMIS Getting Signals Into Artemis Digital Broadcast Production Console...
Page 59 See Fig 4, also see “Output Port Protection” on page 111 for more information. FIG 4 - INPUT SHARING AND OUTPUT PROTECTION 2 STAGE POP-UP CALREC Putting Sound in the Picture...
Page 60: Dolby E Decoding
Fig 1, also see “Input Types and Patching” on page 49 for more details on I/O patching. 60 ARTEMIS Getting Signals Into Artemis Digital Broadcast Production Console...
Page 61: Important - Sample Rate Conversion
To without decoding. When patching input decoders. turn a Calrec SRC back on, or to manually ports containing Dolby E encoded signals switch on / off, the input itself (as oppose directly to output ports, it is important to...
Page 62: Alias Files
Only ports inside the aliases that are at the same sample rate as the desk will work. 62 ARTEMIS Getting Signals Into Artemis Digital Broadcast Production Console...
Page 63: Alias Groups
When filtering the Sources, as shown in Fig 4, all the currently active Input Alias files will be shown, as well as available inputs ports and desk outputs. Output aliases are used in a similar way. CALREC Putting Sound in the Picture...
Page 64: Tone / Oscillator Controls
TONE / OSCILLATOR CONTROLS There are many tone injection points FIG 1 - TONE CONTROL - BUS OUTPUTS within the Artemis DSP to aid with path checking and line-up. Tone can be routed in the following ways: • To a channel or group fader’s input - press the fader’s ASSIGN button and...
Page 65: Tone Idents
Artemis consoles support three channel is repeatedly interrupted. The are patched or to select phantom power ident formats which can be selected from...
Page 66: Tone Patchable To Output Ports
EQ panel. output, the LoRo/LtRt of that output will 66 ARTEMIS Getting Signals Into Artemis Digital Broadcast Production Console...
Page 67: Hydra2 Patchbays
Hydra2 patchbays are created from the Required List for use in port patching. H2O user interface. See the H2O user guide for more information. CALREC Putting Sound in the Picture...
Page 68: Port Sharing
Fig 3 on the right. If the port is first unpatched at point 2, the I/O box port’s input settings will be retained, even when the port is also unpatched at point 1. 68 ARTEMIS Getting Signals Into Artemis Digital Broadcast Production Console...
Page 69: ProcessingAudio
ARTEMIS PROCESSING AUDIO calrec.com Putting Sound in the Picture...
Page 70: Channel Signal Flow
CHANNEL SIGNAL FLOW Fig 1 below illustrates the signal flow in an Artemis channel path, showing how Inserts, EQ, Dynamics, Path Delay and the relevant send and output points can be positioned within the signal path. FIG 1 - CHANNEL SIGNAL FLOW...
Page 71: Eq And Filters
(and Q where applicable) for all EQ bands. Gain The lower row of Control cells contains gain controls (where relevant) for all six bands. CALREC Putting Sound in the Picture...
Page 72: Eq Curve Display
Low Pass Filter 12 dB/octave Note that a thumbnail view of the EQ curve is also made available in the PROCESSING-EQ button cell selector. 72 ARTEMIS Processing Audio Digital Broadcast Production Console...
Page 73: Dynamics 1
50:1. At this setting, the input has to increase by a massive 50dB above the threshold in order for the output to increase by a negligible 1dB - the signal is effectively being limited. CALREC Putting Sound in the Picture...
Page 74: Processing Order
Dynamics Processors. independence from the surround master. For example, a basic ‘De-Esser’ used 74 ARTEMIS Processing Audio Digital Broadcast Production Console...
Page 75 2:1 and Var (variable according to level) Attack 300µs (fast) 16ms (normal) Gate Threshold 0dB to -40dB with 6dB hysteresis Recovery 75ms to 4s + Auto Depth 0dB to 40dB Attack 300µs (fast) 16ms (normal) Gate Delay 0s to 1s CALREC Putting Sound in the Picture...
Page 76: Dynamics 2
No Link for independent operation . Mono paths also allow the Dynamics 2 process to be replaced with 1 of 8 Automixers which are selected from the TFT screen. 76 ARTEMIS Processing Audio Digital Broadcast Production Console...
Page 77: Automixer
In reality, Automixers only ever apply attenuation, signals are never actually boosted. Automixers are available on Calrec Apollo & Artemis consoles running software V1. 1 2 and higher. Each mixing console has 8 separate...
