MC2-66 User Manual v1 - 8

mc²66
Operator's Manual
Version: V1.8/0
Edition: 07-03-23
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, 2005

Table of Contents
Table of Contents
MC²66 1
Operator's Manual 1
TABLE OF CONTENTS 3
ABOUT THIS MANUAL 7
How to Use This Manual 7
Conventions 8
Topics 8
Marginal notes 8
CHAPTER 1: TUTORIAL 9
Welcome 9
Control Surface Overview 9
System Overview 10
Signal Flow 11
The Power of Layering 12
Integrated Digital Routing Matrix 13
Console Reset 14
Timecode Automation 15
ACCESS CHANNEL/ASSIGN and SCREEN CONTROL 16
The Console Keyboard 25
Getting Started 27
Creating Your Own Configuration 33
Saving Your Settings 44
Configuring Audio Sub Group Masters 50
Creating Stereo Channels or Masters 54
Routing Masters to Output Destinations 55
Using Auxiliary Sends 57
Creating a Mix Minus (N-1) 58
Using VCA Grouping 62
Applying Signal Processing 64
Assigning the Fader Strip Free Controls 72
CHAPTER 2: CHANNEL CONTROL
CONTROL 73
Introduction 73
mc²66 V1.8/0
Table of Contents
The Channel Display 74

Source Routing 76
Bus Routing 76
The Central Control Section 86
Mono Channel Operation 90
Stereo Channels 126
The Channel Fader Strip 131
Copying Channel Parameters 150
Resetting Channel Parameters 156
Metering 158
CHAPTER
CHAPTER 3: CONSOLE CONFIGURATION
CONFIGURATION 162
Introduction 162
Signal Flow Concepts 162
Channel Signal Flow 163
DSP Configurations 173
Control Surface Configuration 178
Banks and Layers 178
Isolating Fader Bays 184
Assigning Channels to Fader Strips 192
General Purpose Channels (GPCs) 201
Multitrack Recording and Monitor Channels 202
CHAPTER 4: THE CENTRE
CENTRE SECTION 205
Introduction 205
Control Room Monitoring 206
Control Room Monitor 1 (CRM1) 206
Control Room Monitor 2 (CRM 2) 213
AFL and PFL Monitoring 214
Main Fader Strips 216
VCA Grouping 221
Links 224
User Panel 226
Channel Display Views 226
Fader Control of Levels 227
Strip Control 230
4/ 474 V1.8/0 mc²66

Table of Contents
CHAPTER 5: CONSOLE RESET

RESET 232
Introduction 232
Data Storage Structure 233
Productions 236
Folders 249
Snapshots 253
File Import/Export 266
Sequences 282
The Sequence Display 284
Running a Sequence 298
The Edit Sequence Display 305
Snapshot Cross Fade (X-Fade) 311
CHAPTER 6: TIMECODE AUTOMATION 320
Introduction 320
Before You Mix 321
Turning On the Automation 326
Saving Your Mix Data 332
Updating Fader Moves 333
Writing Automation on Controls and Switches 336
Automation Modes 345
Step In/ Step Out Functions 354
Protecting Automation Data 362
Recalling a Snapshot or Sequence 367
Mixes and Passes 368
Front Panel Control Summary 382
CHAPTER 7: SIGNAL ROUTING
ROUTING 385
Introduction 385
The Signals Display 386
The Signal Settings Display 403
CHAPTER
CHAPTER 8: SYSTEM CONFIGURATION
CONFIGURATION 414
Introduction 414
Hardware Overview 415
The System Display 418
Global Options 419
mc²66 V1.8/0
Table of Contents
Console Options 422

Level Options 425
Bar graph Options 429
Solo Button Options 432
AFL Options 433
PFL Options 434
Solo-in-Place Options 436
GUI Options 437
Custom Options 437
Wordclock Options 438
Timecode/Frame Rate Options 441
Fader/Joystick Options 442
X-Fade Options 446
The States Display 447
System Shutdown and Restart 449
APPENDICES 454
Appendix A: Surround Levels 454
Appendix B: Digital Output Settings 455
TECHNICAL DATA 456
Control Panel 456
Signal processing 456
Routing Matrix 456
Interfaces 456
Synchronisation 456
Redundancies 457
Control 457
External control systems 457
Remote Maintenance 457
INDEX DIRECTORY 458
6/ 474 V1.8/0 mc²66

About This Manual
About This Manual
How to Use This Manual

Before we guide you through the operation of the mc266
broadcast production console, first a few words about this
manual.
Chapter 1 provides a step-by-step tutorial to common console
operations. If you are new to the console, please read this chapter
first.
Chapters 2 to 8 cover each area of operation in greater detail.
Use the Table of Contents at the beginning of the manual or
Index Directory (Page 457) to locate help on a particular topic.
Appendices, Technical data, a Glossary of terms and the Index
Directory are provided at the end of the manual.
You find installation and service information for the mc266 in the
“mc266 Technical Manual”.
You can also access more information by registering on the Lawo
linc server at http://linc.lawo.de. By registering you will be kept
up to date with the latest news and releases for your product.
You can also download software updates and documentation.
mc²66 V1.8/0 7/ 474

About This Manual
Conventions
Throughout this manual we will be using a number of
conventions:
Topics
Every new topic or subtopic is clearly identified in large, bold font.
Specific procedures are written as a sequence of numbered
instructions which guide you through the task. The result of the
operation is written in italic letters giving you the chance to
identify errors at an early stage. For example:
1. To make the route press the CONN (Connection) soft key
located above the trackball.
The Signals display updates with a green line showing the route
between your source and destination.
Marginal notes
The following marginal symbols are used to draw your attention
to:
User Tips – useful tips and short cuts.
Notes - useful points or cross references which apply to an

operation.
Warning
Warnings – alert you when an action should always be observed.
Action Buttons
We will also be using some conventions to help distinguish
explanatory text from the text referring to items on the console:
Silk screened text on the console’s front panel is referred to in
UPPERCASE and button cap engravings are written in bold – for
example, press the INPUT button located on the ACCESS
CHANNEL/ASSIGN control panel in the centre section of the
console.
On-screen buttons which action a function and descriptive text
on the console displays are both referred to in bold. For these,
you will be advised when an on-screen button actions a function
– for example, select the Mix minus box to choose a mix-minus
auxiliary.
8/ 474 V1.8/0 mc²66

Chapter 1: Tutorial
Welcome
Chapter 1: Tutorial
Welcome
Welcome to the mc266 Broadcast Production Console, Lawo’s
purpose designed solution for on-air and live-to-disk broadcast
operations.
The mc266 is a very flexible mixing console with the power to
deal with a range of production types. This tutorial guides you
step-by-step through some of the principal console operations.
Each topic is given a reference to more detailed information in the
chapters to follow.
Control Surface Overview

The mc266
66’s control surface is constructed in 8-fader sections,
with typical sizes scaling from 16 channel faders + 8 masters up
to 48 channel faders + 8 masters.
Within each channel section, you will find 8 dedicated fader strips
providing basic channel controls, such as level, mute and
monitoring. Four assignable rotary controllers (free controls) offer
additional local channel control. A fifth upper controller is
dedicated for input gain. In addition, every 8-fader channel
section houses a high resolution TFT display providing feedback
on channel metering and bus assignments.
Any DSP channel may be accessed from the Central Control
Section offering direct control of all settings – input control, signal
processing, panning, level, AFL/PFL and auxiliary sends. The
Main display works in parallel with these controls providing clear
visual feedback on the channel’s settings as you adjust them.
Below the Central Control Section you will find eight additional
main fader strips for dedicated masters.
On the right hand side of the centre section are the automation
and snapshot/sequence controls; the monitoring control panels;
the user panel which may house functions such as
communications, machine control, etc.; and the ACCESS
CHANNEL/ASSIGN control panel for bus and fader strip
assignment, layering access, joystick and centre screen navigation.
mc²66 V1.8/0 9/ 474

Chapter 1: Tutorial
System Overview
System Overview
Unlike an analogue console, the mc266 system consists of much
more than just the control surface. For any single installation,
there are three principal components:
• Console control surface - including the integrated control
system.
• HD Core – DSP and routing matrix core.
• DALLIS I/O interfaces – offering a range of input and output
cards which may be connected remotely to the system (up to
2km from the core using multimode fibre or 8km using single
mode fibre).
The exact hardware specification of your system will define how

many analogue and digital connections are available for external
equipment, and how much DSP processing is available for input
channels, monitor return channels, groups, sums (main mix
outputs) and auxiliary sends.
In addition, a number of other hardware options are available:
• Networking of I/O Resources - two or more mc266 consoles
may be networked to share I/O resources. For example, to
share the same microphone sources between two consoles.
See Page 398 for details.
• A second external GUI display, independent of the Central
Control Section may provide dedicated access to metering,
channel Information or sequence operation displays.
10/
10/ 474 V1.8/0 mc²66
Chapter 1: Tutorial
Signal Flow
Signal Flow
The mc266 provides the flexibility to configure as many input
outputs) and auxiliary sends as the production requires. In
addition, these resources can be allocated full signal processing or
reduced signal processing enabling you to assign EQ, Dynamics,
etc. to both inputs and outputs such as groups, sums and
auxiliary sends.
For any given hardware specification, you may choose from a
variety of DSP configurations designed to meet a variety of on-
air, recording and post production needs. Configurations may be
changed at any time, making it easy to modify the mix structure if
you decide, for example, that the production requires some
additional groups. The choice of DSP configuration is stored and
recalled in the console production, independently of snapshots.
This allows you to use snapshots to recall settings while on-air
without re-configuring DSP resources.
The number of full and reduced processing channels, and their
configuration, is determined by three factors – the hardware
specification of the console, the choice of sampling rate and your
choice of DSP configuration. For more details on DSP
configurations, please refer to Page 171.
INMIX
DELAY
DIGIAMP
FILTER
EQ
IMAGE
INSERT
DYN
DIROUT
FADER
32AUX
BUS
mc²66 V1.8/0 11/

11/ 474
Chapter 1: Tutorial
The Power of Layering
The Power of Layering

The console’s control surface includes both channel and main
fader strips. Any fader strip may control any type of channel -
input, monitor return, group, sum, auxiliary or VCA master –
allowing you to lay out your source channels and output masters
where you want them.
In addition, the physical size of the control surface does not need
to restrict the number of processing channels available.
Regardless of the size of the control surface, the number of audio
processing channels may be scaled by fitting more DSP cards
within the HD core. The extra channels are then accessed by
paging the console’s fader strips using banks and layers:
Up to six control surface banks may be configured; think of each
fader bank like a separate console, with fast global switching
between banks. They may be used to access different sets of
music channels during a live entertainment show or to separate
different location sources during a sports production.
Within each of the six banks, each fader strip has two layers –
Layer 1 and Layer 2. Layers can be switched either globally or
individually, making them ideal for fast access to related sources.
For example, assign your input channels to Layer 1 and monitor
return channels to Layer 2. For more details on Banks and Layers,
see Page 178.
To simplify the console’s bank and layer switching, you may
choose to isolate individual fader strips so that they never switch
bank or layer. For example, to keep presenter’s microphones on
the surface at all times while other sources, such as audience
microphones, remain hidden from view until required.
The console also supports multiple user operation. For example,
one engineer mixes the national broadcast sound and a second
engineer mixes the international sound from the same console. In
this situation, the international sound engineer may operate any
number of isolated 8-fader bays with independent bank/layer
switching, AFL/PFL monitoring and DSP parameter control from
the main console. For more details on isolating fader strips and
bays, see Pages 182 and 184.
In addition to controlling onboard DSP, fader strips may be
assigned to General Purpose Channels (GPCs), allowing control of
parameters within external devices via MIDI. For example, to
control camera microphone levels using a MIDI to VCA converter
or to control faders and other parameters within an external
DAW. For more details on GPCs, see Page 201.
12/
12/ 474 V1.8/0 mc²66
Chapter 1: Tutorial
Integrated Digital Routing Matrix
Integrated Digital Routing Matrix

In addition to powerful mixing features, the console includes an
integrated digital routing matrix:
Any source may be routed to any channel, and any output mix
routed to any destination. In addition, you may route sources
directly to destinations, for example to feed a Mic/Line input to
an AES output for archive recording purposes.
Multiple consoles may also be networked in order to share I/O
resources. For example, to share the same microphone input
between two consoles. See Page 398 for details on networking
I/O resources.
Perhaps the most important feature of the routing matrix is that
all routes may be stored and recalled from a snapshot, reducing
the amount of manual patching within the installation and saving
hours of set up time! For more details on the console’s routing
capabilities, please refer to Chapter 7: Signal Routing.
mc²66 V1.8/0 13/

13/ 474
Chapter 1: Tutorial
Console Reset
Console Reset
One of the major benefits of the mc266 is the ability to store and
recall all the settings required for a live show or type of
application.
Productions form the top level for user data storage and store all
the settings required for a production or type of job. Productions
may be recalled at any time, reducing the amount of setup time
required before repeat or similar shows. Productions store low
level settings, such as the DSP configuration, SRC settings,
System display options and Metering display setup, in addition to
snapshots, sequences and automation mixes.
Within each production, folders are created to store snapshots
and sequences:
Snapshots provide the ability to store different mixes/setups for

recall before or during the show. For example, you may use
snapshots to recall a different mix for each band appearing in a
live entertainment show. Or, snapshots may be used to recall
scene changes during a live theatre production. To manage
snapshot recall, snapshot isolate and filtering may be applied to
protect channels or elements of the desk.
Sequences are provided for convenient recall of snapshots during
a live broadcast or theatre production. A sequence is a list of
snapshots which can be loaded in sequence during a live show.
The transition between snapshots in a sequence can also be cross
faded if required. Note that the sequence itself does not store any
settings, but simply creates a list of pointers to snapshots stored
within the production folder.
Productions, snapshots and mixes are stored on the console’s
internal user data flashcard and may be exported to USB interface
or network drive for transfer to other systems. For more details
please see Chapter 5.
14/
14/ 474 V1.8/0 mc²66
Chapter 1: Tutorial
Timecode Automation
Timecode Automation
Automation
The mc26666’s automation system provides the ability to automate
console settings referenced to timecode. Note that in addition to
providing automation of channel parameters such as faders,
mutes, aux sends, EQ, etc., the system allows you to automate
other settings such as bus routing, channel signal flow, etc. Also
note that the channels you automate may be any type of channel
– inputs, groups, sums, auxes, VCA masters, GPCs, etc.
Automation data can be written with timecode rolling forwards,
backwards and at any speed, providing fast and efficient mixing.
The way in which data is written is governed by a number of
modes, allowing you to write dynamic or static automation; step
in or step out of write to make updates; protect channels to
prevent overwriting existing moves; and isolate channels to
remove them from the automation system completely.
Each stream of automation data is recorded as a ‘Pass’, and
multiple passes are stored within a ‘Mix’. The ‘Pass Tree’ shows
the history of the mix and enables you to A/B between different
passes:
Multiple mixes may be created for each production and are stored
permanently on the system when you update the production. For
more details on timecode automation, please see Chapter 6.
mc²66 V1.8/0 15/

15/ 474
Chapter 1: Tutorial
ACCESS CHANNEL/ASSIGN and SCREEN CONTROL
ACCESS CHANNEL/ASSIGN
CHANNEL/ASSIGN and SCREEN
CONTROL
Located in the centre section of the console are two very
important control areas used throughout the operation of the
console:
• The ACCESS CHANNEL/ASSIGN control panel is used for a

variety of tasks including Central Control Section, bus and
fader strip assignments. In each case, the philosophy of
operation is to place a channel ‘in access’ and then assign it
directly to a destination. This provides fast configuration of
the console without navigating through screen-based
displays.
• The SCREEN CONTROL panel interacts with the centre
control screen and is used for a variety of screen based tasks.
In each case, you ‘focus’ on an area of the display, and then
perform operations from the four soft keys located above the
trackball.
Let’s look at each of these areas in a little more detail.
16/
16/ 474 V1.8/0 mc²66
Chapter 1: Tutorial
The ACCESS CHANNEL/ASSIGN control panel

The ACCESS CHANNEL/ASSIGN control panel is located in the
centre section of the console beneath the BANK and LAYER
switching buttons:
The panel consists of:

• Ten channel type selection buttons – INPUT,
INPUT MON,
MON AUX,
AUX
GPC,
GPC GROUP,
GROUP TRK,
TRK SUM,
SUM MAIN FADER,
FADER STRIP and VCA.
VCA
• Two 8-character CHANNEL and LABEL displays.
• The numeric keypad.
• The ASSIGN button – changes the operation of the panel
from access to assign, see page 81 for details.
• The ESC button which can be used to exit any operation.
• Navigation buttons – LEFT,
LEFT RIGHT,
RIGHT NEXT and PREV.
PREV
• The Enter button –

Note that the ACCESS CHANNEL/ASSIGN panel is always active,
and normally, with ASSIGN deselected, selects the channel in
access. The channel in access is always the channel assigned to
the Central Control Section; its name and label are shown in the
CHANNEL and LABEL displays, and in the top left hand corner of
the Central Control Screen throughout all displays.
mc²66 V1.8/0 17/

17/ 474
Chapter 1: Tutorial
There are three ways in which you can modify the channel in
access providing that the LOCK ACC (lock access) button is not
selected:
1. Press the SEL button on a channel or main fader strip.
This is the simplest method for accessing channels on the active
control surface. However, there are times when you will wish to
access channels on an underneath bank or layer of fader strips. In
these cases, you may use either method 2 or 3 as follows:
2. Select the channel type and number using the channel
type selection buttons and numeric keypad:
• Select a channel type by pressing one of the following:
o INPUT
INPUT – Input channels (up to 384).
o MON – Monitor channels (up to 96).
o AUX – Auxiliary masters (up to 32).
o GPC – General Purpose Channels (up to
256).
o GROUP – Group masters (up to 48).
o TRK – Track busses (up to 96).
o SUM – Sum masters (up to 48).
o VCA – VCA masters (up to 16).
o MAIN FADER – selects the channel type as
assigned to one of the 8 main fader strips.
o STRIP – selects the channel type as assigned
to one of the channel fader strips.
The channel type button flashes and buttons on the numeric
keypad illuminate; the flashing TYPE NUM message is guiding
you to enter a number.
• Enter the channel number by pressing a number on the
numeric keypad followed by the Enter button. For example,
press 1, 2 and Enter to enter the number twelve.
• Alternatively, enter a three digit number. For example,
pressing 0, 1, and 2 will also enter the number twelve.
Having entered a valid number, the channel type button stops
flashing and the displays update to show the name and label for
the selected channel.
If you try and enter an invalid selection, for example GRP 897,
the CHANNEL display tells you by flashing the letters NOTAVAIL
for ‘Not Available’. Press the ESC button to exit the operation,
and start again.
18/
18/ 474 V1.8/0 mc²66
Chapter 1: Tutorial
3. The third method of changing the channel in access is to
increment or decrement the current channel number:
• Press the NEXT or PREV buttons to increment or decrement
the channel number by DSP type. For example, to scroll up or
down through Input channels 1-192, Monitor channels 1-96,
Groups 1-48, Sums 1-48, Auxes 1-32, VCA Masters 1-16 and
General Purpose Channels (GPCs) 1-256:
• Alternatively, press the LEFT or RIGHT buttons to assign the

next channel as assigned to the console control surface. For
example, if Input channel 8 is currently in access and assigned
to channel fader strip 8, pressing the LEFT button selects the
DSP channel assigned to fader strip 7.
The name and label for your selected channel are shown in the
CHANNEL and LABEL displays.
Note that the channel in access may be locked by pressing the
LOCK ACC button:
For example, you may wish to lock INPUT 24 into access so that
it remains accessible from the Central Control Section at all times
during the production.
Remember that updating the channel in access is how you assign
a channel to the Central Control Section. In addition, you update
the channel in access to perform an operation such as assigning a
channel to a fader strip or routing a channel to a bus.
We’ll cover these operations later in this tutorial, but first let’s
look at screen display navigation.
mc²66 V1.8/0 19/

19/ 474
Chapter 1: Tutorial
SCREEN CONTROL
The SCREEN CONTROL panel is located in the centre section of
the console beneath the joystick, and works in conjunction with
the centre control screen and keyboard, located in the console
arm rest or connected to the keyboard USB port, to provide
screen-based control for a variety of functions.
The panel consists of:
• Two rows of display selection buttons – SIGNAL,
SIGNAL MATRIX,
MATRIX
BUS
BUS, DSP CONFIG,
CONFIG CHAN/CONFIG,
CHAN/CONFIG SNAP/SEQUENCE
SNAP/SEQUENCE,
/SEQUENCE
METER,
METER SYSTEM/STATES and AUTO.AUTO
• Rotary control – used for scrolling selections within certain
displays.
• The ESC button.
• The Left/DEC, Right/INC, Up, Down and Enter navigation
buttons.
• Four soft keys, each with its own alphanumeric display.
• Page, to switch soft key functions
• The trackball with left and right (blank) select buttons:
One of the displays is always active on the central control screen,
and some buttons such as SIGNAL cycle through multiple pages.
For clear feedback of information, there are no pop-ups or
windows – every display stands alone with clearly defined control
areas.
At the top of every display is a title bar containing some common
elements:
• The name and label of the channel in access (e.g. IN13).

• The number of pages available from the SCREEN CONTROL
button, and the current selection – for example, 1 of 2.
• The local time – for example, 15:
15:30:
30:35 – or timecode.
• The title of the display – for example, Signals.
Signals
• The name of the active production – for example, Boxing
2005 - and the current snapshot if one has been loaded.
• If applicable, a red hazard warning flag - see Page 440 for
details.
20/
20/ 474 V1.8/0 mc²66
Chapter 1: Tutorial
ACCESS
The SCREEN CONTROL buttons provide access to a number of
displays. Some displays feature more than one page; keep
pressing the SCREEN CONTROL button to cycle through the
pages:
1. Press SIGNAL to access:
• Signals - controls signal routing (see Page 386).
• Settings - adjusts I/O parameters (see Page 398).
2. The MATRIX button is reserved for future
implementation.
3. Press BUS to view the Bus Assignments
Assignments for a channel (see
Page 84).
4. Press DSP CONFIG to view or change the DSP
Configuration
Config (see Page 171).
5. Press CHAN
CHAN//CONFIG to access:
• The Main display shows channel settings for the channel in
access (see Page 88).
• Channel Config - sets the channel signal flow (see Page 165).
6. Press SNAP
SNAP/SEQ
/SEQUENCE
/SEQUENCE to access:
• Snapshots - loads, saves and manages console snapshots (see
Page 253)
• Sequence – used to create and run real time sequence
automation (see Page 283).
• Edit Sequence – offline editing of sequences (see Page 305).
7. Press METER to cycle through four pages of assignable
meters (see Page 159).
8. Press PROD FILE to to access:
• Production - manage the console’s productions (see Page
236).
• File – import or export productions to/from USB or a network
server (see Page 266).
9. Press SYSTEM/STATES to access:
• System - sets console options (see Page 415).
• States - provides graphical feedback on the hardware status
of the system (see Page 440).
mc²66 V1.8/0 21/

21/ 474
Chapter 1: Tutorial
10. Press AUTO to access:
• Mixes – lists the automation mixes in the production (see
Page 369).
• Pass Tree – for managing passes of timecode automation (see
Page 374).
To page between multiple displays quickly, use the trackball and
select button to click directly on the page number in the title bar
at the top of each display (e.g. 1, 2, 3, etc.).
The area below the title bar contains the main information for the
display and follows a number of conventions:
• The area of the display outlined by the dotted black and

white line is ‘in focus’. By focussing on different sections of
the display, you can change the soft key functions, located
above the trackball, in order to perform different operations.
• Text within grey boxes may be selected to provide further
options – for example, selecting Digital updates the
Subdirectories
Subdirectories list on the above display.
• Selected boxes are highlighted in black.
Text or graphics shown within dark grey areas on the display are
for information purposes only.
22/
22/ 474 V1.8/0 mc²66
Chapter 1: Tutorial
ACCESS CHANNEL/ASSIGN
CHANNEL/ASSIGN and SCREEN CONTROL
To make a selection on a display, you may use the trackball,
navigation buttons or rotary scroller:
1. To use the trackball, position the cursor above the box
you wish to select, and then press either the left or the right
select button beneath the trackball:
The display entry, for example AES3_001

AES3_001, highlights in black and
is ready for the next operation.
2. Alternatively, use the navigation buttons as follows:
• Press the DEC/Left
DEC or INC/Right
INC buttons to focus on an area
of the display, for example Source Name and Label
Label:
bel
The focussed area is shown by the dotted black and white
outline.
Note that the INC/Right
INC button cycles around the display in a
clockwise manner, and the DEC/Left
DEC button navigates in an anti-
clockwise manner.
• Now press the up or down arrow buttons to select entries
within the focussed area.
• Or, turn the rotary control to scroll through the entries within
the focussed area.
The display entry highlights in black and is ready for the next
operation.
mc²66 V1.8/0 23/

23/ 474
Chapter 1: Tutorial
Having selected an entry on the display, the four soft keys above
the trackball are used to action operations. Note that their
functions vary depending on the display selection. For example:
1. Select the Snapshots display by pressing the
SNAP/SEQUENCE button.
The soft keys update to provide LOAD, LOAD SAVE and UPDT
functions as indicated in the alphanumeric displays.
2. Select the Signals display, by pressing the SIGNAL button.
The soft keys update to provide CONN and DCON functions.
3. And so on for the remaining centre screen displays.
4. Press the PAGE button to page the four soft keys to a
second level of functions.
Not all displays require second level functionality, and you will be
advised when to use the PAGE button.
We will cover more details on specific display operations as we
work through this tutorial.
24/
24/ 474 V1.8/0 mc²66
Chapter 1: Tutorial
The Console Keyboard

The keyboard is used for naming display entries, such as a
console snapshot.
You may disable the keyboard to avoid accidental mistakes. To
disable, and re-enable, the keyboard, press and hold Fn and then
press ON.
ON When the keyboard is disabled, you will see ‘kbd
locked’ at the top of the Central Control Screen display:
You may also connect an external keyboard using the USB ports
in the front arm rest of the console.
mc²66 V1.8/0 25/

25/ 474
Chapter 1: Tutorial
To use the keyboard to enter names, let’s take an example:
1. Press the SCREEN CONTROL SNAP/SEQUENCE button to
view the Snapshots display and, using either the trackball or
navigation buttons, select a snapshot to rename.
The snapshot name is highlighted in black:
2. Select the PAGE button, located in the middle of the

SCREEN CONTROL soft keys.
The four soft keys update to EDIT,
EDIT DEL and PROT.
PROT
3. To rename the snapshot, press EDIT
EDIT.
A green cursor appears highlighting the first letter of the existing
name, in this case the letter s.
4. Edit the name by typing a new name on the keyboard. As
you type, you overwrite the existing name. Therefore, rather
than deleting existing characters, type your new name and
press the space bar to remove any remaining characters from
the name.
5. When you have finished, press the Enter button on the
keyboard to confirm the new name.
6. If you make a mistake or want to exit the naming mode,
press the Esc button on the keyboard or deselect the EDIT
button.
26/
26/ 474 V1.8/0 mc²66
Chapter 1: Tutorial
Getting Started
Getting Started
Having covered some of the concepts behind the mc266 66, let’s
look at how to get started on the console. We are assuming that
your console is fully commissioned such that all of the basic
configuration tasks are complete. Your console should also
contain a generic setup production which will provide an excellent
starting point for new templates you wish to create.
Switching on the Power

The mc266 consists of three principal system components:
• Console surface with integrated control system.
• HD Core - DSP and routing matrix core.
• DALLIS I/O interfaces, which may be connected remotely to
the system.
The components may be powered in any order, including the

option to power the console (including the control system) before
I/O interfaces if desired. This enables you to begin setting up the
console before remote I/O interfaces have received power.
From power on, the console’s control system boots in a few
seconds; during this time the centre control screen reports back
on the boot-up progress.
mc²66 V1.8/0 27/

27/ 474
Chapter 1: Tutorial
Getting Started
At the end of boot-up, the control system automatically loads the
following:
• Configuration data – these are fixed settings specific to the
console. For example, the programming of the CRM 1 and
CRM 2 monitor selector panels.
• Warm start data
data – the complete status of the console as
stored when the system was last shut down.
Depending on who was last using the console, you may be sat in
front of a fully configured control surface with DSP settings or a
series of blank fader strips! In either case, the fastest way to reset
the console is to load a production.
For more details on system shutdown and warm start data, see
Page 449.
Loading a Setup Production

the settings required for a production or type of job. Depending
on the installation, you may have a number of setup productions
or only one. Each should be clearly labelled – for example, TV1
Setup
Setup.
All setup productions should always be protected and only be
modified by an authorised member of staff as they provide a
common starting point for all users. Use the production to load a
starting point; then save a new production to store your own
settings.
Settings will vary from console to console, but generally a setup
production should reset the following console elements:
• DSP configuration to a working default.
• Input and Output sample rate converter settings to match
installed equipment.
• System page options to a working default.
• Metering page setup to a working default.
• The assignment of channels to fader strips to a working
default.
• DSP settings to flat.
• Basic signal routing and user labels – for example, routing to
output distribution, monitoring and external metering.
28/
28/ 474 V1.8/0 mc²66
Chapter 1: Tutorial
Getting Started
To load a production:
1. Press the PROD FILE button, located on the SCREEN
CONTROL panel in the centre section of the console.
The Production display appears on the centre control screen:
Note that each time you press the PROD FILE button you toggle
between two pages – Production and File.
File The current page is
always highlighted at the top of the display – in our example,
page 1 of 2.
The Production display is divided into two main areas: at the top
of the display you will see the name of the Active production; in
the lower part of the display are listed all the productions stored
on the internal user data flash card.
2. Select the production you wish to load from the lower
part of the display using the trackball or navigation controls,
for example Olympic Games 2004.
2004
The selected production is highlighted in black.
3. Press the LOAD soft key, above the trackball, to complete
the operation.
The console status will update, and the display now shows that
Olympic Games 2004 is the Active production.
For additional confirmation, watch the top of the display and you
will see a red loading… message indicating that production data
is being loaded.
mc²66 V1.8/0 29/

29/ 474
Chapter 1: Tutorial
Getting Started
Interrogating the Channel Fader Strips

Depending on the settings within the setup production, you may
now be able to open the faders and monitor audio! Don’t worry
if this is not the case as we will look at how to modify the
configuration shortly.
You can interrogate which channels have been assigned to the
control surface, their input metering and current bus assignments
by looking at the Channel displays across the console.
Note that the bottom of the Channel display tells you which
channels you are controlling from each fader strip:
• The two grey boxes display the fixed system names for the
DSP channels assigned to the 1st and 2nd layer fader strips. In
our example, input channel 1 is assigned to the active layer
(INP
INP1
INP1) with nothing assigned to the alternate layer.
• The two black boxes display the programmable user labels for
these channels. In our example, INP 1. 1 Your console will
display the user labels which were loaded from the setup
snapshot.
For more details on names and labels, please refer to Page 395.
30/
30/ 474 V1.8/0 mc²66
Chapter 1: Tutorial
Getting Started
Switching Banks and Layers

To interrogate alternate fader banks:
1. Locate the six BANK access buttons, numbered 1 to 6
above the ACCESS CHANNEL/ASSIGN control panel in the
centre section.
One of these buttons will be illuminated; this is your active fader

bank.
2. Press any numbered button to switch to a new bank of
channel and main fader strips.
As you do this, all fader labels, control positions and Channel
displays update across the console to reflect the new settings. If
there are no channels assigned to the bank, then you will switch
to a series of blank fader strips.
To switch between layers within a bank:
3. Press the 2ND button located on the fader strip to switch
an individual strip.
The fader’s label, control positions and Channel display update to
reflect the settings for the second layer. If there is nothing
assigned to this layer, then you will switch to a blank fader strip.
mc²66 V1.8/0 31/

31/ 474
Chapter 1: Tutorial
Getting Started
4. Alternatively, locate the four LAYER access buttons above
the ACCESS CHANNEL/ASSIGN control panel in the centre
section.
5. Press the FLIP button to invert the layer for all fader strips
- channel and main.
This inverts the current layer selections allowing you to view all
‘hidden’ channels on the alternate layer with one button push.
6. Press the ALL 1ST button to reset all fader strips - channel
and main - to Layer 1.
7. Press STRP 2ND to switch the channel fader strips to
Layer 2.
8. Press the MAIN 2nd button to switch the eight main fader
strips to their second layer.
When you deselect any of these three buttons, the console
reverts to its previous layer status.
Press and hold the ALL 1ST,
1ST STRP 2ND or MAIN 2nd buttons for
more than 3 seconds to reset the layer status to all 1st or all 2nd.
You may also switch banks and layers locally, eight faders at a
time. In addition, you may choose to isolate individual fader strips
from the bank switching, or isolate a complete 8-fader bay if you
are working with a second engineer. For more details on banks
and layers, please refer to Page 178.
32/
32/ 474 V1.8/0 mc²66
Chapter 1: Tutorial
Creating Your Own Configuration

Having loaded a setup production, you will want to modify the
configuration to suit your particular show or mix. You can
perform these operations in any order, but the most efficient way
is as follows:
• Select the DSP configuration – this sets the number of input
channels, monitor channels, groups, sums, auxes, etc, for the
production.
• Set up your signal user labels and routing – by routing sources
to channels before you lay out the control surface, you can
make decisions such as which input channels, groups, sums,
need to be mono, stereo or surround.
• Assign your channels to the fader strips – design your console
layout by assigning your input channels, groups, sums, etc.
where you want them.
For the purposes of this tutorial, we are going to assume that you
have a DSP configuration with some input channels, groups,
sums and auxes. For more details on DSP configurations, see
Page 171.
We are also going to assign our channels to the control surface
before making any routes so that you can see audio appear as it is
routed.
mc²66 V1.8/0 33/

33/ 474
Chapter 1: Tutorial
Assigning Channels to Fader Strips

Let’s take an example where we wish to assign input channels 1
to 24 across fader strips 1 to 24, and assign them to a single sum
master channel controlled from main fader strip 8.
If you want to clear down the fader strip assignments loaded
from the setup production to start from a series of blank fader
strips, use the CLEAR BANK function as described on Page 198.
To assign the sum master channel (SUM 1) to main fader strip 8:
1. Select SUM 1 from the ACCESS CHANNEL/ASSIGN
control panel, by pressing SUM,
SUM the number 1 and the Enter
button.
This puts SUM 1 into access; the CHANNEL and LABEL displays
show the name and label for sum master channel 1.
2. Now press the global ASSIGN button, located on the
STRIP ASSIGNMENT: ASSIGN MODES panel:
The ASSIGN button flashes, and across the console the fader SEL
buttons flash, in green, to indicate possible destinations for your
selected channel:
3. Press the fader SEL button on main fader strip 8 to

complete the assignment.
The fader SEL button stops flashing and changes colour, from
green to red, to indicate the assignment. In addition, the Fader
Label display updates to show the new system name for the fader
strip - SUM 1.
1
34/
34/ 474 V1.8/0 mc²66
Chapter 1: Tutorial
With the ASSIGN mode still active, now assign input channels 1-
24 onto the control surface:
1. Select INP 1 from the ACCESS CHANNEL/ASSIGN control
panel by pressing INPUT,
INPUT the number 1 and the Enter
button.
This puts input channel 1 into access; the CHANNEL and LABEL
displays show the name and label for input channel 1.
2. Select the FIRST LAST button, located on the STRIP
ASSIGNMENT: ASSIGN MODES panel:
3. Press the fader SEL button on channel fader strip 1

followed by the fader SEL button on channel fader strip 24.
The console incrementally assigns input channels 1 to 24 from the
first selection (channel fader strip 1) to the last selection (channel
fader strip 24).
4. Deselect the global ASSIGN button or press ESC,
ESC on the
ACCESS CHANNEL/ASSIGN control panel, to exit the assign
mode
For more details on fader strip assignment, please refer to Page
192.
mc²66 V1.8/0 35/

35/ 474
Chapter 1: Tutorial
Source Routing
Now let’s route a new audio source, for example a CD player,
into input channels 23 and 24.
1. Press the SIGNAL button, located on the SCREEN
CONTROL panel, to view the Signals
Signal display:
Note that each time you press the SIGNAL button you toggle
between two pages – Signals and Settings.
Settings The current page is
page 1 of 2.
In our example, the CD player is connected to AES inputs 01 and
02.
2. Using the trackball or navigation buttons, select the
source directory (e.g. Digital)
Digital and sub-directory (e.g. HD AES
AES
IN 1-
1-24)
24 on the left of the display.
Your selections are highlighted in black and the Source Name and
Label columns update to show all available sources.
3. Now select either the Name or Label for the source you
wish to route (e.g. HD AES
AES3
ES301).
01
Your selected source is highlighted in black.
36/
36/ 474 V1.8/0 mc²66
Chapter 1: Tutorial
4. Next, select the destination in a similar fashion. For
example, select Inputs/Mon as your directory, INP 1-
1-24 as
the sub-directory followed by INP23
INP23 from the Name and
Label list.
Your selected destination is highlighted in black.
Note that for input channels, you have a choice of whether to
assign sources to the A or B inputs. For now, assign your sources
to input A (e.g. INP23 A).
A The B input is provided so that you can
assign a back up source. You may then switch quickly from
source A to B during a show if the main input (e.g. the
presenter’s wireless mic) fails!
between AES301
AES301 and INP23.
NP23
Look at fader strip 23 on the control surface; the fader strip and
Channel display name and labels update and hopefully you are
metering some audio:
Note that if the INHERIT button is active, see Page 231, the labels
show the name of the source (e.g. MIC1)
MIC1 rather than the name
of the DSP channel (INP1
INP1).
INP1
6. Repeat steps 3 to 5 to route the right hand side of the CD
player (AES
AES3
AES302) to input channel 24 (INP
INP2
INP24).
For more details on signal routing, please refer to Page 386.
mc²66 V1.8/0 37/

37/ 474
Chapter 1: Tutorial
Bus Assignments
Assignments
Next we need to assign input channels 23 and 24 onto our main
output (SUM 1). We may use either forward or reverse bus assign
to perform this operation; let’s use reverse bus assign:
1. First select the destination (Sum 1) by pressing the SEL
button on the main fader strip controlling SUM 1 – main
fader strip eight:
This puts SUM 1 into access as indicated on the ACCESS
CHANNEL/ASSIGN control panel’s displays.
2. Now press the INPUT button, located on the BUS
ASSIGNMENT: REVERSE panel.
The INPUT button flashes, and across the console the fader SEL
buttons on fader strips which are controlling input channels (INP
1-24) flash, in green, to indicate possible sources for the chosen
destination:
3. Press the fader SEL buttons on the fader strips controlling

IN23 and IN24 to complete the assignment.
The fader SEL buttons stop flashing and change colour from
green to red to indicate that the channels are assigned to the
selected destination. Note also that the Channel display above
fader strips 23 and 24 shows the bus assignments onto sum 1.
4. Deselect the INPUT button or press ESC,
ESC on the ACCESS
CHANNEL/ASSIGN control panel, to exit the assign mode.
For more details on bus assignments, please refer to Page 76.
38/
38/ 474 V1.8/0 mc²66
Chapter 1: Tutorial
Control Room Monitoring
The final step before we can hear our audio is to look at the
control room monitoring. Both main and alternate monitor
outputs are controlled from the CONTROL ROOM
MONITORING panel:
1. Press one of the 24 pre-programmed buttons to select

SUM 1 as your monitor source.
2. Use the CRM 1 rotary control to set the main monitor
level.
3. Press the ALT button to switch the CRM 1 output to an
alternate set of speakers.
4. To listen to the output of an external source, press a
different button from the source selector panel.
These buttons are programmed within the factory configuration
so please refer to your console specification for full details.
mc²66 V1.8/0 39/