Page 78 Both channels are fed with identical input audio by 12dB. Note, these values are given and are routed to Main 1. only as an example that can be clearly demonstrated on a console using tone. 78 ARTEMIS Processing Audio Digital Broadcast Production Console...
Page 79: Delay
128 mono legs of delay, for Artemis Shine however the amount of delay per leg remains unchanged at 2.73s. Note that for Artemis Ray, Beam & Light these figures are 128 mono legs at 48kHz and 64 mono legs at 96kHz.
Page 80: Delay Settings
‘ms’ / ’frames’ selection can be applied to of the video signal that the audio feed is options: 1 frame and 0.5 frames. all existing delay assignments by clicking related to. ‘Apply to all existing delays’. 80 ARTEMIS Processing Audio Digital Broadcast Production Console...
Page 81: Stereo Width
ON switch appears on the PROCESSING-OVERVIEW panel mode. It must be switched in circuit using the ON button in the 4th Control cell , top row as shown in Fig 1. CALREC Putting Sound in the Picture...
Page 82: Stereo/Surround Spill
Centre channel, the third set for the combination of the spill fader LFE channel, and the fourth set for the rear and the stereo/surround Ls Rs channels. path’s master fader. 82 ARTEMIS Processing Audio Digital Broadcast Production Console...
Page 83: Processing Independence
Note that switching off the Dynamics of an EQ band restores its the Surround to all gain reduction linked elements Independence for that control restores its Master Path settings. Surround Master Path settings. CALREC Putting Sound in the Picture...
Page 84: Inserts
INSERTS Artemis has a pool of 256 mono insert FIG 1 - INSERT ABSTRACTION resources available. These may be used to create inserts for any width of Hydra2 output port path in the system. Send to inserted Configuring inserts is a two step process.
Page 85: Connecting Insert Resources To Paths
‘Create List’ button. A popup will appear prompting for the name of the new list, which can be six characters or less. Enter the name and touch OK. CALREC Putting Sound in the Picture...
Page 86: Copying/Moving Insert Resources To Lists
The Insert ON / OFF switch appears on the PROCESSING-OVERVIEW panel mode. It must be switched in circuit using the INSERT ON button in the 5th Control cell, top row as shown in Fig 5. 86 ARTEMIS Processing Audio Digital Broadcast Production Console...
Page 87: Vca Groups
Master remove. Slaves can only have one master. Grouphierarchy Artemis provides up to three levels of group hierarchy. A master can have slaves but can also be made a slave of another master. Fig 1 illustrates the hierarchy.
Page 88: Vca Group Interrogation
Normally any changes to the fader level, option. The default status of this option is unit with the Apollo and Artemis console cut or APFL status will apply to the master off but it can be switched on to stop any range is the subject of a separate manual and subsequently all slaves in the group.
Page 89: Autofaders
AUTOFADERS Autofaders allow Artemis faders to be FIG 1 - AUTOFADER CONTROLS ON THE PROCESSING-AUTOFADER ASSIGN MODE opened and closed under the control of another system using GPIs. To control an assignable AutoFader, select the PROCESSING-AUTOFADER panel mode and press the appropriate assign button for the channel whose Autofader is to be accessed.
Page 90: Setting Up Autofaders For Use
SettingUpAutofadersforuse FIG 2 - PATCHING GPI’S TO AUTOFADERS There are 256 autofaders in the Artemis system. GPIs are assigned to control one or more of these autofaders when they receive the required trigger signal. The autofaders can then be assigned to control one or more faders on the surface.
Page 91: Autofader Levels
0 to 100ms in 10ms steps. • 100ms to 1s in 100ms steps. • 1s to 5s in 500ms steps. The IN and OUT gain level settings are -100dB to +10dB in 1dB steps. CALREC Putting Sound in the Picture...
Page 92: Default Fader Interaction Mode
On or Off level first. control. 92 ARTEMIS Processing Audio Digital Broadcast Production Console...
Page 93: RoutingAudio
ARTEMIS ROUTING AUDIO calrec.com Putting Sound in the Picture...
Page 94: Buses Overview
BUSES OVERVIEW There are a pool of mono DSP FIG 1 - BUS RESOURCES FOR ARTEMIS SHINE, RAY & BEAM AT 48KHZ resources available for each bus type. Bus Type Mono Resources Available Max Number Configurable Buses The user may config the number and Mains &...
Page 95: Ltrt / Loro Downmixes
LtRt/LoRodownmixes FIG 3 - BUS RESOURCES FOR ARTEMIS SHINE, RAY & BEAM AT 96KHZ For each 5. 1 main bus, the stereo down Bus Type Mono Resources Available Max Number Configurable Buses mix can be chosen to be LoRo or LtRt.
Page 96: Making A Route
Note that Artemis now displays Aux Sends in 16s rather than 8s and that any undefined buses are removed from the display rather than greyed out.
Page 97: Using Strips Or Wilds Mode
Fig 3. To exit the routing screen for the selected bus type and return back to the routing overview, touch the CLOSE button. FIG 3 - SWIPING THROUGH BUSES CALREC Putting Sound in the Picture...
Page 98: Panning
PANNING Artemis provides flexible and adaptive To change the pan controls to alter a Front-RearPan panning controls which change to FRONT-REAR PAN varies the position different Aux send, push down on the reflect the width of both the source required Aux rotary control. The number of the signal between the front and rear and destination paths.
Page 99: Joystick Panning
Two dedicated monitor panel types All other controls in the area shown, FIG 1 - JOYSTICK CONTROLS are available for the Artemis control including the rotary pan controls and the surface, one of these includes joystick itself are inactive and cannot...
Page 100: Pan Control Menu
For more information on accessing the elements that make up a surround path, see “Stereo/Surround Spill” on page 82. 100 ARTEMIS Routing Audio Digital Broadcast Production Console...
Page 101: Contribution Mode
Fig 2 to the right shows ‘Main 1’ on the contribution screen and Fig 3 below right shows ‘Group 1’ on the contribution screen. CALREC Putting Sound in the Picture...
Page 102: Partial Routing Indication
Note that the assign buttons no longer alter the current assignment in Contribution mode when pressed and released. However this can still be achieved by holding the access button for a second longer. 102 ARTEMIS Routing Audio Digital Broadcast Production Console...
Page 103: Aux Sends On Faders
This AFL after this one. The fader display will also show the behaves like any other normal AFL. routing and the send position of the sources contributing to that bus. CALREC Putting Sound in the Picture...
Page 104: Default Send Positions
See Fig 11 below right. LeavingContributionMode When the bus routing task is complete, touch the ‘Exit Contribution’ button to return to the Sends-Routes page as shown in “Making a Route” on page 96. 104 ARTEMIS Routing Audio Digital Broadcast Production Console...
Page 105: Splitting Track Sends
The SPLIT SEND button can Send B, Lfe to Send C and LsRs to Send now be touched again to remove the three D which is why it shows as a fully routed unused send controls. button image. CALREC Putting Sound in the Picture...
Page 106: Downmixes
As well automatically. To bypass the downmix the downmix the same as the post-fader as the Calrec factory default, operators can faders for a given bus, select the bus in downmix. select from 5 other pre-defined downmix...
Page 107: Setting Downmix Defaults
Settingdownmixdefaults Users with technician access can set up five different downmix defaults (with an additional default set up by Calrec). One of these defaults can be selected by operators to act as the default for their show. To enable technician mode, see “Technician Mode”...
Page 108: Lo/Ro & Lt/Rt Downmix Encoding
LoRo and can therefore affect main to main routing or stereo only monitoring as described above. 108 ARTEMIS Routing Audio Digital Broadcast Production Console...
Page 109: PassingSignalsOutOfArtemis
ARTEMIS PASSING SIGNALS OUT OF ARTEMIS calrec.com Putting Sound in the Picture...
Page 110: Output Types And Patching
For more information on technician mode, and by SW-P-08 and will work if patched (e.g to select which control room is “Technician Mode” on page 166. 110 ARTEMIS Passing Signals Out of Artemis Digital Broadcast Production Console...
Page 111: Output Port Protection