39/ 474
Chapter 1: Tutorial
AFL & PFL Monitoring

At any stage, you may listen to the output of a channel using
the AFL and PFL buttons:
1. To monitor the channel post fader, press the AFL
button located on the fader strip.
2. To listen to the channel pre fader, press PFL.
3. Press the CLEAR AFL/PFL button, located on the
Control Room Monitoring panel, to clear all current AFL
and PFL selections.
Note that depending on your monitoring configuration, AFL
and PFL signals may appear on the Control Room 1, Control
Room 2 or external monitor speakers. In addition, you may
have access to AFL to Mains and PFL to Mains switching from
the 24 programmable Control Room Monitoring panel buttons.
These buttons are programmed within the factory
configuration so please refer to your console specification for
full details.
The console also supports a number of AFL and PFL options,
such as whether the buttons are latching or momentary and
additive or exclusive. See Page 436 for more details.
40/ 478 V1.8/0 mc²66

Chapter 1: Tutorial
Routing Sources to Multiple Channels

Next let’s assign some microphone sources to more of our input
channels. For example, mic/line sources 1-8 to input channels 1-
8.
Signal display:

source directory (e.g. Stagebox)
Stagebox and sub-directory (e.g.
Mics)
Mics on the left of the display.
3. Now select either the Name or Label for the first source
you wish to route (e.g. Mic_06.3
Mic_06.3)
example, select Inputs/Mon as your directory, INP 1-
1-24 as
Label list.
mc²66 V1.8/0 41/

41/ 474
Chapter 1: Tutorial
5. Now press the PAGE button, located above the trackball,
to access the second page of soft key functions.
The displays above the four soft keys update to show EDIT and
STEP functions.
6. Press the STEP button to activate the step forward mode.
7. Now deselect PAGE and press the CONN soft key to
make the first route.
between Mic_06.3
Mic_06.3 and Inp 3. In addition, the source and
destination selections automatically step down to the next entries
in the list.
8. Continue pressing the CONN button until all eight
microphone sources are connected to input channels 1 to 8.
As you step down through the list, note the red and white crosses
which appear to indicate routes are made to or from sources and
destinations within the list.
For more details on source routing, please refer to Page 388.
9. Now repeat the reverse bus assign operation, as described
on Page 38, to assign all eight input channels onto Sum 1 for
monitoring.
42/
42/ 474 V1.8/0 mc²66
Chapter 1: Tutorial
Controlling Microphone Pre-

Pre-amplifier Settings
Each microphone pre-amplifier may be remotely controlled in
order to set input gain, phantom power, etc. prior to analogue-
to-digital conversion. These settings may be controlled either
from the fader strip or the Central Control Section. Let’s use the
dedicated controls on the channel fader strip:
1. Use the GAIN control to remotely set the microphone
preamplifier gain.
The gain range is normally adjusted from 0dB to 70dB, although
this may vary depending on your hardware configuration. Please
refer to the DALLIS I/O technical data for details.
2. Press the 48V button to select 48V phantom power.
3. Press the high pass filter button to insert an analogue
subsonic filter prior to the A-D conversion. Toggle the
button to cycle through the filter roll-off frequency options:
Off, 40Hz, 80Hz and 140Hz.
The button changes colour to indicate the selected frequency -
green (40Hz); yellow (80Hz); red (140Hz).
4. Press PAD to insert the 20dB PAD.
5. Press the B button to switch to a backup source (e.g. a
spare microphone) and A to return to the primary source.
For more details on input control, see Page 131.
mc²66 V1.8/0 43/

43/ 474
Chapter 1: Tutorial
Saving Your Settings

Console settings are saved within productions onto the internal
user data flash card. Each time you update a production you store
a one-shot memory of the current console status, including low
level settings such as DSP configuration, and high level settings
such as your mix and console layout.
It is a good idea to save and organise your productions early on.
Don’t overwrite your studio’s setup production with your own
settings! Instead, save a new production for each of your own
templates or for a particular show.
Within each production, you may create folders to store
snapshots or automation mixes. Snapshots store high level
settings and provide the ability to store different mixes/setups
within the production. For example, you may use snapshots to
recall a different mix or console layout for each band appearing in
a live entertainment show. Or, snapshots may be used to recall
scene changes during a live theatre production. For more details
on folders and snapshots, please see Chapter 5.
Any production, folder, snapshot or mix, may be exported to a
USB interface or network drive, allowing you to take away your
settings. See Page 266 for details.
44/
44/ 474 V1.8/0 mc²66
Chapter 1: Tutorial
Settings
Saving a New Production

To avoid overwriting existing settings, we are going to save the
current status of the console into a new production:
1. Press the PROD FILE SCREEN CONTROL button to access
the Production display:
The last production loaded was Olympic Games 2004,

2004 therefore
this is the Active production.
2. Using the trackball or navigation buttons focus on the list
of productions in the lower part of the display.
The four soft key functions update to show LOAD,
LOAD NEW and
SAVE.
SAVE
mc²66 V1.8/0 45/

45/ 474
Chapter 1: Tutorial
3. Press the SAVE soft key to save the current console
settings into a new production:
A new entry appears in the productions list with a default name

(e.g. production 0009
0009). This entry contains all the settings of the
console and is time and date stamped. The new production
automatically becomes the Active production as shown on the
display.
46/
46/ 474 V1.8/0 mc²66
Chapter 1: Tutorial
Renaming the Production

To rename the production:
1. Using the trackball or navigation buttons focus on the
Active production name at the top of the display.
2. Press the PAGE button, located in the middle of the
SCREEN CONTROL soft keys, to access the second level of
soft key functions.
The four soft key functions update to show UPDT,
UPDT PROT,
PROT DEL
and EDIT.
EDIT
3. Press EDIT
EDIT:

name, in this case the letter p.
4. Edit the name by typing a new name on the keyboard.
Note that as you type, you overwrite the existing name.
Therefore, rather than worrying about deleting existing
characters, type your new name and then press the space
bar to remove any remaining characters from the name.
This completes the naming operation.
button.
mc²66 V1.8/0 47/

47/ 474
Chapter 1: Tutorial
Updating the Production

You should save your settings regularly as you work by updating
the Active production.
You will find that the UPDT PROD button on the

SNAPSHOT/SEQUENCE panel acts as a reminder to help you
save your settings regularly. Each time you save or update a
snapshot, or create or update an automation pass, the UPDT
PROD button flashes.
1. To save the new settings, press the UPDT PROD button.
The active production is overwritten with the current console
settings and the button stops flashing.
Note that if the production is protected you will not be able to
update it; the UPDT PROD button continues to flash. Go to the
Production display and unprotect the active production. Now you
can use UPDT PROD to update settings while working.
48/
48/ 474 V1.8/0 mc²66
Chapter 1: Tutorial
If you are viewing the Production display, then you can confirm
the update by looking at the new date and time stamp:
For additional confirmation, watch the top of the production

display and you will see a red saving… message indicating that
the production data is being saved.
Note that updating overwrites the production data. Therefore,
make sure that you have selected the correct production to
update. To avoid accidental updates, always protect setup or
template productions, see page 241.
If you do make a mistake, don’t panic! Every time a production is
updated, a backup of the current console settings is created in the
backup production memory. See Page 246 for more details.
mc²66 V1.8/0 49/

49/ 474
Chapter 1: Tutorial
Configuring Audio Sub Group Masters

So far, we’ve routed our input channels directly to a main sum
output. However, for many productions, you will want to use
groups either to create independent mixes, like an international
version, or to provide greater control over separate elements of
the mix, for example to compress all of the music channels
separately to the main presenter’s microphones.
The number of groups is determined by your choice of DSP
configuration; note that not all DSP configurations support
groups. If you are unable to assign groups to the control surface,
check Page 171 for details on DSP configurations.
Providing groups are available, they are assigned to the control
surface in exactly the same way we assigned our input and sum
channels. Repeat the fader strip assignment operation, described
on Page 34, to assign GROUPS 1 to 4 onto main fader strips 1 to
4 now.
Re--assigning Channels to Groups

Re
At the moment we have our input channels assigned directly to
the sum master (SUM 1). To modify this routing so that our
microphone channels are routed via a sub group, let’s use reverse
bus assign.
First remove input channels 1-8 from SUM 1 as follows:
1. Select the destination (Sum 1) by pressing the SEL button
on the main fader strip controlling SUM 1.
This puts SUM 1 into access as indicated on the ACCESS
CHANNEL/ASSIGN control panel.
50/
50/ 474 V1.8/0 mc²66
Chapter 1: Tutorial
2. Now press the FADER button, located on the BUS
The FADER button flashes, and across the console the fader SEL
buttons flash, in green, to indicate possible sources for the chosen
destination:
The SEL buttons on the first eight faders strips (INP 1 to INP 8)
are illuminated in red showing that they are already assigned to
the selected sum master.
3. Press the SEL buttons on the fader strips controlling INP 1
to INP 8 to undo the bus assignments.
The fader SEL buttons change colour from red to green, and the
Channel display indicates the updated bus assignments.
4. With FADER still selected, now press the fader SEL
buttons on the fader strips controlling GRP 1 to GRP 4 to
assign the group master channels to SUM 1.
selected destination.
5. Deselect the FADER button to complete the operation.
mc²66 V1.8/0 51/

51/ 474
Chapter 1: Tutorial
Now, we need to assign input channels 1-8 to one of the groups
– let’s use Group 1:
1. Select the destination (Group 1) by pressing the SEL
button on the main fader strip controlling GRP 1.
This puts GRP 1 into access as indicated on the ACCESS
CHANNEL/ASSIGN control panel’s CHANNEL and LABEL
displays.
destination:

INP 1 to INP 8 to complete the assignment.
fader strips 1 to 8 shows the bus assignments onto group 1.
4. Deselect the INPUT button or press ESC,
ESC on the ACCESS
CHANNEL/ASSIGN control panel, to exit the bus assign
mode.
52/
52/ 474 V1.8/0 mc²66
Chapter 1: Tutorial
Configuring Audio Sub Group
Group Masters
Monitoring the Group Output

Your Control Room Monitor output should still be selected to
SUM 1, so push open all the faders and you will be hearing a mix
of your microphone channels (input channels 1 to 8) and the CD
player (input channels 23 & 24), with the overall level of all eight
microphone channels controlled by Group master 1.
To monitor just the group output, you may either:
1. Press one of the pre-programmed monitor selector
buttons to monitor GRP 1, if available:
2. Press the AFL button located on the fader strip controlling

GRP 1 to listen to the group output post fader.
3. Press the PFL button located on the fader strip controlling
GRP 1 to listen to the group output pre fader.
Note that depending on your monitoring configuration, AFL and
PFL signals may appear on the Control Room 1, Control Room 2
or external monitor speakers. In addition, you may have access to
AFL to Mains and PFL to Mains switching from the 24
programmable Control Room Monitoring panel buttons.
For more details on control room monitoring, see Page 206.
mc²66 V1.8/0 53/

53/ 474
Chapter 1: Tutorial
Creating Stereo Channels or Masters
Creating Stereo Channels or Masters

Up until now, we have been dealing with mono input
channels, mono groups and a mono sum. However, any of
theses channels may easily be changed from mono to stereo
either from the Central Control Section or Signals display.
For example, to change SUM 1 from mono to stereo:
1. Press the SEL button on the main fader strip controlling
SUM 1 to assign it to the Central Control Section.
The CHANNEL and LABEL displays update to show the system
name and label for SUM 1.
2. Locate the IMAGE controls on the Central Control
Section:
3. Press the STEREO button.

This links SUM 1 to its adjacent DSP channel (SUM 2) to create
the stereo channel.
To indicate that the channel is now stereo, you have stereo
metering, a STEREO LED on the fader strip, a stereo indicator
on the Main display and the Image section becomes active.
Note that if SUM 2 was assigned to the control surface, then
the SUM 2 mono channel disappears leaving a blank fader
strip.
4. Repeat steps 1 to 3 to change any of your groups or
input channels from mono to stereo.
For more details on stereo channel operation, please refer to
Page 126.
54/ 478 V1.8/0 mc²66

Chapter 1: Tutorial
Routing Masters to Output Destinations

So far we have looked at how to route sources into channels,
assign channels to group and sum masters, and monitor the
various paths. Next let’s look at how to assign your groups and
sum output to new destinations, for example to feed a recorder
or distribution chain. The operation is very similar to routing a
new source to a channel, only this time we are going to select the
bus master channel as our source (e.g. SUM 1) and a physical
output (e.g. AES output 1) as our destination:
Signal display:

source directory (e.g. Bus Out)
Out and sub-directory (e.g. DOut
Sum 1-
1-28)
28 on the left of the display.
wish to route (e.g. SUM1
SUM1).
example, select Digital as your directory; HD AES
AES 1-
1-24 as the
sub-directory followed by AES3_
AES3_0
3_001 from the Name and
Label list.
mc²66 V1.8/0 55/

55/ 474
Chapter 1: Tutorial
between SUM1
SUM1 and AES3_00
AES3_001.
6. Repeat steps 3 to 5 to route the right hand side of the
stereo sum master (SUM
SUM2
SUM2) to AES3_0
AES3_002.
02
between SUM 2 and AES3_0
AES3_002.
02
For more details on routing, please refer to Chapter 7: Signal
Routing.
56/
56/ 474 V1.8/0 mc²66
Chapter 1: Tutorial
Using Auxiliary Sends
Using Auxiliary Sends

Auxiliary sends may be used for a variety of applications such as
cue feeds, effects sends, mix minus (N-1) sends, etc. Depending
on your choice of DSP configuration, each channel may access up
to 32 sends.
Send controls are paged onto the eight rotary encoders within the
Central Control Section. For example, to open an auxiliary send
from input channel 23:
1. Press the SEL button on the fader strip controlling INP 23
to assign it to the Central Control Section.
The name and label for channel in access updates in the
CHANNEL and LABEL displays, and the Central Control Section
panels update to show the current settings for the sum master.
2. Locate the AUXILIARY/ AUDIO FOLLOWS VIDEO
controls on the Central Control Section.
3. Press A1 G ... A8 G to assign the first eight auxiliary sends
onto the rotary controls.
The names A1 G to A8 G appear in the alphanumeric displays
showing which send is allocated to each control.
4. Press the ON button to activate the auxiliary send.
5. Now use the rotary control to adjust the send level.
The send level may be adjusted from -128dB to +15dB.
Note that auxiliary send levels may also be controlled from faders
using the FADER CONTROL feature, see page 227 for details
Auxiliary masters are assigned onto fader strips in the same way
we assigned the input channels, groups and sum master earlier.
For more details on auxiliary send operation, see Page 111.
mc²66 V1.8/0 57/

57/ 474
Chapter 1: Tutorial
Creating a Mix Minus (N-
(N-1)

(N-1)
One of the most common functions required during a live
production is the mix minus, or N-1, output. The mc266 may use
any of its 32 auxiliary sends to create mix minus feeds. Let’s take
an example where we wish to create separate mix minus feeds for
the first four microphone inputs we assigned to fader strips 1
through 4 earlier.
Configuring the Mix Minus Auxiliary Sends

The first step is to configure the auxiliary sends to be used for
each mix minus feed. This is done from the signal Settings display
by linking the auxiliary you wish to use to the input source. To
keep things simple let’s use auxiliary sends 1 to 4 for our
configuration:
CONTROL panel, to view the Signals display.
directory (e.g. Stagebox),
Stagebox sub-directory (e.g. Mics)
Mics and the
first source (e.g. MIC_06.1
MIC_06.1) you wish to assign a mix minus
send:
The selected Source Name and Label are highlighted on the

display.
58/
58/ 474 V1.8/0 mc²66
Chapter 1: Tutorial
(N-1)
3. Now press the SCREEN CONTROL SIGNAL button again
to switch to the Settings display:
Your selected source name and label (e.g. MIC_06.1)

MIC_06.1 are shown
in the Selection box at the top left of the display, and a list of the
current destinations for this source in the Destinations list below.
This display is used to configure a number of source and
destination settings. We are interested in the Mix-
Mix-minus box at
the bottom left of the display.
4. Select the Mix
Mix--minus box, either using the trackball or
navigation buttons, and use the rotary control located above
the trackball to scroll through the auxiliary sends 1 to 32. For
our example, select AUX 1. 1
soft key functions.
6. Press the SET soft key to confirm the selection.
The name and label boxes beneath Mix-Mix-minus update to show
the name and label of the selected aux.
7. Repeat steps 1 to 6 to configure auxiliaries 2, 3 and 4 as
the Mix-minus sends for mic inputs 2, 3 and 4.
mc²66 V1.8/0 59/

59/ 474
Chapter 1: Tutorial
(N-1)
8. Having configured a link between the input sources and
mix minus auxiliary sends, now return to the Signals display
by pressing the SIGNAL button again.
The next step is to route the output of the auxiliary sends to the
relevant mix minus destinations. In this example, we want to
route auxiliary 1, 2, 3 and 4 to the ear piece feeds for our guest
channels (e.g. four Stagebox analogue outputs).
source directory (e.g. BUS Out),
Out sub-directory (e.g. DirOut
AUX X 1-1-16)
16 and Name or Label for the source you wish to
route (e.g. AX 1):
1

10. Next, select the destination, for example Stagebox
as your directory, Analog 2 as the sub-directory followed by
ANA_13.1 from the Name and Label list.
11. To make the route press the CONN (Connection)
soft key located above the trackball.
between AX 1 and ANA_13.1.
ANA_13.1
12. Repeat steps 9 to 11 to route all four auxiliary
send masters to the corresponding analogue outputs for the
mix minus feeds.
For more details on signal routing, please refer to Chapter 7:
Signal Routing.
60/
60/ 474 V1.8/0 mc²66
Chapter 1: Tutorial
(N-1)
Activating the Mix Minus Sends

Having configured auxiliary sends 1, 2, 3 and 4 to provide mix
minus feeds for Microphone Inputs 1 to 4:
1. Go to the fader strips controlling MIC 1 to 4 and press the
CONF buttons on all four channels:
The mix minus is automatically activated for each of the four

channels.
2. Depending on your talkback configuration, the TALK
button on each fader strip may be used to talk to the mix
minus.
3. To add channels not within the coordination group to the
mix minus, press their CONF buttons. For example, you may
wish to send the output of several replay machines to all the
mix minus recipients.
The channels are routed onto the mix minus bus; therefore feed
all mix minus sends.
The CORD button changes the mix minus from an N-1 into a
pre-talk auxiliary send. Use this mode to generate a conference-
style feed for your guests and presenters. This allows members of
the conference group to talk to each other pre-fader while they
are off-air. However, as soon as their channel fader is opened and
they are on-air, their conference auxiliary feed is muted.
Note that each mix minus is linked to the input source, rather
than the DSP channel. This means that if you route the input
source (e.g. MIC 4) elsewhere, the mix minus controls
automatically follow.
For more details on mix minus and conference aux operation, see
Page 114.
mc²66 V1.8/0 61/

61/ 474
Chapter 1: Tutorial
Using VCA Grouping
Using VCA Grouping

A common application for the eight main fader strips is to use
them as VCA group masters. The console supports up to 16
dedicated VCA masters and you may assign any number of fader
strips to a dedicated VCA. This provides the ability not only to
control input and monitor channels but also groups, sums and
auxiliary masters.
Assigning VCA Masters to the Control Surface

As we have already assigned groups 1 to 4 and sum 1 onto the
first layer of our eight main fader strips, let’s use the second layer
to create eight VCA masters:
1. Bring the second layer of main fader strip onto the active
surface, by pressing the MAIN 2ND button, located on the
LAYER access panel.
2. Now select VCA master 1 from the ACCESS
CHANNEL/ASSIGN control panel, by pressing VCA
VCA, the
number 1 and the Enter button.
The CHANNEL and LABEL displays show the name (VCA
VCA 1)
1 and
user label for the master.
ASSIGNMENT: ASSIGN MODES panel.
This automatically selects the global ASSIGN button, and across
the console the fader SEL buttons flash, in green, to indicate
possible destinations for your selected channel.
4. Press the fader SEL button on the first main fader strip
followed by fader SEL on the last main fader strip.
The console assigns VCA masters 1 to 8 to main strips 1 to 8.
ESC on the
mode.
62/
62/ 474 V1.8/0 mc²66
Chapter 1: Tutorial
Using VCA Grouping
Assigning Channels to a VCA