On clicking ‘Accept Changes’, changes which are checked in the pop-up, plus network. any changes which are not displayed due to them having no effect on protected outputs are all made and the pop-up closes. CALREC Putting Sound in the Picture...
Page 112: Accessing Further Controls
Main path the current focus of all the assign panels, this button provides an alternative for outputs that may not be allocated to faders, or for when the fader is not close to hand. 112 ARTEMIS Passing Signals Out of Artemis Digital Broadcast Production Console...
Page 113: Output Patching Shortcut
2.73s. downmix mode, mains can be assigned to values is retained after the link is made, Note that for Artemis Beam & Light these them in the same way as to regular faders. the controls will track together whilst maintaining their offset.
Page 114: Accessing Spill Controls For Main Faders
This is intended to avoid the confusion of having a single fader indicate the assigned path and the relevant spill leg at the same time. 114 ARTEMIS Passing Signals Out of Artemis Digital Broadcast Production Console...
Page 115: Direct Outputs At Different Sample Rates
48kHz & 96kHz. At the higher sample rate the pool size for Direct Outputs is halved, meaning that the pool of 512 legs for Artemis Shine, Ray FIG 2 - DIRECT OUTPUT SETUP POP-UP and Beam becomes 256 legs. Note that for Artemis Light these figures are 256 legs at 48kHz and 128 legs at 96kHz.
Page 116: Direct Output Patching Shortcut
TFT. format of video being used, and the +/- delay button step size to be selected. 116 ARTEMIS Passing Signals Out of Artemis Digital Broadcast Production Console...
Page 117: Monitoring
ARTEMIS MONITORING calrec.com Putting Sound in the Picture...
Page 118: Monitor Mode
Monitor mode providing controls for monitoring, metering and talkback features. Fig 1 shows the layout of controls in monitor mode. To set a fader panel into monitor mode, touch the MONITOR button on the Modes row. 118 ARTEMIS Monitoring Digital Broadcast Production Console...
Page 119: Pre-Selectors (Favourites)
CONTROL ROOM MONITORING Artemis features powerful pre- FIG 1 - CONTROL ROOM MONITORING selectors for fast and clear access to multiple control room monitor sources. Pre-selectors(Favourites) The idea behind pre-selectors is to enable multiple sources to be set up, each ready to be fed to the main loudspeakers instantly at the touch of a button.
Page 120: Monitoring At Different Sample Rates
Note these controls display. be used. The level control and source also appear on the Artemis Monitor Panel. selection for the miscellaneous outputs is This allows for 2 operators using the same on the full monitor mode panel and these...
Page 121: Dedicated Monitor Controls
DEDICATED MONITOR CONTROLS A subset of monitoring controls can FIG 1 - ARTEMIS SPILL-JOYSTICK & MONITOR CONTROL PANEL be accessed on the Global Control Panel. This panel features hard controls for main loudspeaker level, Dim, Cut and Stereo. The left hand button cell display above the Level control shows the control room monitor level.
Page 122: Patch Miscellaneous Monitor Outputs
‘Monitor Outputs’. From the list select one of the Misc Mon outputs. In the right hand list select the output port to which the miscellaneous output should be connected and press ‘Patch’. 122 ARTEMIS Monitoring Digital Broadcast Production Console...
Page 123: Monitoring On Fader/Monitor Panel
MONITORING ON FADER/MONITOR PANEL The monitoring functions on the FIG 1 - MONITORING ON ARTEMIS FADER/MONITOR PANEL alternate Fader/Monitor panel are highlighted in Fig 1. on the top right hand side of the panel. The controls are arranged in 2 columns:-...
Page 124: Access Bus Afl, Pfl And Opl
AFL AND PFL AND OUTPUT LISTEN Artemis consoles have a FIG 1 - FADER AFL & PFL CONTROLS Accessfromfaders comprehensive multi-user AFL, PFL When a path is attached to a fader, AFL Overpress (push and Output Listen system. Latching or...
Page 125: Move Pfl Within Signal Chain
TFT is This is a factory defined configuration and referring to the main monitor rather than a should be specified when the console is miscellaneous monitor or meter selector. ordered. CALREC Putting Sound in the Picture...
Page 126: Patch Afl, Pfl And Apfl Buses
PFL for all channels using APFL system 1 via a GPI, the EXT light next to the fader enable buttons for each APFL bus. will not work. lights up green to indicate that control is being applied externally. 126 ARTEMIS Monitoring Digital Broadcast Production Console...
Page 127: Patch The Headphone Output
From the list select any monitor output FIG 2 - PATCHING HEADPHONE CONNECTIONS you wish to drive the headphones. In the right hand list select the output ports that the headphone jack has been wired to and click ‘Patch’. CALREC Putting Sound in the Picture...
Page 128: Monitor Functions
Full - sends the full surround signal out to containing APFL controls is explained the speakers. It removes any speakers in the AFL and PFL section of this cuts that may be in place. document. 128 ARTEMIS Monitoring Digital Broadcast Production Console...
Page 129: Surround Monitoring
SURROUND MONITORING The Artemis has both audio signal FIG 1 - MONITOR RETURN PATCHING path and remote control facilities for use with encoded surround signals such as those handled by the Dolby DP570 (Dolby Digital and E encoder/ decoder), DP564 (Dolby Digital and Pro Logic decoder) and SDU4 (Pro Logic decoder).
Page 130 To assign the GPIO ports use the >Hydra2 Settings page, filtering the GPO functions to the chosen relay in a convenient I/O box and the opto return input to the relevant GPI function. 130 ARTEMIS Monitoring Digital Broadcast Production Console...
Page 131: Immersive Monitoring
Input 143 as the source for the Main LS output and External Input 144 as the source for the Misc Mon LS1 output. Both Outputs will have their monitoring level controlled from the Main LS controls. CALREC Putting Sound in the Picture...
Page 132 132 ARTEMIS Monitoring Digital Broadcast Production Console...
Page 133: Communications
ARTEMIS COMMUNICATIONS calrec.com Putting Sound in the Picture...
Page 134: Live Talkback Routing
TB control. There are three reverse talkback inputs into the system. The level of these reverse feeds may be adjusted using the RTB 1, 2 or 3 controls. 134 ARTEMIS Communications Digital Broadcast Production Console...
Page 135: Patching Talkback/Reverse Talkback Inputs
These settings can be configured separately for when the desk is in On Air, Rehearse or Neither mode. See Fig 4. To access the settings select >System Settings>TX/REH from the left hand menu. CALREC Putting Sound in the Picture...
Page 136: Sending Signals To The Mix Minus Bus
Input Input Input Input Input Input Input Input from from from from from from from from source 1 source 2 source 3 source 4 source 5 source 6 source 7 source 8 136 ARTEMIS Communications Digital Broadcast Production Console...
Page 137: Assigning A Direct Output
MIX - button to route the mix minus signal to the selected direct output. The mix minus signal sent to the required source will be the contents of the mix minus bus, with the source’s contribution (if any) removed. CALREC Putting Sound in the Picture...
Page 138 138 ARTEMIS Digital Broadcast Production Console...
Page 139: Metering
ARTEMIS METERING calrec.com Putting Sound in the Picture...
Page 140: Meter Grid Configuration
TFT METERS The Artemis TFT meter layouts are FIG 1 - EXAMPLE TFT METER LAYOUT user customised in several ways. Fig 1 shows an example layout of a configured TFT meter. The TFT is divided up into a number of ‘cells’. Each can be...
Page 141: Meter Assignment
‘Overwrite to end of row’. respectively. Note that the current assign available meter source options of that type. meter is also now highlighted in Blue. CALREC Putting Sound in the Picture...
Page 142: Dynamics Meters
PeakOverloadindicators Each Fader has a Peak Overload indicator labelled ‘Peak’ which comes on at -3dBFS on both Apollo and Artemis and when the Overload is removed the indicator turns off when the display drops below -3dBFS based on the rate of 30dB/s decay.
Page 143: Meter Selectors
As well as for selecting sources, the TFT screen in this panel mode also has a ‘Misc Settings’ page from where it is possible to send tone to the external meter or put the meter in M/S mode. See Fig 6. CALREC Putting Sound in the Picture...
Page 144: Fader And Dynamics Meter Settings
Pressing the buttons above DYN2 or below DYN1 as shown in the TOOLS>METERS menu above right will change all relevant TFT meters to display the selected information. 144 ARTEMIS Metering Digital Broadcast Production Console...