VCA Master
Let’s assign our CD player, on input channels 23 and 24 to VCA
master 1:
1. Press the fader SEL button on the fader strip controlling
VCA 1.
This puts VCA 1 into access as indicated on the ACCESS
displays.
2. Now press the VCA button, located on the BUS
ASSIGNMENT panel.
The VCA button flashes to indicate that it is active, and across the
console the fader SEL buttons flash, in green, to indicate possible
sources for your chosen master:
3. Now press the SEL buttons on the fader strips controlling

input channels 23 and 24.
selected VCA master. On each assigned channel, the VCA master
number is shown in the figure of eight display.
4. Deselect VCA
VCA, on the BUS ASSIGNMENT, panel or press
ESC,
ESC on the ACCESS CHANNEL/ASSIGN control panel, to
exit the VCA set up mode.
For more details on VCA operation and other methods of linking
fader strips please see Page 221.
mc²66 V1.8/0 63/

63/ 474
Chapter 1: Tutorial
Applying Signal Processing

Depending on your choice of DSP configuration, full signal
processing may be available on your input channels, monitor
return channels, groups, sums and/or auxiliary masters. This
allows you to compress a group output or EQ an auxiliary master
in the same way you would apply signal processing to an input
channel. Please see Chapter 3 for more details on Signal Flow and
DSP configurations.
The following provides a step-by-step guide to some of the signal
processing sections within the Central Control Section. For a full
tour of the Central Control Section, see Page 86.
1. Press the SEL button on a fader strip to assign it to the
Central Control Section:
The controls update to show the current settings for the assigned
channel.
When controlling processing, note that all rotary controls on the
mc266 are touch sensitive encoders with the following features:
• The dedicated alphanumeric display shows either the
parameter name or value which is being adjusted.
• The ring of LEDs indicates the current position of the control.
Note that for levels, a corona appears around the control
indicating the amount of deviation from the default value.
• The LED square beneath each control changes from green to
yellow when a parameter is not set to its default value.
The controls default to provide fine parameter adjustment. For
coarse adjustment (5 times faster), push down on the control as
you adjust the parameter.
64/
64/ 474 V1.8/0 mc²66
Chapter 1: Tutorial
2. If not already selected, press the CHAN/CONFIG button,
located on the centre section SCREEN CONTROL panel, to
view the Main display:
The Main display is divided into the same sub sections as the
Central Control Section front panel. As you adjust controls, the
display updates to reflect your settings.
Note that the name and label for the channel you are adjusting is
always shown at the top left of the display.
Also note that the heading above each area of the display, for
example EQ,
EQ GATE,
GATE etc, changes colour from grey to green when
that section is switched into circuit.
The Main display also includes a meter, which follows the same
metering options as set for the Channel display. Please see Page
158 for more details on channel metering.
mc²66 V1.8/0 65/

65/ 474
Chapter 1: Tutorial
Using the 4-
4-band Equaliser
1. Locate the SCF/FILTER/EQUAIZER panel on the Central

Control Section:
2. At the bottom of the panel, press the EQ DISP button to
display the 4-band equaliser on the four sets of GAIN, FREQ
and Q controls.
3. Turn on the master EQ ON button.
From left to right, the controls default to provide low shelf,
constant Q, constant Q and high shelf equaliser bands.
4. Use the GAIN, FREQ and Q or Q/SLP rotary controls to
set the gain, frequency or Q for each of the 4 bands:
Frequency may be set from 20Hz to 20kHz, and the value is
shown beneath the front panel control, and in the FREQ box on
the Main display.
Gain may be set from -24dB to +24dB.
Q may be set from 0.1 to 80dB for the Constant Q sections, and
the slope of the shelving bands may be set to 6dB per octave, 12
dB per octave or 18dB per octave.
66/
66/ 474 V1.8/0 mc²66
Chapter 1: Tutorial
5. Use any of the four OFF buttons to switch an individual
band out of circuit.
6. Use the two EQ type buttons to switch between bell, shelf
and pass band filters for the high and low bands, and bell,
constant Q and notch for the middle bands.
The TYPE boxes on the Main display update to show the new
selection.
Using the High and Low Pass Filters

1. At the bottom of the SCF/FILTER/EQUALIZER panel,
press the FILTER DISP button to switch the four sets of
GAIN, FREQ and Q controls to the 2-band filter section.
Controls on the left side of the panel now adjust the high pass
filter, and controls on the right side adjust the low pass filter. The
two bands default to provide constant Q equalisation.
2. Turn on the master FILTER ON button.
3. To change the two bands to high and low pass filters, use
the EQ type buttons.
The TYPE boxes on the Main display update to show Hi-
Hi-P or Lo-P
respectively.
4. Use the FREQ rotary control to set the roll-off frequency
for the filter.
Frequency may be set from 20Hz to 20kHz, and the value is
shown beneath the front panel control and in the FREQ box on
the Main display.
5. Use the Q/SLP rotary control to set the slope of the filter.
The slope may be set to 6dB per octave, 12 dB per octave or
18dB per octave and is shown in the Q box on the Main display.
6. Press either of the two OFF buttons to switch the
individual filters out of circuit.
The two filter bands may be used for filtering, shelving EQ or
constant Q operation by adjusting the EQ type selection buttons.
You can also set each band independently. For example, to keep
your high pass filter, but use the other filter band as an extra
band of EQ.
For more details on Equalisation and Filtering, see Page 97.
mc²66 V1.8/0 67/

67/ 474
Chapter 1: Tutorial
Setting a Compressor
Compressor
The console provides four independent blocks of dynamics
processing (Gate, Expander, Compressor and Limiter). Any of the
four sections may be placed anywhere within the channel signal
flow. For example, to gate pre EQ and compress post EQ, or to
limit the channel signal post fader while compressing the feed to
the direct output. In addition a dedicated 2-band filter section
may be inserted into the sidechain of the gate or compressor.
Let’s look at how to set a compressor:
1. Locate the COMP/LIM panel on the Central Control
Section.
2. Check that the LIM button is turned off.
3. Press the ON button to switch on the Compressor.
4. Check that the 2nd button is off and use the four rotary
controls to set the compressor attack time (ATT/RLS),
threshold level (THRS/LAHD), ratio (RATIO/HOLD/KNEE)
and output gain (GAIN).
5. Now turn on the 2nd button and use the two upper
controls to set release time (ATT/RLS) and look ahead
delay(THRS/LAHD).
The Main display updates to show the relevant settings
The action of the compressor is best described by looking at the
Compressor graph on the Main display. Note that as you adjust
your settings, the bouncing ball shows the position of the signal
level relative to the threshold and ratio you have set. In addition,
the vertical GAIN meter displays the amount of gain reduction
being applied to the signal; the two meters below the graph show
input (IN
IN)
IN and output (OUTOUT)
OUT levels to/from the section.
The Compressor parameters may be set as follows:
• Threshold Level – from -40dB to +20dB.
• Ratio – from 1:1 to 10:1.
• Attack Time – from 0.3ms to 250ms.
• Release Time – from 0.04secs to 10secs.
• Look Ahead Delay – from 0ms to 10ms.
• Gain – from -20dB to +20dB.
• Knee – hard or soft.
For a smoother compressor, insert the 2-band sidechain filter and
set -10dB gain for an 18dB/octave low shelf at around 125Hz to
remove unwanted low frequencies.
For full details on Dynamics operation, please refer to Page 99.
68/
68/ 474 V1.8/0 mc²66
Chapter 1: Tutorial
Processing
Inserting Channel Delay

To apply delay to a channel, for example to compensate for video
processing delays:
1. Locate the DAMP/DELAY/INS/DIROUT panel on the
Central Control Section.
2. Press the DLY button to assign the controls to the channel
delay audio module.
3. Press the ON button to switch the delay into circuit.
4. Toggle the MODE button to cycle around the channel
delay unit options – milliseconds (ms), frames (frms) or
meters (m).
The TIME box on the Main display updates to show your chosen
units.
5. Move the rotary control to adjust the delay value.
The amount of delay is displayed in the TIME box on the Main
display. Channel delay may be set from 0 to 1800ms).
When adjusting delay in frames, set the frame rate using the
System display, see Page 441 for details.
Inserting
Inserting Outboard Processing
To insert an outboard piece of equipment into the channel path,
for example to apply external compression:
1. Press the INS button on the DAMP/DELAY/INS/DIROUT
panel to assign the controls to the channel insert module.
2. Press the ON button to switch the insert return into
circuit.
If an insert return is not assigned, you will get silence when you
switch the insert into circuit.
3. With the insert ONON, adjust the rotary control to set the
level of the insert send.
The SEND level is shown on the Main display and may be
adjusted from -128dB to +15dB.
mc²66 V1.8/0 69/

69/ 474
Chapter 1: Tutorial
The insert send and return assignments are made from the Signals
display:
Signal display.

source directory (e.g. Insert Send),
Send sub-directory (e.g. InsSnd
Inp 1-
1-24)
24 and source (e.g. INP1i
INP1i)
P1i on the left of the display.
example, select Stagebox as your directory, Analog 1 as the
sub-directory followed by ANA_11.7 from the Name and
Label
Label list.
between the source and destination.
70/
70/ 474 V1.8/0 mc²66
Chapter 1: Tutorial
5. Repeat steps 2 to 4 to route the line input from the
compressor (e.g. ANA13.1)
ANA13.1 to the insert return (INP
INP1
INP1i):
between the source and destination.
For full details on Insert operation, please refer to Page 95.
mc²66 V1.8/0 71/

71/ 474
Chapter
Chapter 1: Tutorial
Assigning the Fader Strip Free Controls
Assigning the Fader Strip Free Controls

On each channel fader strip are four, and on each main fader
strip two, assignable Free Controls. These provide local channel
access to settings such as EQ, Panning, Dynamics, Auxiliary
Sends, etc.
Each control is touch sensitive and when turned provides fine
control. Push down and rotate the control for coarse adjustment
of a parameter value.
Each control also has its own dedicated 4-character alphanumeric
display. The normal mode shows the parameter function (e.g.
EQ1G – EQ Band 1 Gain) until the control is touched, when the
display then updates to show the parameter value (e.g. +12).
+12
There are three ways you may assign parameters onto the free
controls, but to get you started let’s use the global FC PRESET
buttons located to the left of the Central Control Section.
1. Check that the Page 2 button is turned off.
2. Press the EQ 1/FI
1 FI 1 button.
Working up the channel, the four free controls are now assigned
to On/Off, Gain, Frequency and Q for band 1 of the Equaliser
section. The value of the parameter is shown in the 4-character
display below the control as it is adjusted.
If a control is assigned to a switched function, such as EQ
On/Off, turn the rotary control clockwise to activate the function
(EQ On) and anticlockwise to deactivate the function (EQ Off).
3. To access the second level of functions, for example, the
Filter controls, press the PAGE 2 button.
For more details on assigning Free Controls, please refer to Page
134.
Congratulations on completing this tutorial! Hopefully, we have
given you enough information to being working with the console
immediately. If you need more assistance, use the Index Directory
located at the back of the manual to locate information on a
particular topic. Otherwise keep reading to learn more about each
area of the console’s operation.
72/
72/ 474 V1.8/0 mc²66
Chapter 2: Channel Control
Introduction
Introduction
In this chapter you will learn about the two main areas where you
can adjust channel controls - the console’s channel strips and the
The Central Control Section
Channel Strips
We will assume that you are controlling a fully featured DSP

channel. However, remember that the mc266 provides two types
of DSP channel - full processing and reduced processing (Tiny) –
which are used for input channels, monitor return channels,
group masters, main sums and auxiliary masters according to your
DSP configuration. For more details on signal flow and DSP
configurations, please refer to Page 171.
Note also that the console’s fader strips do not become active
until they are assigned to channels of processing. This assignment
allows you to configure input channels, groups, sums, auxiliary
masters, etc. at any position on the control surface. Depending on
the last production you loaded, you may be sat in front of a pre-
configured control surface or a series of blank fader strips. We will
assume that your console has pre-configured fader strips. If this is
not the case, please turn to Page 192 for details on assigning
channels to fader strips.
mc²66 V1.8/0 73/

73/ 474
The Channel Display
The Channel Display

For every channel strip, the Channel display provides metering
and feedback on inputs, outputs and local parameter values.
The primary function is to provide metering for each channel. The

meters may be switched to different points within the signal flow,
see Page 158, and will be mono or stereo according to the
channel format. There are also a number of options for adjusting
the meter scale, peak hold, etc. see Page 429.
74/
74/ 474 V1.8/0 mc²66
The Channel Display
In addition to metering, the following information is provided:
• Bus assignments onto the:
o Group Busses
o Auxiliary Busses
o Track Busses
o Sum Busses
The number of busses which are displayed can be adjusted from
the System display, see Page 424.
• Dynamics gain reduction metering for the:
o G – Gate
o E – Expander
o C- Compressor
o L - Limiter
• INFO window – this area provides graphical feedback on the
channel’s signal processing and parameter values (e.g. EQ).
You may change what is displayed using the CHANNEL
DISPLAY buttons located in the centre section of the console.
See Page 226 for more details.
• System Names – the two grey boxes display the fixed system
names for the DSP channels assigned to the active and
alternate fader strips. In our example, input channel 1 is
assigned to the active layer (INP
INP 1)
1 with nothing assigned to
the alternate layer.
• User Labels - the two black boxes display the programmable
user labels for these channels. In our example, INP 1.1 User
Labels are programmed from the Signals display and are
saved with the snapshot/production. Please refer to Page 395
for more details.
• Input GAIN – this value displays the input gain for the
channel. Note that this could be mic, line or digital gain
depending on the source. See Page 131 for more details.
mc²66 V1.8/0 75/

75/ 474
Source Routing
Source Routing
The console’s integrated digital routing matrix allows you to route
any source to any channel or to multiple channels. For more
details on using the console’s integrated router, please refer to
Chapter 7: Signal Routing, Page 386.
Bus Routing
The BUS ASSIGNMENT buttons in the centre section of the
console are used to assign channels onto the console’s mix
busses:
There are two ways to assign channels to busses:

• FORWARD Bus Assign – this is the conventional method for
routing a channel onto a bus, and allows you to route a single
channel onto single or multiple bus outputs. For example,
when you want to assign input channel 1 to Group 1 and
Sums 1 and 2.
• REVERSE Bus Assign – this method allows you to interrogate
and modify the assignments onto an individual bus, and is
often quicker than conventional routing when, for example,
you wish to route a range of channels to a single bus output.
Note that any type of DSP channel may be assigned onto a bus.
This means, for example, that you may route a group onto a sum
bus, or an auxiliary onto a group bus, in the same way you assign
an input channel.
Outputs may be configured as mono, stereo or multi-channel. For
example, if a channel is assigned onto six sum busses configured
for 5.1, then the corresponding pan law is applied. For more
details on routing to surround outputs, see Page 81.
76/
76/ 474 V1.8/0 mc²66
Bus Routing
Forward Bus Assignments

This method of routing is ideal for assigning a single channel onto
multiple bus outputs. For example, let’s route an input channel
(e.g. INP 1) onto group 1 (GRP 1):
1. First put input channel 1 into access either by pressing the
SEL button on the fader strip controlling INP1, or using the
ACCESS CHANNEL/ASSIGN control panel - press the INPUT
channel type button, the numbers 1, followed by the Enter
button.
This puts the input channel into access as indicated on the
ACCESS CHANNEL/ASSIGN control panel’s displays.
2. Now press the GROUP BUS button, located on the BUS
ASSIGNMENT: FORWARD panel.
The GROUP BUS button flashes, and across the console the fader
SEL buttons on fader strips which are controlling group channels
(GRP 1-48) flash, in green, to indicate possible destinations for
the chosen input channel:
3. Press the fader SEL button on the fader strip controlling

GRP 1 to make the assignment. If GRP 1 is not assigned to
the active control surface, see page 81.
The fader SEL button stops flashing and changes colour from
green to red to indicate that the channel is assigned to the
the fader strip updates to show the assignment onto group 1.
mc²66 V1.8/0 77/

77/ 474
Bus Routing
4. To undo the assignment, press the red fader SEL button
on the GRP 1 fader strip.
The assignment is undone and the button returns to its flashing
green status.
5. To route the channel onto a different group bus, select
one of the other green fader SEL buttons.
6. When you are finished, deselect GROUP BUS or press
ESC,
exit bus assign mode.
Note that if the bus is stereo or surround, assignments are made
in one operation. For example, routes onto a stereo Group bus
are displayed on the Channel display as assignments to Groups
1&2, 3&4, etc.
To route onto a different type of output bus, repeat the operation
but make a different selection from the BUS ASSIGNMENT:
FORWARD buttons:
• GROUP BUS selects Groups (up to 48).
• SUM BUS selects main Sums (up to 48).
• TRACK BUS assigns channels onto Track Buses (up to 96).
Note that a Track Bus is always tied to its corresponding Monitor
return channel. Therefore, when you select Track Bus, it is the
fader SEL button(s) on the corresponding Monitor return
channels which allow you to make your track assignments.
• AUX BUS selects Auxiliary sends (up to 32).
Note that routing a channel onto an aux bus is equivalent to
turning on the auxiliary send from the channel controls. The send
gain and other parameters will remain at their previous values.
Use any of the above when you wish to limit the choice of
destinations to prevent accidental assignments onto different bus
types.
• FADER selects all busses regardless of their type. Use this
button when you wish to assign a channel quickly onto
various types of busses.
• VCA selects VCA masters (up to 16). Note that this does not
assign the channel to a bus, but to a VCA control master.
78/
78/ 474 V1.8/0 mc²66
Bus Routing
Reve
Reverse Bus Assignments
This method allows you to interrogate and modify the
assignments onto an individual bus, and is often quicker than
conventional routing when assigning a range of channels to a
particular bus output. This time rather than selecting the channel
you wish to assign followed by the output destination, we reverse
the thought process and select the destination output followed by
the source channels.
For example, let’s route eight input channels (e.g. INP 1-8) onto
group 1 (GRP 1):
1. First select the destination either by pressing the SEL
button on the fader strip controlling GRP 1 or using the
ACCESS CHANNEL/ASSIGN control panel – press the GRP
channel type button, the number 1, followed by the Enter
button.
This puts group 1 into access as indicated on the ACCESS
displays.
destination:
If INP1 to INP8 are not assigned to the active control surface,

then see page 81.
mc²66 V1.8/0 79/

79/ 474
Bus Routing
INP 1-8 to complete the assignment.
selected destination. Note also that the Channel display updates
to show the bus assignments onto group 1.
4. To undo the assignment, press the red fader SEL buttons
on the fader strips controlling INP 1-8.
The assignments are undone and the buttons return to their
flashing green status.
5. When you are finished, deselect the INPUT button or
press ESC,
ESC on the ACCESS CHANNEL/ASSIGN control panel,
to exit bus assign mode.
Note that if the bus is stereo, the assignment is made in one
operation. For example, routes onto a stereo Group bus are
displayed on the Channel display as assignments to Groups 1&2,
3&4, etc.
To route sources other than input channels onto the group,

repeat the operation but make a different source selection from
the REVERSE BUS ASSIGNMENT buttons:
• INPUT selects fader strips assigned to input channels.
• GROUP selects fader strips assigned to groups.
• MON selects fader strips assigned to monitor return channels.
• FADER selects all fader strips regardless of their channel type.
Use the INPUT,
INPUT GROUP and MON buttons when you wish to
prevent accidental assignments from different channel types.
Use the FADER button when you wish to assign any type of
channel onto the same bus; to assign input channels and groups
onto a sum bus for example.
80/
80/ 474 V1.8/0 mc²66
Bus Routing
Making Assignments from/to

from/to Hidden Channels
If the channels or busses you wish to access are not assigned to
the current bank and layer of the control surface, then you may
still make bus assignments by changing the operation of the
ACCESS CHANNEL/ASSIGN control panel from access to assign.
Let’s take the example of routing input channel 49 onto group 12
using forward bus assignment:
1. First put input channel 49 into access by pressing the INP
channel type button and the numbers 4 and 9 followed by
the Enter button.
This puts input channel 49 into access, as indicated by the name
and label in the CHANNEL and LABEL displays.
2. Now press the GROUP BUS button, located on the BUS
ASSIGNMENT: FORWARD panel in the centre section.
The GROUP BUS button flashes, and across the console the fader
SEL buttons on fader strips which are controlling group channels
(GRP 1-48) flash, in green, to indicate possible destinations for
the chosen input channel.
3. If group 12 is available on the control surface, then you
may route directly to it by pressing its fader SEL button.
The fader SEL button changes colour from green to red, and
stops flashing to indicate that the channel is now assigned.
4. However, if group 12 is not on the current surface, press
the ASSIGN button located to the right of the numeric
keypad:
This now allows you to select your bus destination using the
ACCESS CHANNEL/ASSIGN control panel.
5. Press the GROUP channel type button and the numbers 1
and 2 followed by the Enter button.
The assignment onto group 12 is complete.
6. Exit bus assign by deselecting the GROUP BUS
assignment button.
mc²66 V1.8/0 81/