Page 145: External Meter Outputs
EXTERNAL METER OUTPUTS External meters can be fed by the FIG 1 - EXTERNAL METER PATCHING Artemis metering system in a similar way to loudspeakers. Navigate to >System Settings>Fixed I/O of the main application see Fig 1. Touch the ‘Select Source’ button at the top of the screen and choose ‘Ext Meter...
Page 146: Loudness Meters
(Association of Radio Industries and Businesses) to Japan. These are currently the main standards and are being widely adopted in other geographical regions. See Fig 3 on the next page for a table of Loudness Metering Modes. 146 ARTEMIS Metering Digital Broadcast Production Console...
Page 147: Controlling Loudness Meters
-5...-59 LUFS (EBU +18 absolute) +9...-18 LU (EBU +9 relative) +18...-36 LU (EBU +18 relative) DPP Non-Live +/- 0.5 LU -1 dBTP -14...-41 LUFS (EBU +9 absolute) (-23 LUFS) -5...-59 LUFS (EBU +18 absolute) CALREC Putting Sound in the Picture...
Page 148 148 ARTEMIS Digital Broadcast Production Console...
Page 149: Shows,MemoriesAndPresets
ARTEMIS SHOWS, MEMORIES AND PRESETS calrec.com Putting Sound in the Picture...
Page 150: Overview
OVERVIEW FIG 1 - SHOWS, USER MEMORIES, ACTIVE OPTIONS FILES AND CONTINUOUSLY SAVED CURRENT SETTINGS 150 ARTEMIS Shows, Memories and Presets Digital Broadcast Production Console...
Page 151 It may help to create a show show file, the settings are restored as they later recall. Artemis user memories for each type of production, e.g. ‘Morning last were the previous time the show was are organised within ‘Shows’.
Page 152: Using Shows And Memories
With valid labels entered and a template selected, press ‘OK’ to create the new show and to make it active on the control surface. 152 ARTEMIS Shows, Memories and Presets Digital Broadcast Production Console...
Page 153: Creating Shows At Different Sample Rates
New Show templates list. The and always open in their last used state. ‘Save Show As’ dialogue, when logged The factory standard Calrec default show in as technician, provides the option to templates cannot be opened or edited. If Pressing the ‘Save Show As’...
Page 154: Backing Up Shows And Memories
Previously backed up show files can be andBackups “.CalrecShow” extension. When you restored back to the console’s controller In previous versions, Apollo and Artemis export multiple shows, you get a simple allowed the creation of multiple meter collection of files – one for each show.
Page 155: Saving User Memories
‘Save’ button located on the right hand memories can also be loaded and saved the same type, for example, an Artemis side of the >Mem>Load/Save screen. from control panels as well as the PC.
Page 156: Memory Sequencing
‘Memory Sequ’ screen unduly affect other users. enables or disables GPI remote control over this functionality. 156 ARTEMIS Shows, Memories and Presets Digital Broadcast Production Console...
Page 157: Basic Path Isolation
PEAK PATH PATH PATH PATH PATH PATH PATH PATH O/P 1 O/P 1 O/P 1 O/P 1 O/P 1 O/P 1 O/P 1 O/P 1 START START START START START START START START START CALREC Putting Sound in the Picture...
Page 158: Setting Scope Of Path Memory Isolation
When a path has been partially isolated, the ISO button next to the fader will illuminate green instead of the fully isolated blue colour. 158 ARTEMIS Shows, Memories and Presets Digital Broadcast Production Console...
Page 159: Applying Isolation Scope To Multiple Paths
EXEC button, or to cancel them press the master. If the fader is a master then any CNCL button. memories loaded will not change the fact that it is a master or alter any of its master settings (level, cut). CALREC Putting Sound in the Picture...
Page 160: Output Port Isolation
Conversely, and if appropriate, when a bus is isolated, all the destinations to which it is connected can also be isolated automatically. 160 ARTEMIS Shows, Memories and Presets Digital Broadcast Production Console...
Page 161: Presets
EditingaPreset Once a preset has been created you can edit its scope (see Fig 2), label and description at any time by tapping PRESETS, selecting the relevant file from the popup and tapping EDIT. CALREC Putting Sound in the Picture...
Page 162: Backing Up Presets