81/ 474
Bus Routing
Making Assignments to Surround Outputs

Assignments to surround outputs can be made using either
forward or reverse bus assign. However, there are a few points to
note about the operation.
When you assign a mono or stereo channel onto a surround
output, the console assumes that you wish to make the
assignment onto all of the busses within the multi-channel
output.
For example, let’s say SUMS 1 to 6 have been configured as a 5.1
surround output. For details on configuring multi-channel
outputs, see Page 169.
1. Assign a mono or stereo channel to SUM 1 using forward
or reverse bus assign.
Rather than just assigning the channel to SUM 1, the console
assumes that you wish to route to the complete surround output,
and assigns the channel to SUMs 1, 2, 3, 4, 5 and 6 in one
operation.
2. However, having made the assignment, you can now edit
it. So, for example, if you wish to remove the channel from
SUM 6 (LFE), you can do so by deselecting the assignment
to SUM 6.
So, in summary, when you route onto a surround output,
assignments are made onto all busses within the output.
But, when you deselect routes from a surround output, they are
deselected one by one allowing you to edit any surround
assignment.
82/
82/ 474 V1.8/0 mc²66
Bus Routing
Bus Re-
Re-assign
As you can see, either forward or reverse bus assignments may be
used to route any type of channel, not just input channels, onto
bus outputs. Let’s take an example where we wish to assign both
input channels and groups onto sum 1. Reverse bus assign would
be the quickest method to achieve this result:
1. Press the SEL button on the fader strip controlling SUM 1.
This puts Sum 1 into access as indicated on the ACCESS
displays.
2. Now press the FADER button, located on the BUS
The FADER
FADER button flashes, and across the console the fader SEL
buttons on all potential source fader strips flash, in green:
3. Now press the fader SEL buttons on the fader strips

controlling the input channels (INPUT) and group channels
(GRP) to make the assignments.
4. Exit bus assign by deselecting the FADE
FADERR assignment
button or pressing ESC on the ACCESS CHANNEL/ASSIGN
control panel.
mc²66 V1.8/0 83/

83/ 474
Chapter
Bus Routing
The Bus Assign Display

An overview of the bus assignments for the channel in access is
provided by the Bus Assign display. You may also change bus
assignments from this display providing a fast way of routing
onto many different bus outputs from a single channel.
The Bus Assign display also provides a method of editing
assignments made to stereo outputs. For example, if Sum 1 and
Sum 2 are linked for stereo operation, then Forward and Reverse
Bus Assign will automatically route source channels onto both
sums. If you wish to assign a channel only onto Sum 2, for
example, then make this assignment from the display.
1. Press the BUS button, located on the SCREEN CONTROL
panel, to view the display now:
The display shows all the bus assignments for the channel in
access – the name of the channel shown at the top left of the
display. To change to a different channel, either press a fader strip
SEL button or enter a channel type and number from the ACCESS
Assignments are colour coded with groups shown in yellow; track
sends in blue; auxes in green; sums in red; CFX is reserved for
future implementation. Depending on your choice of DSP
configuration you may vary the number of groups, auxes and
sums available for each production, see Page 171 for details.
84/
84/ 474 V1.8/0 mc²66
Bus Routing
To change bus assignments from this display:
1. Using the trackball or navigation buttons change the focus
of the display to the bus you wish to route to.
The name of the bus appears in the Selected Bus box.
2. Press the ASGN soft key located above the trackball to
make the assignment.
The display updates to show the new assignment.
3. Press ASGN again to undo an assignment.
For auxiliary assignments, you may also adjust the level of the aux
send, and balance for a stereo aux send, from the display:
4. Using the trackball or navigation buttons focus on the aux
send you wish to adjust.
The name and current level of the aux send appears in the
Selected Bus box.
5. Press the SET soft key located above the trackball and turn
the rotary control to adjust the aux send level.
The display updates to show the new value.
For stereo sends, focus on the odd aux of the pair to adjust level
and the even aux to adjust balance.
mc²66 V1.8/0 85/

85/ 474

The Central Control Section provides dedicated access to all
channel modules – input control, signal processing, panning,
level, monitoring facilities, auxiliary sends and audio follow video
(AFV) set up.
Working from top to bottom and left to right, controls are divided
into the following sections:
• INPUT MIXER - input gain, microphone preamplifier settings,
stereo input balance and stereo input controls.
• IMAGE – width and positioning controls for a stereo channel
source.
• DAMP/DELAY/INS/DIROUT – digital gain, channel delay,
insert switching and the channel direct output.
• GATE/EXPANDER – gate and expander dynamics processing.
• SCF/FILTER/EQUALIZER – 2-band filter and 4-band equaliser
sections.
• COMP/LIM – compressor and limiter dynamics processing.
• PANNING – panning onto the channel’s mix bus outputs.
• FADER & MONITORING – local level, mute, AFL and PFL
control.
• AUXILIARY/ AUDIO FOLLOWS VIDEO – auxiliary sends and
audio follow video functionality.
• CHANNEL – input source selection for monitor channels, mix
minus and talkback controls, AFL for individual processing
sections and meter pick up point controls.
86/
86/ 474 V1.8/0 mc²66
Note that all rotary controls on the mc266 are touch-sensitive
encoders with the following features:
• Most controls offer a dedicated alphanumeric display showing
either the parameter name or value which is being adjusted.
• The ring of LEDs indicates the current position of the control.
Note that for levels, a corona appears around the control
indicating the amount of deviation from the default value.
• The LED square beneath each control changes from green to
yellow when a parameter is not set to its default value.
The controls default to provide fine parameter adjustment. For
coarse adjustment (5 times faster), push down on the control as
you adjust the parameter.
Also note that every section of controls on the Central Control
Section includes a SEL (Selection) button. This is used in
conjunction with the PARAMETER COPY/ASSIGN panel to copy
parameters between channels - see Page 150 for details. In
addition, it may be used in conjunction with the LISTEN controls
to AFL any individual processing section - see Page 123 for
details.
mc²66 V1.8/0 87/

87/ 474
The Main Display

The Central Control Section works in conjunction with the centre
control screen’s Main Display.
1. Press the CHAN/CONFIG button, located on the centre
section SCREEN CONTROL panel, to view the Main display:
The Main display is divided into the same sub sections as the
Central Control Section front panel. As you adjust controls, the
display updates to reflect your settings.
Note that the name and label for the channel you are adjusting is
always shown at the top left of the display.
Also note that the heading above each area of the display, for
example EQ,
EQ GATE,
GATE etc, changes colour from grey to green when
that section is switched into circuit. This area is also used to
display additional information for the section, for example if there
are links between modules.
The Main display also includes a meter, which follows the same
options as set for the Channel display metering. Please see Page
158 for details on meter options.
88/
88/ 474 V1.8/0 mc²66
Chapter 2: Channel
Channel Control
Assigning Channels to the Central Control Section

Remember that the channel in access is always the channel
assigned to the Central Control Section. You can view the name
and label of the channel currently assigned in the CHANNEL and
LABEL displays on the ACCESS CHANNEL/ASSIGN control panel
and at the top left of the Main display:
To assign a new channel to the Central Control Section, use any
of the methods for updating the channel in access:
1. If the channel is on the active control surface, press the
SEL button on the channel fader strip.
If the channel you wish to assign is not on the active surface, for
example it is allocated to an underneath layer or bank of fader
strips:
2. Select the channel type and number using the INPUT
INPUT,
MON TRK,
TRK AUX,
AUX GPC,
GPC GROUP,
GROUP SUM,
SUM and MAIN FADER,
FADER,
STRIP or VCA buttons and numeric keypad.
3. Alternatively, use the NEXT and PREV,
PREV or LEFT and RIGHT
buttons to increment and decrement the channel number by
DSP type or across the active control surface.
Please refer to Page 17 for details on any of these operations.
The Central Control Section may be used to control a channel

which you do not want to have on the active fader strips. For
example, during a live production you may wish to ‘hide’ your
sum master channels to prevent accidental changes. Then when
you wish to adjust settings on the channel, assign the sum to the
Central Control Section using method 2 above.
In addition, you may protect the channel assigned to the Central
Control Section by locking the channel in access:
1. Locate the ACCESS CHANNEL/ASSIGN panel in the

centre section of the console:
2. Press the LOCK ACC button to lock the current channel in
access.
When LOCK ACC is selected, you cannot use the ACCESS
CHANNEL/ASSIGN control panel or press fader SEL buttons to
update the channel in access.
mc²66 V1.8/0 89/

89/ 474
Mono Channel Operation

Let’s run through the Central Control Section in more detail,
starting with the operation for a mono channel. For details on
stereo channels, please see Page 126. For details on surround
operation, see Page 169.
INPUT MIXER
The INPUT MIXER controls input gain, microphone preamplifier
settings, stereo input balance and compatibility functions such as
Phase Reverse, Mono, Left to Both, Right to Both and Left/Right
Reverse.
You will be presented with a slightly different set of controls
depending on the type of input board your source is connected to
(Line, Mic/Line or Digital).
Also note that depending on the hardware configuration of your
DALLIS input card(s), gain ranges may vary. Please refer to the
DALLIS I/O technical data for details.
Line Level Analogue Source Settings

1. The LINE button is automatically selected.
2. Use the GAIN control to remotely set the analogue gain
prior to the A-D conversion
The gain range is normally adjusted from -7dB to 20dB, although
The 40,
40 80 or 140 Hz indicator lights on the Main display to show
the selected filter frequency.
Note that the 48V,
48V LINE and PAD buttons are inactive for a line
level source.
90/
90/ 474 V1.8/0 mc²66
Microphone Preamplifier Settings

On Mic/Line input cards, the source may be switched to provide
microphone preamplifier control as follows.
1. Deselect the LINE button.
The MIC indicator lights on the Main display and the following
settings become available:
preamplifier gain within the analogue domain prior to the A-
D conversion.
The 48V indicator lights on the Main Display.
subsonic filter prior to the A-D conversion. Toggle this
The 40,
40 80 or 140 Hz indicator lights on the Main display to show
the selected filter frequency.
The PAD indicator lights on the Main display.
mc²66 V1.8/0 91/

91/ 474
Digital Source Settings

When any type of digital source (AES, MADI, etc.) is routed to
the channel, the DIG indicator on the Main display is selected,
and the following settings become available:
1. Use the GAIN control to set the digital input gain.
The gain setting is displayed in the GAIN box on the Main
display. Gain may be adjusted from -20dB to +15dB.
Note that the 48V,48V LINE,
LINE PAD and filter option buttons are
inactive for a digital input source.
Phase Reverse
For any input DSP channel, mic, line or digital:
1. Press the button to reverse the phase of the mono

source.
The PH1 indicator lights on the Main display.
A/B Input Switching

Switching
For any input or monitor DSP channel, you may assign a back up
source (B) from the Signals display. For example, you may assign
the main wireless mic for your presenter to INP 1 source A, and a
spare mic to INP 1 source B. You can then switch quickly from A
to B during the show if the first mic fails:
1. Press the B button to switch to the B source.
2. Press the A button to return to source A.
On the Channel display, each input or monitor channel is shown
with either an A or B pre-fix to indicate the current source.
Sources are assigned to the A and B inputs from the Signals
display, see Page 390 for details.
Note that if there is no source assigned to B input, then pressing
the B button will switch the channel to silence.
Stereo Input Controls

For a mono channel, the BAL, MONO,MONO L>B,
L>B R>B
R>B, L/R Reverse,
Phase Reverse Right and M/S controls are inactive. Please refer to
Page 126 for full details on stereo channel operation.
92/
92/ 474 V1.8/0 mc²66
IMAGE
Below the INPUT MIXER, the IMAGE section of controls deals
with image positioning and width on stereo channels, and also
contains the STE (STEREO) button which may be used to create a
stereo channel.
Note that this section is only active for a stereo channel, and will
remain blank for a mono source. Please refer to Page 126 for full
details on stereo channel operation.
DAMP/DELAY/INS/DIROUT
Below IMAGE, the DAMP/DELAY/INS/DIROUT section of
controls may be assigned to adjust any of the following four
audio modules:
• DAMP – Digital AMPlifier
AMP – provides a flexible gain control
which may be positioned anywhere within the channel signal
flow.
• DELAY – provides control of channel delay which may be set
in ms, frames or meters.
• INS – the channel insert point, which may be positioned
anywhere within the channel signal flow.
• DIROUT – DIRect
DIR OUTput
OUT – the direct output, which may be
positioned anywhere within the channel signal flow.
Digital Amplifier (DAMP)

1. Press the DAMP button to assign the rotary controller and
buttons to the Digital Amplifier audio module.
2. Press the ON button to switch the gain element in and
out of circuit.
3. Move the rotary control to adjust the digital gain.
The gain value is displayed in the DIGAMP GAIN box on the
Main display. Gain may be adjusted from -128dB to +15dB.
Note that the MODE button is inactive for the digital amplifier.
mc²66 V1.8/0 93/

93/ 474
Control
Channel Delay (DELAY)

1. Press the DLY button to assign the rotary controller and
buttons to the channel delay audio module.
2. Press the ON button to switch the delay in and out of
circuit.
3. Toggle the MODE button to cycle around the channel
delay unit options – milliseconds (ms), frames (frms) or
meters (m).
The TIME box on the Main display updates to show your chosen
units.
4. Move the rotary control to adjust the delay time.
The amount of delay is displayed in the TIME box on the Channel
display. Channel delay may be set from 0 to 1800ms.
When adjusting delay in frames, set the frame rate using the
Push down on the rotary control to set the delay time coarsely.
Set Delay in ms or frames when you are dealing with a specific
time delay, for example, to delay the channel’s audio relative to
an incoming video feed.
Set Delay in meters when you are time aligning microphones
positioned on the studio floor and know the distance between
the microphones.
Depending on the hardware configuration of your console, an
additional 48 delays may be available from the DSP Module 983-
03. These are fixed time delays which may be inserted into any
routing crosspoint and are programmed within the system
configuration.
94/
94/ 474 V1.8/0 mc²66
Channel Insert (INS)

1. Press the INS button to assign the rotary controller and
buttons to the channel insert module.
2. Press the ON button to switch the insert return in and out
of circuit.
If an insert return is not assigned, you will get silence when you
switch the insert into circuit.
3. With the insert ONON, adjust the rotary control to set the
level of the insert send.
The SEND level is shown on the Main display and may be
The MODE button is inactive for the insert section.
Note that the channel insert send is always active even when the
return is not inserted. This allows the insert send to be used to
generate an extra clean feed from the channel, with level control,
which may be taken from any point in the channel signal flow.
Please refer to Page 165 for details on changing the channel’s
signal processing order.
The insert send and return assignments are made from the Signals
display by routing the DSP channel’s insert send to the output
feeding the insert device, and routing the output of the external
device to the corresponding insert return. See Page 70 for details.
mc²66 V1.8/0 95/

95/ 474
Direct Output (DIROUT)

1. Press the DIROUT button to assign the rotary controller
and buttons to the direct output module.
2. Press the ON button to activate the direct output.
3. Move the rotary control to adjust the direct output send
level.
The SEND level is displayed on the Main display and may be
4. Route the direct output to a destination using the Signals
display, see Chapter 7 for details.
The MODE button is inactive for the direct output section.
Note that the direct output may be fed from any position in the
channel signal flow. For example, you could use the direct output
to create a pre fader send to feed a multitrack recorder, while
using the post fader output for the live production mix. Please
refer to Page 165 for details on changing the channel’s signal
processing order.
96/
96/ 474 V1.8/0 mc²66
Equalisation and Filtering

The console provides a 4-band equaliser section plus two 2-band
high and low pass filter sections; one dedicated to the main
channel and one dedicated to the dynamics sidechain. EQ and
filters may be arranged in any order within the channel signal
flow and are controlled from the SCF/FILTER/EQUALISER control
area:
Four sets of dedicated GAIN, FREQ and Q/SLP controls, with

band OFF and equalisation type buttons are provided.
1. Switch the four sets of controls between sidechain filters
(SCF), main channel filters (FILTER) and the 4-band equaliser
(EQ) using the DISP (Display) buttons at the bottom of the
panel.
Select the EQ DISP button and all four sets of controls become
active, providing access to low, low mid, high mid and high
frequency equaliser bands.
Note that when you select either the SCF or FILTER DISP buttons,
only the two outer sets of controls remain active, providing access
to the low and high frequency filter bands.
2. Press the SCF, FILTER and EQ ON buttons to turn each
section on or off.
3. Having switched the section ON and selected the controls
you wish to adjust using the DISP button, now adjust the
GAIN, FREQ and Q/SLP controls to adjust the equaliser or
filter settings.
mc²66 V1.8/0 97/

97/ 474
In addition to the control displays, the Main display provides
valuable feedback on specific settings and features a graphical
overview of the EQ processing:
The Filter graph normally shows the main (FILTER FILTER)

FILTER settings
unless you are adjusting the dynamics sidechain (SCF
SCF)
SCF filters:
All 4-bands of EQ and 2-band filter sections operate across the

full frequency range (20Hz to 20kHz), and offer a variety of
different EQ types.
4. Press the OFF buttons to switch any individual band out
of circuit.
5. Press the two EQ type buttons to change type between
bell, shelf and pass band filters for the high and low bands,
and bell, constant Q and notch for the middle bands.
98/
98/ 474 V1.8/0 mc²66
Mono Channel
Channel Operation
Dynamics Processing
The console provides four independent blocks of dynamics
processing (Gate, Expander, Compressor and Limiter). The
GATE/EXPANDER and COMPRESSOR/LIMITER sections are
controlled from either side of the SCF/EQ/FILTER panel:
Note that any of the four sections may be placed anywhere

within the channel signal flow. For example, to gate pre EQ and
compress post EQ, or to limit the channel signal post fader while
compressing the feed to the direct output. Here we will deal with
using the front panel controls. Please refer to Page 165 for details
on changing the channel signal processing order.
In addition, a dedicated 2-band filter section may be inserted into
the sidechain of the compressor or gate. Please see Page 105 for
details.
On both the GATE/EXPANDER and COMP/LIM panels, you will
find an EXTK (External Key) button; this is reserved for future
implementation.
mc²66 V1.8/0 99/

99/ 474
The current Gate, Expander, Compressor and Limiter settings are
shown on the Main display:
In addition to providing valuable feedback on specific settings,

the displays feature a graphical overview for each section, vertical
GAIN reduction metering; horizontal IN (input) and OUT (output)
level metering; and a bouncing ball indication of the current
signal level within the dynamics processor.
Use the bouncing ball position and the IN and OUT levels to see
how much gain reduction or expansion is being applied.
Use the section’s Look Ahead Delay (LAHD) to delay the main
signal path relative to the gate, expander, compressor or limiter.
This will result in pleasant dynamics processing even for widely
varying dynamic signals.
100/
100/ 474 V1.8/0 mc²66
GATE/EXPANDER
This section of controls is switched between setting up the Gate
and the Expander by pressing the EXP button. Note that both
sections can be used independently such that you could be gating
at low levels and expanding at higher levels on the same channel.
Setting a Gate
1. Check that the EXP button is turned off.
2. Press the ON button to switch on the Gate.
controls to set the gate attack time (ATT/RLS), threshold
level (THRS/LAHD), hold time (RATIO/HOLD) and floor
level (FLOOR/GAIN).
controls to set the release time (ATT/RLS) and look ahead
delay; and the lower control to set the output gain
(FLOOR/GAIN).
The front panel displays, and boxes on the Main display update
to show the relevant settings.
The action of the gate is best described by looking at the Gate
graph on the Main display. Note that as you adjust your settings,
the bouncing ball shows the position of the signal level relative to
the threshold and floor levels you have set. In addition, the
vertical GAIN meter on the left displays the amount of gain
reduction being applied to the signal; when the gate is active, the
meter turns red. Finally, the two meters below the graph show
the input (IN
IN)
IN and output (OUT
OUT)
OUT levels to and from the section.
The Gate parameters may be set as follows:
• Threshold Level – from -70dB to 0dB.
• Floor Level – from 0dB to -128dB.
• Hold Time – from 0ms to 500ms.
• Gain – from -40dB to 0dB.
mc²66 V1.8/0 101/

101/ 474
Using the Expander

1. Turn on the EXP button to assign the controls to the
channel expander.
2. Press the ON button to switch the Expander into circuit.
controls to set the expander attack time (ATT/RLS),
threshold level (THRS/LAHD), slope (RATIO/HOLD) and
output gain (FLOOR/GAIN).
4. Now turn on the 2nd button and use the three upper
controls to set the release time (ATT/RLS), look ahead delay
and hold time (RATIO/HOLD).
to show the relevant settings.
The action of the expander is best described by looking at the
Expander graph on the Main display. Note that as you adjust
the vertical GAIN meter on the left displays the amount of gain
reduction being applied to the signal. Finally, the two meters
below the graph show the input (IN IN)
IN and output (OUT
OUT)
OUT levels to
and from the section.
The Expander parameters may be set as follows:
• Threshold Level – from -70dB to 0dB.
• Ratio – from 0.1:1 to 1:1.
• Gain – from -40dB to 0dB.
102/
102/ 474 V1.8/0 mc²66
COMPRESSOR/LIMITER
Move across to the COMP/LIM section of controls to set the
Compressor and Limiter dynamics processing. Note that both
sections can be used independently such that you could be
compressing at low levels and limiting at higher levels on the
same channel.
Setting a Compressor
1. Check that the LIM button is turned off.
2. Press the ON button to switch on the Compressor.
controls to set the compressor attack time (ATT/RLS),
threshold level (THRS/LAHD), ratio (RATIO/HOLD/KNEE)
and output gain (GAIN).
delay.
to show the relevant settings
The action of the compressor is best described by looking at the
Compressor graph on the Main display. Note that as you adjust
the vertical GAIN meter on the left displays the amount of gain
reduction being applied to the signal. Finally, the two meters
below the graph show the input (IN IN)
IN and output (OUT
OUT)
OUT levels to
and from the section.
The Compressor parameters may be set as follows:
• Ratio – from 1:1 to 10:1.
• Release Time – from 0.04secs to 10secs. :
• Gain – from -20dB to +20dB.
• Knee – hard or soft. This parameter is set on the Channel
Config display, see Page 167 for details.
For a smoother compressor, assign the 2-band sidechain filter to
the compressor and set -10dB gain for a 18dB/octave low shelf at
around 125Hz to remove unwanted low frequencies, see Page
105 for details.
mc²66 V1.8/0 103/

103/ 474
Mono Channel
Channel Operation
Setting a Limiter
1. Turn on the LIM button to assign the controls to the
channel limiter.
2. Press the ON button to switch on the Limiter.
controls to set the limiter attack time (ATT/RLS), threshold
level (THRS/LAHD), hold time (RATIO/HOLD/KNEE) and
output gain (GAIN).
4. Now turn on the 2nd button and use the three upper
delay (THRS/LAHD).
to show the relevant settings
The action of the limiter is best described by looking at the Limiter
graph on the Main display. Note that as you adjust your settings,
the bouncing ball shows the position of the signal level relative to
the threshold values you have set. In addition, the vertical GAIN
meter on the left displays the amount of gain reduction being
applied to the signal. Finally, the two meters below the graph
show the input (ININ)
IN and output (OUT OUT)
OUT levels to and from the
section.
The Limiter parameters may be set as follows:
• Gain - from -20dB to +20dB.
• Knee – hard or soft. This parameter is set on the Channel
Config display, see Page 167 for details..
For best results you should give the limiter the chance to ‘see’
signal peaks in advance by setting a look ahead delay of 5ms.
104/
104/ 474 V1.8/0 mc²66
Filtering the Dynamics Sidechain

On both the GATE/EXPANDER and COMP/LIM panels, you will
find the SCF (Sidechain Filters) button.
1. Deselect EXP and press SCF to key the gate from the
filtered sidechain.
2. Deselect LIM and press SCF to key the compressor from
the filtered sidechain.
3. To view the sidechain filter settings on the Main display,
press the SCF DISP button located on the
SCF/FILTER/EQUALISER panel.
The filter area on the Main display updates to show the sidechain
filter settings.
Note that you may not select sidechain filtering for more than
one section of dynamics processing.
4. Now move over to the SCF/FILTER/EQUALISER section
and use the SCF (Sidechain Filter) controls as described on
Page 97 to process the sidechain signal.
Note that you may audition the sidechain signal by using the KEY
LISTEN function as described on Page 123.
For a smoother compressor, assign the 2-band sidechain filter to

the compressor and set -10dB gain for a 18dB/octave low shelf at
around 125Hz to remove unwanted low frequencies.
mc²66 V1.8/0 105/

105/ 474
PANNING
In this area of the Central Control Section you will find the
channel panning controls.
Depending on the output format of your bus master, the controls
provide stereo or multi-channel surround positioning. A variety of
multi-channel output formats are supported, including Dolby
Stereo (SR), Dolby ProLogic, Dolby Digital, DTS and SDDS. Multi-
channel formats may be defined for your bus outputs in the
Channel Config display, please refer to Page 169 for details.
In addition to conventional X/Y pan positioning, a third
dimension (the Z-axis) is added to provide control of the height of
the channel signal according to the THX specification. Controls
are also provided to adjust the level to the LFE channel (Effect)
and centre channel balance (Slope).
The following description explains panning from a mono channel.
For more details on panning from a stereo channel, please refer to
Page 126.
1. Press the ON button at the bottom of the PANNING
section to switch the controls into circuit.
Note that if your channel is only routed to a mono output, then
the panning section cannot be turned on; you must be routed to
either a stereo or surround output for panning to be active.
2. Check that the 2nd button is off and use the lower rotary
control to adjust the left/right pan position (L/R).
The left/right position is displayed around the control and in the X
box on the Main display. The Main display panning window also
provides a graphical representation of the pan position.
Note that the EFF/H-L and F-B/SLOPE controls and FLAT,
FLAT LCR
and CPL buttons are inactive when panning onto a stereo bus;
when panning onto a surround bus they act as follows:
3. Use the upper control to adjust the Front/Back (F-B) pan
position.
The position is displayed around the control and in the Y box on
the Main display. The Main display panning window also
4. The middle control (EFF) adjusts the level to the Effect
(LFE or subwoofer channel).
The Effect level is displayed around the control and on the Main
display, and may be set from -128dB to +15dB.
106/
106/ 474 V1.8/0 mc²66
5. Now turn on the 2nd button and use the upper control to
adjust the slope of the channel (SLOPE).
This control adjusts signals feeding to the discrete centre channel
within the surround field, and may be used to adjust the balance
between discrete and phantom centre signals.
To see the effect, position your channel to front centre, and
adjust the SLOPE control to a setting of +20; the signal feeds only
the discrete centre channel. Move the SLOPE control
anticlockwise to a setting of -20; the signal now feeds only the
left and right channels (phantom centre).
6. The level of signal feeding the centre channel is also
affected by the selection of the FLAT and LCR buttons:
• Select LCR to apply level compensation as you pan across left,
centre, right channels.
• Select FLAT if you wish the level feeding the centre channel
to remain constant as you pan across the LCR speakers.
The amount of level compensation depends on the surround
format applied to the output busses.
7. Use the middle control to adjust the height (H-L).
The position is displayed around the control and in the Z box on
the Main display. The Main display panning window also
mc²66 V1.8/0 107/

107/ 474
Joystick Panning
In addition to the channel controls, any fader strip may be
controlled from the console’s joystick panel:
The joystick is automatically assigned to the Central Control

Section channel. Therefore, to re-assign the joystick, use any of
the following methods to update the channel in access:
1. If the channel is on the active control surface, press the
SEL button on the channel fader strip.
If the channel you wish to assign is not on the active surface, for
example it is allocated to an underneath layer or bank of fader
strips, use the ACCESS CHANNEL/ASSIGN control panel:
2. Select the channel type and number using the INPUT
INPUT,
MON,
MON AUX,AUX GPC,
GPC GROUP,
GROUP TRK,
TRK SUM,
SUM and VCA,
VCA MAIN
FADER or STRIP buttons and numeric keypad.
3. Alternatively, use the NEXT and PREV,
PREV or LEFT and RIGHT
buttons to increment and decrement the channel number by
DSP type or across the active control surface.
Once assigned, the following controls are available:
4. Press the ON button to activate panning on the channel.
5. When routed to a stereo output, move the joystick left or
right to control the Left-Right pan position.
Y-axis movements are ignored when panning onto a stereo
output.
6. When routed to a surround output, the joystick can
operate in one of two planes:
• Move the joystick left or right to control the Left-Centre-
Right pan position, and up or down to control Front-Back.
• Or, select the X-Z button and move the joystick left or right
to control the Left-Centre-Right pan position, and up or
down to control Height (H-L).
108/
108/ 474 V1.8/0 mc²66
7. In either of the these two modes, you can restrict the
joystick to provide more control for a particular axis by
selecting:
• X - this isolates the X-axis so that any left-centre-right

movements are ignored.
• Y/Z - this isolates either the Y or Z-axis, depending on the
status of the X-Z button, so that any up/down (Front-Back or
High-Low) movements are ignored.
The pan position for the channel is displayed graphically on the
Main display.
You may disable the joystick panner to protect the current pan
positions of the channel in access by selecting both the X and Y/Z
buttons. This will disable panning from the joystick while still
allowing panning from the Central Control Channel. To reactivate
the joystick, deselect X and Y/Z.
Y/Z
The FREEZE button provides the option to lock the joystick to a
particular channel. For example, if you wish to pan fader strip 1
using the joystick, while assigning fader strip 2 to the Central
Control Section panning controls.
8. First assign a channel (e.g. fader strip 1) onto the joystick.
9. Select FREEZE to lock the assignment.
10. Now assign another channel (e.g. fader strip 2) to
the Central Control Section.
The Joystick remains in control of fader strip 1 until you deselect
FREEZE.
mc²66 V1.8/0 109/

109/ 474
FADER, MUTE, AFL and PFL

Next to the Central Control Section PANNING controls you will
find a dedicated fader, mute and AFL/PFL monitoring controls:
1. The fader provides convenient local control of level while
using the Central Control Section.
As you adjust the fader position, the FADER GAIN box updates
on the Main display.
2. Press the MUTE button to mute the channel.
Note that the Mute button may be set to one of two options
from the System display, see Page 420:
• Fader Mute – mutes post fader signals. Use this option when
you wish to mute post fader signals but not pre fader signals
such as the auxiliary pre fader sends.
• Channel Mute – mutes post fader signals, the insert send and
the output of the INMIX section. Use this option when you
wish to mute both pre and post fader signals.
In addition, mute buttons may be disabled to prevent accidental
muting of channels, see Page 419 for details.
3. Press AFL to listen to the post fade channel signal.
4. Press PFL to listen to the pre fade channel signal.
Depending on your monitoring configuration, AFL and PFL
signals may appear on the Control Room 1, Control Room 2 or
external monitor speakers. In addition, you may have access to
programmable Control Room Monitoring panel buttons. These
settings are programmed within the factory configuration; please
refer to your console’s specification for details.
Note that a number of options may be set for AFL, PFL and Solo-
in-Place within the System display, see Page 432 for details.
Both PFL and AFL are stereo busses, enabling you to listen and
pan a channel pre fader before sending it to the mix. In addition,
depending on your DSP configuration, the AFL bus may be multi-
channel, enabling you to listen non-destructively to your surround
mix.
110/
110/ 474 V1.8/0 mc²66
AUXILIARY/ AUDIO FOLLOW VIDEO

The area of the Central Control Section to the right of the
centre control screen provides access to the channel’s
auxiliary sends and audio follow video (AFV) functionality.
Auxiliary Sends
Depending on your choice of DSP configuration, each channel
may access up to 32 auxiliary sends. These are paged onto the
eight rotary controls using the access buttons at the bottom of
the panel:
1. Press AUX 1..8 to assign the first eight auxiliary sends
onto the rotary controls.
The names AUX 1 to AUX 8 appear in the alphanumeric
displays showing which send is allocated to each control.
2. Press the ON button to activate the auxiliary send.
Notice that when you turn sends on and off, the AUX 1 to 32
boxes on the Channel display update to reflect your
assignments.
3. Now use the rotary control to adjust the send level.
The send level may be adjusted from -128dB to +15dB.
4. The send level defaults to be post fader. Press PF to
switch the send pre fader or PEQ to switch the send pre
EQ.
Note that the pre EQ position will follow any changes you
make to the position of the EQ in the channel signal flow
providing the ability to position the auxiliary send virtually
anywhere within the channel.
5. Press the AUX 9..16, AUX 17..24 or AUX 25..32
buttons to access the remaining auxiliary sends for the
channel.
If your DSP configuration does not support the full 32 auxiliary
sends, then the send controls are inactive.
Note that auxiliary send levels may also be controlled from
faders using the FADER CONTROL feature, see page 227 for
details.
mc²66 V1.8/0 111/ 478

Auxiliary Master Channels

Remember that each auxiliary master channel may be assigned
onto a channel or main fader strip, in the same way as you would
assign an input channel to a fader. This creates a fader strip
auxiliary master with access to full or tiny channel processing
depending on your DSP configuration.
For more details on how to assign auxiliary masters to the control

surface, please refer to Page 192. Assuming that you have
assigned your auxiliary masters onto a series of fader strips, here a
few reminders of what you can do with auxiliary master channels:
• Control the level, mute, AFL and PFL and assign free controls
as you would for an input channel. See Page 134.
• Apply full signal processing, using the Central Control Section.
See Page 86.
112/
112/ 474 V1.8/0 mc²66
Stereo Auxiliary Sends

Stereo sends are created by linking adjacent mono sends (e.g.
Aux 1&2, Aux 3&4, etc.). Any number of sends may be set to
mono or stereo and the configuration is stored as part of the
production snapshot.
To make a stereo send, you change the auxiliary master
channel from mono to stereo, in the same way you would
change an input channel from mono to stereo:
1. Assign the auxiliary master fader strip to the Central
Control Section by pressing the fader strip SEL button.
2. Or, selecting an AUX from the ACCESS
CHANNEL/ASSIGN control panel, by pressing AUX and the
number followed by the Enter button.
3. Now go to the IMAGE section of controls and press STE.
This changes the auxiliary master channel to stereo, as

indicated by the stereo meter on the Main display and the
STE indicator beside the auxiliary master fader.
4. Now re-assign an input channel which is feeding the
stereo auxiliary master to the Central Control Section.
5. Access the appropriate bank of sends using the AUX
1..8, AUX 9..16, AUX 17..24 or AUX 25..32 buttons as
before.
6. Notice that when you press the ON, or PEQ and PF,
buttons on either of the odd or even sends, the functions
are linked for stereo operation.
7. Use the rotary control on the left to set the level of
the aux send.
8. Use the rotary control on the right to adjust the pan
position, or stereo balance if routed from a stereo input
channel.
mc²66 V1.8/0 113/ 478

Operation
Mix Minus (N-

(N-1) and Conference Auxiliary Sends
In addition to effects sends, cue feeds and other utilities, the
console’s auxiliary sends may be used to generate mix minus (N-
1) or conference-style communications feeds. Any number of
auxiliary sends may be configured for mix minus operation from
the signal Settings display. Once configured, the mix minus is
then controlled from the fader strip’s CORD,
CORD CONF and TALK
buttons:
• The coordination (CONF

CONF)
CONF buttons activate any corresponding
mix minus sends.
For example, if three remote sources have been configured for
mix minus operation, then pressing the CONF buttons on all
three channel strips activates the individual N-1 sends.
• The CORD button changes the mix minus from an N-1 into a
pre-talk auxiliary send.
Use this mode when you wish to generate a conference-style
feed for your guests and presenters. All channels with CORD
selected contribute to the feed such that members can talk to
each other pre-fader while they are off-air. However, as soon as
their channel fader is opened and they are on-air, their
conference auxiliary feed is muted.
• Depending on your talkback configuration, the TALK button
may be used to talk to the mix minus.
Note that each mix minus is linked to the input source, rather
than the DSP channel. This means that if you route the input
source (e.g. MIC 8) elsewhere, the mix minus operation
automatically follows.
114/
114/ 474 V1.8/0 mc²66
Configuring Mix Minus Auxiliary Sends

The first step is to configure the auxiliary sends to be used for
each mix minus feed. This is done from the Settings display by
linking the auxiliary you wish to use to the input source. For
example, you have three remote feeds which are input to the
console on AES Inputs 1, 2 and 3. You can create a mix minus for
each source using any auxiliary send, but to keep things simple
let’s use auxiliary 1, 2 and 3. To make the configuration:
CONTROL panel view the Signals display:

directory (e.g. Digital),
Digital sub-directory (e.g. HD AES
AES IN 1-
1-24)
24
and the first source (e.g. AES3_001)
AES3_001 you wish to assign a
mix minus send.
mc²66 V1.8/0 115/

115/ 474
3. Now press the SCREEN CONTROL SIGNAL button again
to switch to the Settings display:
Your selected source name and label (e.g. AES3_001)

AES3_001 are shown
in the Selection box at the top left of the display, and a list of the
current destinations for this source in the Destinations list below.
This display is used to configure a number of source and
destination settings. We are interested in the Mix-
Mix-minus box at
the bottom left of the display.
4. Select the Mix
Mix--minus box, either using the trackball or
navigation buttons and use the rotary control, located above
the trackball, to scroll through the auxiliary sends 1 to 32.
For our example, select AX 1.1
5. Press the SET soft key to confirm the selection.
The name and label boxes beneath Mix-Mix-minus update to show
the name and label of the selected aux.
6. Repeat steps 1 to 4 to configure auxiliaries 2 and 3 as the
Mix-minus sends for AES inputs 2 and 3.
Having configured a link between the input source and mix minus
auxiliary send, now return to the Signals display by pressing
SIGNAL again, and route the output of the auxiliary sends to the
relevant mix minus destinations. In this example, we want to
route auxiliary 1, 2 and 3 to the remote feed returns (e.g. AES
Outputs 1-3). Please refer to Page 386 if you need help making
routes to these destinations.
116/
116/ 474 V1.8/0 mc²66
Activating the Mix Minus Sends

Having configured auxiliary sends 1, 2 and 3 to provide mix
minus feeds for AES Inputs 1, 2 and 3:
1. Go to the fader strips controlling AES Inputs 1, 2 and 3,
and press the CONF buttons on all three channels.
The mix minus is automatically activated for each destination.