Select the preset(s) to backup from the upper list by clicking on them to Note: Presets are Transferable between highlight. Apollo and Artemis. PooledResources Press the ‘Backup’ button to copy the selected preset(s) to the desired location. When presets are loaded for ‘pooled’...
Page 163: ConsoleFacilities
ARTEMIS CONSOLE FACILITIES calrec.com Putting Sound in the Picture...
Page 164: On Air And Rehearse Modes
GPOs than the On Air mode, such as a Rehearse light. Neithermodeselected Restrictions can also be put in place when neither mode is selected. Currently the restrictions are the same as for rehearse mode. 164 ARTEMIS Console Facilities Digital Broadcast Production Console...
Page 165: System Reset
SYSTEM RESET In the unlikely event that a failure FIG 1 - FAIL WARNING BUTTON ON DEDICATED MONITOR PANEL should occur at any point in the Artemis system, the fail component may be reset individually from the other system components.
Page 166: Technician Mode
Both supervisors and technicians have access to the CHANGE PASSWORD TECH button on the main menu should be flashing. button which brings up a dialogue in which a new password can be entered. 166 ARTEMIS Console Facilities Digital Broadcast Production Console...
Page 167: Synchronisation Sources
SYNCHRONISATION SOURCES It is strongly recommended that the FIG 1 - MAIN APPLICATION, SYSTEM SETTINGS>SYNC Artemis console is locked to the same external sync source as all the external equipment connected to Calrec digital IO to prevent audible interruptions to audio data.
Page 168 168 ARTEMIS Digital Broadcast Production Console...
Page 169: ExternalInterfacing
ARTEMIS EXTERNAL INTERFACING calrec.com Putting Sound in the Picture...
Page 170: Gpio
GPI function types, for example, TX status such as On Air and Rehearse (found under the General Functions’ filter), AutoFaders and a variety of talkback, tone and monitor functions under the appropriate filter buttons. 170 ARTEMIS External Interfacing Digital Broadcast Production Console...
Page 171: Assigning Gpos
When assigning GPOs to the customer switches the relay is only activated while the button is pressed. TestGPO A test button is present on every GPO output to manually trigger the GPO signal. CALREC Putting Sound in the Picture...
Page 172: Ember+ Virtual Gpio
Labels for each virtual GPI and GPO are also available to Ember+. These labels are editable by the Ember+ controller, and reflected in the Apollo and Artemis UI. Figs 1 & 2 both highlight the labelling of the eight Virtual GPI ports and the three Virtual GPO ports which have been edited by the Ember+ controller.
Page 173: Remote Control
Two of these protocols can directly affect control surface operation. CSCP Calrec Serial Control Protocol (CSCP) allows remote control from 3rd party equipment over fader positions, path CUT/ON status, PFLs, routing to Auxs and Mains, and Aux output levels.
Page 174: Lan Ports For 2015 Cores
LAN PORTS FOR 2015 CORES FIG 1 - MAIN APPLICATION, LAN CONFIG FOR 2015 CORE PROCESSORS When connected to 2015 Cores as used on Artemis Light, the main application has an additional >System Settings>LAN button in Config which displays the LAN...
Page 175: External Monitor / Meter Inputs
‘Patch’. Monitoring/meteringexternals External inputs appear as sources to the monitor and meter selectors. Meters can also be configured to display external inputs directly (rather than via a meter selector). CALREC Putting Sound in the Picture...
Page 176: Mic Open Systems
Within screens with limited Mic open systems are console-wide and space the mic open column will be so do not split in line with user splits. labelled, ‘MO’. 176 ARTEMIS External Interfacing Digital Broadcast Production Console...
Page 177: Assigning Aliases To Mic Open Systems
CUT. talkback routing to any of Monitor 1 the 5 mic open systems to control each misc outputs. Loudspeaker CUT/DIM. CALREC Putting Sound in the Picture...
Page 178: Automation Option
AUTOMATION OPTION From V7.0 Apollo and Artemis have SpillAutomation AutomatableControlsList dynamic automation available as The Calrec automation system also • Faders and Cuts for :- Inputs, an option. The ‘Calrec Automation allows the user to access, automate and Groups, Aux Outputs, Track Outputs System’...
Page 179: Remote Production Rp1 Option