minus.
3. To add channels not within the coordination group to the
mix minus, press their CONF buttons. For example, you may
wish to send the output of several replay machines to all the
mix minus recipients.
The channels are routed onto the mix minus bus; therefore feed
all mix minus sends.
To control the master output level or AFL/PFL a mix minus send,
assign the auxiliary master channels onto channel or main fader
strips and use the fader, AFL or PFL buttons. For more details on
assigning channels to fader strips, please refer to Page 192.
To meter the mix minus sends, use the Channel display metering
on the auxiliary master channels.
Also, note that the mix minus configuration can be used to create
an N-many send. For example, if you have three guests in the
studio and remote feeds from New York and Australia, you could
use auxiliary 1 to feed all three guests while auxiliary sends 2 and
3 feed New York and Australia. To set this up, follow the same
configuration operations, but select Auxiliary 1 as the Mix-minus
send for all three guest sources from the Settings display.
mc²66 V1.8/0 117/

117/ 474
Conference (Pre-
(Pre-Talk) Mix Minus Sends
Having configured your mix minuses and activated the CONF
buttons, the auxiliary sends may be switched to provide
conference-style sends using the CORD buttons.
This is a great facility for enabling guests and presenters to talk to

each other while off-air. As long as their channel fader is closed,
each conference auxiliary receives a pre-fader mix of all CORD
contributors minus themselves. As soon as the channel fader is
opened, and they are back on-air, the pre-fader auxiliary reverts
to a post fader mix minus. To activate the conference-style mix
minus:
1. Go to the fader strips controlling the mix minus sources
and press the CORD buttons on the channels you wish to
act a pre-talk sends.
The conference facility is automatically activated for each mix
minus send.
You can use a mixture of buttons across channels to configure
pre-talk sends (CORD
CORD)
CORD for some presenters and post-fader mix
minus sends (CONF
CONF)
CONF for others. For example, your guest in New
York may wish to talk to the studio presenters, but not to the
guest in Australia!
You can any other channel, for example a CD player, onto the
mix minus send by pressing its CONF button.
118/
118/ 474 V1.8/0 mc²66
Audio Follows Video

Returning to the Central Control Section, the channel’s audio
follow video (AFV) functionality is set from the eight
AUXILIARY/ AUDIO FOLLOWS VIDEO rotary controls.
AFV provides the ability to open and close a channel or main
fader from an external event. For example, during coverage of
a live motor racing event, you may program the audio
channels associated with each camera to automatically open
and close as the picture cuts between different shots.
Up to 128 events may be programmed; connections to the
external controller are made via one of the console’s Ethernet
ports and one event relates to one Tally of the video mixer.
Please refer to the mc266 Technical Manual for full details.
Assuming that you have connected the external controller,
and have the channel you wish to control assigned to the
Central Control Section:
1. Press AFV on the AUXILIARY/AFV panel.
The eight rotary controls switch to AFV functions as indicated
on the alphanumeric displays.
2. Use the EVNT control to assign the external event. Up
to 128 events can be assigned for AFV functions. Scroll
the rotary control until the correct event number for your
Ethernet port configuration is selected.
The event number appears below the control and on the Main
display. Active events are numbered from 1 to 128. Select 0
for no event.
3. To action the event locally from the console, press the

EVNT control ON button.
The AFV display shows the progress of the event in real time
as a red bar on the display. You will also see the fader which
you are programming open according to the following event
settings:
mc²66 V1.8/0 119/ 478

4. With the event turned on, use the fader to set the on
level. This is the level which the fader will open to when
triggered by the AFV event.
The level is shown below the control and on the Main display,
and may be adjusted from -128dB to +15dB. You may also adjust
this level from the ONLV rotary control.
5. Now turn the event off, and use the fader to set the off
level. This is the level which the fader will close to when the
event is switched off.
The level is shown below the control and on the Main display,
and may be adjusted from -128dB to +15dB.
6. The RTME control sets the rise time. This is the time taken
for the fader to move from off to on level.
The rise time is shown below the control and on the Main display,
and may be adjusted from 0 to 10 seconds:
On Time Fall Time
e.g. INP 1
On Level
Rise Time
Off Level
7. The OTME control sets the on time and is similar to the

hold function on a gate. This is the amount of time the fader
stays at the on level after the event has switched off.
On time is shown below the control and on the Main display, and
may be adjusted from 0 to 10 seconds.
120/
120/ 474 V1.8/0 mc²66
8. Set the fall time using the FTME control. This is the time
taken for the fader to move from on to off level.
The fall time is shown below the control and on the Main display,
and may be adjusted from 0 to 10 seconds.
9. Now sit back and watch your fader(s) open and close
from the AFV event controller!
The Main display shows the progress of the event: the line for rise
time is red as the fader rises; the line for on time is red while the
event is on; the line for fall time is red as the fader falls.
You may link as many channel or main faders to external events
as you wish, providing flexible AFV control for individual and
groups of faders.
mc²66 V1.8/0 121/

121/ 474
CHANNEL
The CHANNEL area of the Central Control Section includes
several sets of buttons for monitor channel control; mix minus
activation; snapshot protection; module AFL; and meter pick up
selection.
Monitor Channel Input Control

The SND,
SND RET and MIX buttons are only active on monitor
channels and provide input source selection as follows:
• Press SND to monitor the track send to the recorder.
• Press RET to monitor the track return from your recorder.
• Press MIX to monitor a sum of both the send and return.
• The IDP (Independent) button is reserved for future
implementation.
• The REC button is reserved for future implementation.
For more details on monitor channels and configuring the console
for multitrack recording, please refer to Page 201.
Function Controls
The TALK,
TALK CORD and CONF buttons are used for mix minus
activation as described on Page 117.
The SNAP ISO button is used to isolate the channel strip from a
snapshot recall. If a snapshot is recalled, all settings on the
isolated channel remain unchanged. Note that a system option
provides the ability to disable all SNAP ISO buttons across the
console, see Page 419 for details.
122/
122/ 474 V1.8/0 mc²66
LISTEN Controls
The LISTEN buttons are used to provide AFL monitoring for
individual audio module within the Central Control Section.
Note that the selection of the Listen Latch mode in the System
display sets latching or momentary operation, see Page 423.
Pressing the KEY button allows you to AFL the dynamics
sidechain. For example, you may wish to audition sidechain
filtering applied to a compressor or AFL a channel pre the
dynamics section:
1. Select KEY from the LISTEN buttons.
The button flashes..
2. Touch any of the compressor controls.
You are now monitoring the compressor sidechain on your AFL
bus; the Sidechain Filter SEL button illuminates to indicate this.
3. If LISTEN mode is sensing, the AFL cancels when you let
go of the controls. Alternatively, if LISTEN mode is latching,
deselect the KEY button, press ESC on the ACCESS
CHANNEL/ASSIGN control panel or press CLEAR AFL/PFL to
cancel AFL monitoring.
mc²66 V1.8/0 123/

123/ 474
Operation
The SNS
SNS (sense) button is used to turn each module’s SEL button
into its own AFL enable. For example to AFL the channel post
EQ:
1. Press SNS from the LISTEN buttons.
The button flashes.
2. Now touch an Equaliser control.
You are now monitoring the output of the Equaliser section on
your AFL bus.
3. If LISTEN mode is sensing, the AFL automatically cancels
when you stop touching the control. Alternatively, if LISTEN
mode is latching, deselect the SNS button, press ESC on the
ACCESS CHANNEL/ASSIGN control panel or press CLEAR
AFL/PFL to cancel AFL monitoring.
Note that you may listen to any audio module within the Central
Control Section except DAMP and DELAY. You cannot listen to a
module, if AFL on a fader is already selected!
124/
124/ 474 V1.8/0 mc²66
Meter Pickup Points
The METER PICK UP buttons select the metering point for the
Channel, Main and Metering displays. You may select from the
Channel
following:
• INP – meters the channel input (post the INMIX section).
• SND – only active for monitor channels and meters the track
send.
• RET – only active for monitor channels and meters the track
return.
• PF – meters the pre fader signal.
• AF – meters the post fader signal.
• DIR – meters the direct output.
The meter pick up point may also be modified from the Channel
Config display, please see Page 167 for details.
Congratulations! You have completed your tour of the Central

Control Section. Before looking at the local channel strip controls,
let’s look at how to create and work with stereo channels.
mc²66 V1.8/0 125/

125/ 474
Stereo Channels
Stereo Channels
Stereo channels may be created from any two full or tiny
processing DSP channels to create a stereo input, stereo group,
stereo sum, stereo auxiliary, etc. The operation of a stereo
channel is identical to that of a mono channel, with the following
additional features:
• Stereo Balance and Input Control
• Image Width and Positioning
• Surround Panning of a Stereo Source
Creating a Stereo Channel

You can create a stereo either from the IMAGE panel on the
Central Control Section or from the Signals display. For more
details on linking channels for from the Signals display, see Page
393. Here we will use the IMAGE panel:
1. Assign your desired channel to the Central Control Section
by pressing its fader strip SEL button, or selecting a channel
type and number from the ACCESS CHANNEL/ASSIGN
control panel.
The CHANNEL and LABEL displays update to show the system
name and label for the selected channel.
2. Locate the IMAGE controls on the Central Control
Section:
3. Press the STEREO

STEREO button.
This links the selected channel to its adjacent DSP path. For
example, pressing STEREO
STEREO on input channel 3 creates a stereo
channel using input channels 3 and 4.
To indicate that the channel is now stereo, you have stereo
metering, a STEREO
STEREO LED on the fader strip, a stereo indicator on
the Main display and the Image section becomes active.
126/
126/ 474 V1.8/0 mc²66
Stereo Channels
4. To change a stereo channel back to mono, deselect the
STEREO
STEREO button:
The STEREO
STEREO fader indicator goes out and the channel metering
reverts to a mono bar graph.
If the two mono channels used to create a stereo channel are
present on the control surface, then the right hand channel (e.g.
input 4) will disappear from the surface leaving a blank fader
strip. If you unmake the stereo channel, and the blank fader strip
is still available, then input 4 will return to the active surface.
However, if you have assigned another channel to its old position,
you will need to reassign input 4 to a different fader strip
location.
When a stereo channel is created, settings from the left channel
are copied to the right and the two sides are automatically
panned left and right for stereo operation. This means that if the
stereo link is removed, the left and right mono channels now
have identical settings except for panning which will still be set to
-20 for the left channel and +20 for the right channel.
Viewing Left and Right Parameters on a Stereo

Channel
If you wish you can reassign the right hand side of a stereo
channel (e.g. input 4) back to the control surface. For example, if
you are using an external controller to adjust say the stereo input
balance for the stereo channel, it is useful to see the settings for
both the left and right sides.
To do this, simply put the right side of the stereo channel into
access (e.g. INP 4) and assign it to a fader strip – ideally, you
would assign it to the left of INP 3!
Now you be able to see the parameters for both INP 3 and INP 4
and view changes made by an external controller.
Note that although the left and right sides are assigned to two
fader strips, they will still operate as a linked stereo channel. In
other words, when you move the left hand fader, the right hand
fader moves with it; if you adjust the right hand EQ, the left hand
EQ moves to. You cannot set offsets between the left and right
hand sides.
mc²66 V1.8/0 127/

127/ 474
Stereo Channels
Stereo
Stereo Input Settings
When a channel is stereo, a number of additional controls
become available from the INPUT MIXER control section:
1. Adjust the BAL control to set the Left/Right input balance
for the stereo source.
The setting is displayed in the BAL box on the Main display.
2. Press the MONO button to sum the Left and Right inputs.
The mono indicator is selected on the Main display.
3. Press the button to reverse the Left and Right inputs.

The left-right reverse indicator is selected on the Main display.
Use this button to deal quickly with an incorrectly patched source
signal.
4. Press or to reverse the phase of either the left

or right input source.
The corresponding indicator is selected on the Main display.
5. Press either L>B (Left to Both) or R>B (Right to Both) to
route either the left or right source to both sides of the
stereo channel.
The L or R indicators are selected on the Main display.
Use L>B and R>B to deal with situations where either the left or
right source signal has disappeared during a live production.
6. Select M/S for sources recorded using sum and difference
coding.
Now use the Image Width and Position controls to adjust the
stereo width and position of the source.
128/
128/ 474 V1.8/0 mc²66
Stereo Channels
IMAGE
The IMAGE section of controls deals with image positioning and
width on stereo channels, and also contains the STE (STEREO)
button which may be used to create a stereo channel.
Image Control
The Image controls adjust the position and width of the stereo
channel and may be used in of two styles:
• New style - use the new style Image control when you want
to retain the width of the stereo image but offset its position
within the stereo field.
• Old style - use the old style Image control when you want to
collapse the width of the stereo image as you adjust its
left/right position.
To adjust the controls:
1. Select the ON button to switch the Image section into
circuit.
2. Use the STY button to switch between the new and old
image styles.
As you toggle the STY button, the selected STYLE updates on the
Main display – off = new style and on = old style.
3. First, let’s start with the new style which is active when
the STY button is off.
4. Use the WIDTH control to widen or narrow the stereo
image.
The IMAGE graph on the Main display updates to show your
changes by narrowing or widening the blue image area.
5. Now adjust the POS control to move the narrowed or
widened image within the stereo field.
Note how the image width is retained, and the red line on the
Image graph moves as you adjust this control to represent the
direction of the image control.
mc²66 V1.8/0 129/

129/ 474
Stereo Channels
6. Now switch to the old style by deselecting the STY
button.
7. You may use the WIDTH control as before to narrow or
widen the stereo image.
The IMAGE graph on the Main display updates to show your
changes by narrowing or widening the blue image area. Be
careful not to widen the stereo image too far to avoid phasing
problems.
8. Now adjust the POS control to collapse the stereo image
from its current width to either the left or right sides of the
stereo field.
Note this time how the stereo width collapses as indicated by the
narrowing blue area on the IMAGE graph.
Panning from a Stereo Channel

The channel panning controls on a stereo channel behave in a
very similar fashion to a mono channel, allowing you to pan a
stereo channel in surround when routed to a surround bus
destination. The only difference in control is that the L/R pan
control now adjusts the left/right balance of the stereo channel.
Joystick Panning
When assigned to a stereo channel, the joystick operation is very
similar to a mono channel with one exception: X-axis movement
of the joystick adjusts the left/right balance of the stereo channel.
130/
130/ 474 V1.8/0 mc²66
The Channel Fader Strip

The mc266 channel sections are presented as a series of physical
‘fader strips’, each providing:
• Channel display feedback on signal metering, bus
assignments and source names.
• Dedicated rotary control and buttons for input gain settings.
• Four assignable ‘Free Controls’ and access buttons providing
local channel control of EQ, Panning, Dynamics, Aux Sends,
etc.
• Four programmable ‘soft’ keys configured either for
communications functions (broadcast) or recorder control
(production).
• SEL button for assignment operations.
• Fader cassette with an 8-character label display, group
assignment display and AFL, PFL, mute and layer access
buttons.
Let’s look at each section in more detail.
Channel Display
For every channel strip, the Channel display provides metering
and feedback on inputs, outputs and local parameter values. For
more details on this display, please refer to Page 74.
Input Control
The upper rotary control and buttons on the channel fader strip
are dedicated to providing input control for the channel.
You will be presented with a slightly different set of controls
depending on the type of input board your source is connected to
(Line, Mic/Line or Digital).
Also note that depending on the hardware configuration of your
DALLIS input card(s), gain ranges may vary. Please refer to the
DALLIS I/O technical data for details.
mc²66 V1.8/0 131/

131/ 474
Strip
For a line level analogue source:

source:
1. The LINE button is automatically selected.
2. Use the rotary control to remotely set the analogue gain
prior to the A-D conversion.
The gain range is normally adjusted from -7dB to 20dB, although
this may vary depending on your hardware configuration.
The 40,
40 80 or 140 Hz button changes colour from off to green,
yellow and then red respectively.
Note that the 48V,
48V LINE and PAD buttons are inactive for a line
level source.
For a remote microphone preamplifier source:

On Mic/Line input cards, the source may be switched to provide
microphone preamplifier control as follows.
1. Deselect the LINE button, and the following settings
become available:
preamplifier gain within the analogue domain prior to the A-
D conversion.
this may vary depending on your hardware configuration.
subsonic filter prior to the A-D conversion. Toggle this
The button changes colour to indicate the selected frequency -
green (40Hz); yellow (80Hz); red (140Hz).
132/
132/ 474 V1.8/0 mc²66
For a digital input source:

When any type of digital source is routed to the channel, input
gain is controlled in the DSP domain:
1. Use the GAIN control to set the digital input gain.
The gain setting is displayed in the GAIN box on the Main
display. Gain may be adjusted from -20dB to +15dB.
Note that the 48V,
48V LINE,
LINE PAD and filter buttons are inactive for a
digital input source.
A/B Input Switching

For any input or monitor DSP channel, you may assign a back up
source (B) from the Signals display. For example, you may assign
to B during the show if the first mic fails:
1. Press the B button to switch to the B source.
2. Press the A button to return to source A.
On the Channel display, each input or monitor channel is shown
with either an A or B pre-fix to indicate the current source.
Sources are assigned to the A and B inputs from the Signals
Note that if there is no source assigned to B input, then the B
button will switch the channel to silence.
mc²66 V1.8/0 133/

133/ 474
Free Controls
Next on the channel fader strip are the four assignable Free
Controls (FC) and six module on/off buttons. These provide local
channel access to settings such as EQ, Panning, Dynamics,
Auxiliary Sends, etc.
Each control is touch sensitive and when turned provides fine
control. Push down and rotate the control for coarse adjustment
of a parameter value.
Each control also has its own dedicated 4-character alphanumeric
display. The normal mode shows the parameter function (e.g.
EQ1G – EQ Band 1 Gain) until the control is touched; the display
then updates to show the parameter value (e.g. +12).+12 For more
details on alternate free control views, see Page 230.
There are two ways to assign functions onto the free controls:
• Controls may be paged globally through each set of
processing functions using the FC PRESET buttons located in
the centre section of the console. This is great way to access
all of your settings (e.g. Panning, EQ Band 1, etc.) across the
console.
• Controls may be assigned on an individual control basis using
the channel PARAMETER COPY/ASSIGN buttons located in
the centre section of the console. For example, you may wish
to assign Left/Right Pan, EQ Band 1 Gain, Auxiliary 1 Send
Level and Auxiliary 2 Send Level onto the four free controls
on an individual channel.
Note that the global FC PRESET and local individual channel
assign buttons only temporarily override the current set up,
meaning that you will always return to any custom configurations
when you deselect these modes.
Let’s look at the methods for assigning the free controls, starting
with the FC PRESET section:
134/
134/ 474 V1.8/0 mc²66
FC PRESETs
The four fader strip free controls are assigned globally using the
FC PRESET buttons located to the left of the Central Control
Section. Note that the ENABLE
ENABLE button and the four buttons to
the right of it are reserved for future implementation.
Controls are mapped, wherever possible, in an identical layout to

the Central Control Section. In addition, each free control has its
own 4-character display showing the name of the parameter (e.g.
EQ1G – EQ Band 1 Gain) which is currently assigned. For nearly
all FC PRESET buttons, there are two pages of controls accessed
by pressing the PAGE 2 button.
For example, to access Gain, Frequency and Q for the equaliser
and filter sections:
1. Check that the PAGE 2 button is off.
2. Press the EQ 1/FI
1 FI 1 button.
Working up the channel, the four free controls are assigned to
On/Off, Gain, Frequency and Q for band 1 of the Equaliser
section. The value of the parameter is shown in the 4-character
display below the control as it is adjusted.
When using the free controls, they default to provide fine
adjustment. To adjust settings coarsely, push down and rotate the
control.
If a control is assigned to a switched function, such as EQ
On/Off, turn the rotary control clockwise to activate the function
(EQ On) and anticlockwise to deactivate the function (EQ Off).
mc²66 V1.8/0 135/