Web browser interface called “Calrec Assist” it can be accessed and controlled from the surface of an Apollo or Artemis console at the host studio, either as a standalone system or as part of a Hydra2 network after it has been added as a ‘Remote Network’...
Page 180 180 ARTEMIS External Interfacing Digital Broadcast Production Console...
Page 181: SystemStatus
ARTEMIS SYSTEM STATUS calrec.com Putting Sound in the Picture...
Page 182: System Status Notifications
SYSTEM STATUS Artemis features System Status FIG 1 - SYSTEM STATUS SCREEN which reports warnings, faults and information to the user. System status monitors all system components and connections. Systemstatusnotifications Under normal operating circumstances, the system status notifications area to the far right of the menu bar at the bottom of the main application will show ‘Everything...
Page 183: Surface Indication
System Status screen now displays these as new messages and when the user clicks on the message, a 30 second timer starts which automatically clears the intermittent error from the message list. CALREC Putting Sound in the Picture...
Page 184 184 ARTEMIS Digital Broadcast Production Console...
Page 185: GlossaryOfTerminology
ARTEMIS GLOSSARY OF TERMINOLOGY calrec.com Putting Sound in the Picture...
Page 186 A panel located in the surface upstand. The Artemis control bed can be fitted path. This provides access to useful broadcast with fader and monitor panels. An Apollo...
Page 187 This DSPModule These connections allow simple on/off function is normally handled by the track A module fitted in the Artemis rack which signals to be sent and received by the buses. performs all the DSP functions of the system.
Page 188 There can be up to 24 layers on A high headroom offers greater safety at output may be patched to one or more the Artemis surface. Given an example the expense of slightly more noise. output ports. surface containing 64 faders and using...
Page 189 Each control cell contains connectivity. This allows units fitted with two rotary controls. SFP sockets to be customised to meet a range of requirements. All main network connections in a Artemis system make use of SFP sockets. CALREC Putting Sound in the Picture...
Page 190 Surface VCAGroups The term VCA stands for Voltage The surface is the physical control surface for a Artemis system containing Controlled Amplifier. A VCA group, unlike a group bus does not sum any audio. the collection of faders, rotary controls,...
Page 191: FeaturesBySoftwareVersion
ARTEMIS FEATURES BY SOFTWARE VERSION calrec.com Putting Sound in the Picture...
Page 192 The following summarises key new features by the software version in which they were introduced. If you require features that are not available in the software version you are running, please contact Calrec Customer Support or your local Calrec distributor to discuss upgrade options. V1.3 V1.8.1...
Page 193 Waves Soundgrid Plug-in been improved: processors are now supported * Tapping an empty direct output for Artemis Light systems due to Server and Hydra 2. control now brings up the direct obsolescence. • Allows creation of Input Aliases for output setup dialogue.
Page 194 Apollo & Artemis main application - to be visible to a small range of H2O functions. For a long time, the Apollo and Artemis • The number prefix for bus labels on the upstand meters has been shortened to •...
Page 195 • Remote VCAs - V8.2 also brings the • Support for Artemis Ray - the latest ability to apply VCA master control of outputs at 96kHz, or any reduction in Remote faders from the Host console.
Page 196 CalrecAudioLtd Nutclough Mill Hebden Bridge West Yorkshire England UK HX7 8EZ Tel +44 (0)1422 842159 Fax +44 (0)1422 845244 Email Enquiries@calrec.com calrec.com (926-150 Iss.28)

Calrec ARTEMIS Operator's Manual

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Introduction

ControlOverview

ControlPanelModes

GettingSignalsIntoArtemis

ProcessingAudio

RoutingAudio

PassingSignalsOutOfArtemis

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Summary of Contents for Calrec ARTEMIS

ControlOverview

ControlPanelModes

GettingSignalsIntoArtemis

ProcessingAudio

RoutingAudio

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