135/ 474
3. Now press the EQ 2/SCF
2 SCF 1,1 EQ 3/SCF
3 SCF 2 or EQ 4/F 4 F I2
buttons to access equaliser bands 2 to 4 in a similar fashion.
4. Turn on the Page 2 button and now use the same row of
FC PRESET buttons to access the Filter bands (EQ
EQ 1/FI
1 FI 1 and
EQ 4/FI
4 FI 2)
2 or Sidechain Filter bands (EQ
EQ 2/SCF
2 SCF 1 and EQ
3/SCF
SCF 2).
2
5. Deselect the FC PRESET button to return the free controls
to their previous configuration.
The remaining FC PRESET buttons work in a similar fashion,
providing access to the following control sets:
• Dynamics (GATE
GATE,
GATE EXP,
EXP COM and LIM).
LIM GATE, EXP, COM,
LIM
• CF1..4/CF5..8
CF1..4 CF5..8 – reserved for future implementation. CF1..4,
CF5..8
• Audio Follow Video set up functions (AFV
AFV).
AFV AFV
• Panning Controls (PAN
PAN).
PAN PAN
• Auxiliary Sends 1-32 (AUX1..4
AUX1..4,
AUX1..4 AUX5..8,
AUX5..8 etc.) AUX1..4,
AUX5..8, etc.
• MISC – accesses the DAMP (Digital Amplifier Gain), DLY
(Delay Time), SND (Insert Send Level) and DOUT (Direct
Output Level) controls. MISC
• DEF – recalls a default free control configuration. This is
programmed in the system configuration, and is recalled
when the console boots up, prior to a snapshot load.
• USER 1 and USER 2 - recall two user configurable free control
configurations, also programmed in the system configuration.
136/
136/ 474 V1.8/0 mc²66
The Channel Fader
Fader Strip
Parameter Assign
The second way to assign free controls is used when you wish to
configure controls on an individual basis. For example, on one
channel you may wish to have control of Pan L/R and EQ Band 1
Gain, Frequency and Q, while on a different channel you would
like Pan L/R and Compressor Threshold, Ratio and Gain.
This type of assignment is made from the channel PARAMETER
COPY/ASSIGN buttons located in the centre section of the
console.
For example, to assign EQ Band 1 Gain onto the first free control
on fader strip 1:
1. Press the ONE button, located on the PARAMETER
COPY/ASSIGN control panel, to activate a one-shot
assignment.
The ONE button flashes to indicate that parameter assign is now
active.
2. Touch the rotary encoder you wish to assign on the
Central Control Section. In this example, select the EQ DISP
button to assign EQ onto the SCF/FILTER/EQUALISER
controls and touch the Gain control on the left of the panel.
The EQG1 control is placed into the Parameter clipboard as
indicated on the CLIPBOARD display.
3. Now touch the free control on the destination channel
strip. In this case, the first free control on channel fader strip
1.
The assignment is made, as indicated in the alphanumeric display
around the free control, and the ONE button automatically
cancels.
mc²66 V1.8/0 137/

137/ 474
When you wish to assign more than one control at a time, you
can use the MLT button to latch the parameter assign mode. This
saves you having to reselect the ONE button before each
assignment.
1. Press the MLT button, located on the PARAMETER
COPY/ASSIGN control panel, to activate multiple
assignments.
The MLT button flashes to indicate that parameter assign is now

active.
2. Select the rotary control you wish to assign by touching it
on the Central Control Section.
The control is placed into the Parameter clipboard as indicated on
the CLIPBOARD display.
3. Now you may touch as many free controls across the
surface as you wish.
The CLIPBOARD control is assigned onto the free controls as
indicated in their alphanumeric displays.
4. When you are finished, remember to deselect MLT or
press the ESC button, on the ACCESS CHANNEL/ASSIGN
control panel, to exit from the parameter assign mode. If
you don’t the next time you touch a channel free control,
you will re-assign it!
138/
138/ 474 V1.8/0 mc²66
Alternatively, you may assign a parameter to the same free
control position across all fader strips for a certain channel type.
For example, to place L/R Pan across the first free control on all
INPUT fader strips:
1. Press the ALL button located on the PARAMETER
COPY/ASSIGN control area.
Notice that this automatically selects the ONE button for a one-
shot assignment. If you wish to make multiple ALL assignments
select MLT instead of ONE.
ONE
2. Select the rotary control you wish to assign by touching it
on the Central Control Section. In this example, touch the
L/R Pan control.
PANX (Pan L/R) is placed into the Parameter clipboard as
indicated on the CLIPBOARD display.
3. Now choose the type of channel which you wish to copy
to from the ACCESS CHANNEL/ASSIGN panel – for
example, press INPUT:
INPUT
You can select multiple channel types if you wish – e.g. press
INPUT, GRP and SUM to assign the free control across all input,
INPUT
group and sum channels.
4. Now touch the first free control on any INPUT fader strip.
mc²66 V1.8/0 139/

139/ 474
PANX is assigned to the first free control across all INPUT channel
strips on the current control surface layer.
140/
140/ 474 V1.8/0 mc²66
When working in ONE shot mode, parameter assign
automatically cancels. However, if you are working in multiple
assignment mode, remember to deselect MLT or press ESC,
ESC on
the ACCESS CHANNEL/ASSIGN control panel, to exit parameter
assign.
Note that Free Control assignments relate to the DSP channel.
Therefore, if you assign the same channel to another fader strip
or bank, you will have the same Free Control assignments when
you access this fader.
Free Control parameter assignments are stored in the snapshot.
mc²66 V1.8/0 141/

141/ 474
The Channel
Channel Fader Strip
Local Section On/Off Functions

The first four buttons (EQ
EQ,
EQ PAN,
PAN DEL and COM)COM below the free
controls act as on/off buttons for the signal processing sections.
This provides dedicated on/off control for critical processing
sections from all fader strips across the control surface:
1. Press the EQ button to switch the 4-band equaliser
section on or off.
2. Press the PAN button to switch the channel panning in or
out of circuit.
3. Press the DEL button to switch the channel delay in or out
of circuit.
4. Press the COM button to switch the compressor section in
or out of circuit.
Local Bank and Layer Switching

The BNK1
BNK1, BNK2,
BNK2 BNK3,
BNK3 BNK4,
BNK4 BNK5,
BNK5 BNK6 and FLIP buttons
located on each 8-fader bay provide local bank and layer
switching. See Pages 179 and 180 for details.
Fader Bay Isolate (ISO)

The fader bay ISO button is used to isolate any 8-fader bay from
the main console’s bank/layer switching and AFL/PFL monitoring.
This is ideal when working with more than one engineer, as each
engineer can have independent control surface switching and
AFL/PFL monitoring. See Page 184 for more details.
142/
142/ 474 V1.8/0 mc²66
Broadcast or Production Soft Keys

Below the free controls you will find four programmable soft
keys. Depending on the specification of your console, these will
be configured for one of two applications:
CORD, CONF and TALK – Broadcast Soft Keys

On a live broadcast console, the buttons are engraved for mix
minus functions - CORD,
CORD CONF and TALK.
TALK
1. Press the CONF button to activate the mix minus (N-1)
output for that channel.
2. Press CORD to activate a conference-style auxiliary send.
minus.
Please refer to Page 114 for full details on mix minus operation.
SND, RET and REC – Production Soft Keys

Alternatively, on a recording console, the buttons are engraved
for recorder control - SND,
SND RET and REC - and are active on
monitor channels only:
1. Press the SND and RET buttons to switch the input of the
monitor channel between the recorder send and recorder
return. SND RET
2. The REC button is reserved for future implementation.
For more details on how to configuring the console for multitrack
recording, please refer to Page 201.
mc²66 V1.8/0 143/

143/ 474
Snapshot Isolate (SNAP ISO)

On both Broadcast and Production configurations, the SNAP ISO
button is used to isolate the channel strip from a snapshot recall.
If a snapshot is recalled, all settings on the isolated channel
remain unchanged.
Use SNAP ISO to isolate your main presenter channels and other
key feeds when using snapshots to recall different mixes during a
live production. Please refer to Chapter 6 for more details on
using snapshots.
Note that a system option provides the ability to disable all SNAP
ISO buttons across the console, see Page 419 for details.
144/
144/ 474 V1.8/0 mc²66
Fader SEL Button

The fader SEL button is used to put a channel into access and to
perform assignments.
1. Press the SEL button on any fader strip.
On the Central Control Section, controls update to reflect the
new channel settings, and within the ACCESS CHANNEL/ASSIGN
control panel, the CHANNEL and LABEL displays update to show
the name and label for the selected channel:
Please see Page 17 for details on the ACCESS CHANNEL/ASSIGN

control panel.
mc²66 V1.8/0 145/

145/ 474
Fader Label Display

Below the fader SEL button, you will find a 4-character
alphanumeric display which displays names for your fader strips.
The display may be switched between:
• System Name – this is the name of the DSP channel assigned
to the fader strip (e.g. INP1)
INP1
• Channel Label – this is a programmable user label given to the
DSP channel.
• Source Label – this is a programmable user label given to the
Source which is routed to the DSP channel.
Note that each name is shortened to 4 characters – for example,
input channel 1 is displayed as INP1;
INP1 input channel 11 as IN11;
IN11
input channel 101 as I101.
I101
For more details on how to change and program Channel and
Source Labels, please see Page 397.
146/
146/ 474 V1.8/0 mc²66
Control
Fader, Mute and AFL/PFL Controls

1. The channel fader is a touch sensitive fader providing gain
control from –128dB to +15dB.
As you adjust the fader position, the gain may be shown in the
fader label display. Note that this option can be disabled from the
2. Press the MUTE button to mute the channel.
Note that the Mute button may be set to one of two options
from the System display, see Page 420:
In addition, mute buttons may be disabled to prevent accidental
muting of channels, see Page 419 for details.
3. Press AFL to listen to the post fade channel signal.
4. Press PFL to listen to the pre fade channel signal.
external monitor speakers. In addition, you may have access to
programmable Control Room Monitoring panel buttons. These
settings are programmed within the factory configuration; please
refer to your console’s specification for details.
Note that a number of options may be set for AFL, PFL and Solo-
in-Place within the System display, see Page 432 for details.
Both PFL and AFL are stereo busses, enabling you to listen and
pan a channel pre fader before sending it to the mix. In addition,
depending on your DSP configuration, the AFL bus may be multi-
channel, enabling you to listen non-destructively to your surround
mix.
mc²66 V1.8/0 147/

147/ 474
Fader Meter and Status Indicators

Beside the fader, you will find a confidence level meter. This
always meters the channel input level (the output of the INMIX
audio module).
In addition, a number of status indicators provide the following
feedback:
• AUT – shows that automation is enabled.
• STE – indicates that the channel is stereo.
• C/L – shows that the compressor or limiter is active; lights
when gain reduction occurs.
• G/E – shows that the gate or expander is active; lights when
gain expansion occurs.
• LNK – indicates that the channel is linked to another channel
on the console, see Page 224 for details.
• OVR – indicates an overload at the channel input. Note that
the overload threshold may be adjusted from the System
148/
148/ 474 V1.8/0 mc²66
VCA Group Assignment Display

The figure of eight display beside the fader is used to indicate
VCA grouping assignments. The console can support up to 16
VCA group masters. Note that the single figure of eight display
indicates grouping assignments as follows:
• VCA 1 to 8 – are indicated by a single number - 1 2 3 etc.
• VCA 9 – displayed as 1.
For more details on making VCA assignments, please see Page
221.
Layer Access and Automation Control

The final two buttons on the fader cassette provide access to
layer switching and automation control:
1. Press the 2nd button to toggle the channel strip between
channels assigned to Layer 1 and Layer 2.
When you select the 2nd button the fader position and all
controls update to reflect the settings for the second layer. Note
also that the name and label boxes on the Channel display
reverse positions to indicate that the 2nd layer is now on the active
control surface.
You can use these displays to see the name and label for the
source which will appear when you press the 2nd button.
If there is no channel assigned to the second layer, then you will
switch to a blank fader strip when you press the 2nd button.
2. The R/W button provides dynamic automation
Read/Write access. See Chapter 6 for further details.
mc²66 V1.8/0 149/

149/ 474
Copying Channel Parameters

The PARAMETER COPY/ASSIGN buttons, located within the
central control section, may be used to copy channel processing,
bus assignments, channel signal flow configuration and/or fader
strip free control assignments between channels. Individual or
groups of settings may be copied to single or multiple
destinations.
Copying to a Single Channel

For example, to copy an EQ setting between two channels:
1. Assign the source channel to the Central Control Section,
either by pressing its fader SEL button or entering the
channel type and number from the ACCESS
2. Press the COPY button, located on the PARAMETER
COPY/ASSIGN panel.
This automatically activates the ONE button for a one-shot copy
assignment and all the fader SEL buttons across the console flash,
in green, to indicate possible destinations:
150/
150/ 474 V1.8/0 mc²66
3. On the Central Control Section, select the audio module
you wish to copy, in this example the EQ section, by
pressing the SEL button above EQ ON:
ON
4. Now select the channel you wish to copy to by pressing its

fader SEL button.
The 4-band EQ setting is copied, and the COPY function
automatically cancels.
5. If you wish to exit the copy mode without copying any
settings, just deselect the COPY button or press ESC,
ESC on the
ACCESS CHANNEL/ASSIGN control panel, at any point
during the operation.
Note that the CLIPBOARD on the PARAMETER COPY/ASSIGN
panel is only active for assigning parameters, therefore you will
not see the clipboard update when performing a copy operation.
mc²66 V1.8/0 151/

151/ 474
If you wish to copy more settings than just the EQ, then select
multiple SEL buttons from the Central Control Panel during step
3. Channel sections are selected using the SEL buttons as follows:
• INPUT MIXER – all input settings.

• IMAGE – stereo image and position.
• DAMP - digital amplifier gain.
• DELAY– channel delay.
• INS – channel insert.
• DIROUT – direct output.
• GATE – gate.
• EXPANDER – expander.
• SCF – sidechain filter settings.
• FILTER – 2-band filter settings
• EQ – 4-band EQ settings.
• COM – compressor.
• LIMITER – limiter.
• PANNING – surround panning.
• MUTE SEL – status of the mute button.
• Fader SEL – the fader position.
152/
152/ 474 V1.8/0 mc²66
You can also copy other channel parameters using the following
buttons on the PARAMETER COPY/ASSIGN panel:
• CH - selects the channel signal processing order as set on the
Channel Config display.
• BUS - selects the channel’s bus assignments.
• STRP - selects the fader strip’s Free Control assignments.
To select all settings for a channel, press the SEL ALL button
above the fader SEL button. By deselecting SEL buttons, you may
then edit the selection to copy a subset of parameters.
Note that every time you re-enter the copy mode, the last
selections made from the SEL buttons are retained. To clear down
all the selections:
1. Press the SEL ALL button above the Central Control
Section Fader to select all audio modules.
2. Then deselect SEL ALL.
ALL
mc²66 V1.8/0 153/

153/ 474
Copying Channel
Channel Parameters
Copying to Multiple Channels

You may copy the same parameters to multiple channels by
latching the Copy Parameter mode using the MLT button:
1. Assign the source channel to the Central Control Section
either by pressing its fader SEL button or using the ACCESS
2. Press COPY and MLT from the PARAMETER
This activates the multiple copy mode and all the fader SEL
buttons across the console flash, in green, to indicate possible
destinations.
3. On the Central Control Section, select the audio

module(s) you wish to copy. For example, select all audio
modules by pressing the SEL ALL button.
4. Now you may press multiple destination fader SEL buttons
to copy the settings to as many channels as you like.
Note that you may edit your source channel selection without
exiting the copy mode by pressing the NEXT or PREV buttons on
the ACCESS CHANNEL/ASSIGN control panel.
When you are finished, remember to deselect COPY or press
ESC,
ESC on the ACCESS CHANNEL/ASSIGN control panel, to exit
from the parameter copy mode. If you don’t the next time you
press a fader SEL button, you will be copying parameters to that
channel!
154/
154/ 474 V1.8/0 mc²66
Alternatively, to copy parameters to all channels of a particular
type (for example, to copy a limiter setting across all groups):
1. Assign the source channel to the Central Control Section
either by pressing its fader SEL button or using the ACCESS
2. Press COPY and ALL from the PARAMETER
This automatically selects the ONE button for a one-shot copy,
and all the fader SEL buttons across the console flash, in green, to
indicate possible destinations. If you wish to make multiple ALL
copies select MLT instead of ONE.
ONE
module(s) you wish to copy. For example, by pressing LIM
and SEL from the COM/LIM section.
4. Now use the ACCESS CHANNEL/ASSIGN control panel to
select the type(s) of DSP channel you wish to copy to. In our
example, you would press GROUP,
GROUP but you may select any
or all types from:
• INPUT – Input channels.
• MON – Monitor channels.
• AUX – Auxiliary masters.
• GPC – for future implementation.
• GROUP – Group masters.
• SUM – Main sum masters.
• VCA – VCA masters.
Note that you may not select TRACK, MAIN or STRP in this mode
as these are not valid DSP channel types.
5. Press the illuminated Enter button on the ACCESS
CHANNEL/ASSIGN control panel to complete the copy
operation.
The limiter setting is copied to all group channels.
6. If you selected the MLT button to perform multiple
copies, remember to deselect COPY or press ESC,
ESC on the
ACCESS CHANNEL/ASSIGN control panel, to exit from the
parameter copy mode.
mc²66 V1.8/0 155/

155/ 474
Resetting Channel Parameters

Parameters
The RESET button, located on the PARAMETER COPY/ASSIGN
panel, may be used to reset channel parameters to their default
values. This operation works in a similar manner to copying
parameters. Note that as we are not copying from a source to a
destination channel, any channel may be assigned to the Central
Control Section.
1. Press the RESET button, located on the PARAMETER
COPY/ASSIGN panel.
This automatically activates the ONE button for a one-shot reset
in green, to indicate possible destinations:
If you wish to perform multiple resets select MLT instead of

ONE.
ONE
module(s) you wish to reset by pressing the SEL buttons for
the control section(s).
3. Now select the channel you wish to reset to by pressing its
flashing fader SEL button.
The channel section is reset.
4. If you selected the MLT button to perform multiple reset
operations remember to deselect RESET or press ESC,
ESC on the
parameter reset mode.
156/
156/ 474 V1.8/0 mc²66
As with the copy function, you may also reset parameters for all
channels of a certain DSP type (for example, to reset all your
mute buttons to off across all input and monitor channels):
1. Press RESET and ALL from the PARAMETER
This automatically activates the ONE button for a one-shot
in green, to indicate possible destinations. If you wish to perform
multiple resets select MLT instead of ONE.
ONE
module(s) you wish to reset. For example, by pressing the
SEL button beside the mute button.
3. Now use the ACCESS CHANNEL/ASSIGN control panel to
select the type(s) of DSP channel you wish to copy to. In our
example, you would press INPUT and MON but you may
select any or all types from:
• INPUT – Input channels.
• MON – Monitor channels.
• AUX – Auxiliary masters.
• GPC – for future implementation.
• GROUP – Group masters.
• SUM – Main sum masters.
• VCA – VCA masters.
Note that you may not select TRACK, MAIN or STRP in this mode
as these are not valid DSP channel types.
4. Press the illuminated Enter button on the ACCESS
CHANNEL/ASSIGN control panel to complete the copy
operation.
The mute buttons across all input and monitor channels are
turned off, and if one-shot (ONE
ONE)
ONE was used, the reset mode is
automatically cancelled.
5. If you selected the MLT button to perform multiple reset
operations remember to deselect RESET or press ESC,
ESC on the
parameter reset mode.
mc²66 V1.8/0 157/

157/ 474
Metering
Metering
There are several places where channel signals are metered:
• The Channel display provides dedicated metering for every

channel fader strip. The meter may be switched to different
points within the signal flow, and will be mono or stereo
according to the channel format.
• The fader meter is a confidence level meter. This always
meters the channel input level (the output of the INMIX audio
module).
• The Main display includes a meter, and follows the same
options as applied to the Channel display.
• The Main display also includes input and output metering for
each dynamics module – Gate, Expander, Compressor and
Limiter.
• In addition, the Metering display contains four pages of
assignable meters to provide an overview of key channels:
inputs, monitors, groups, auxes and/or main sums.
158/
158/ 474 V1.8/0 mc²66
Metering
The Metering Display

Display
1. Press the METER button, located on the SCREEN
CONTROL panel, to view this display now:
Note that each time you press the METER button you cycle
through four pages of assignable meters. The current page is
always highlighted at the top – in our example, page 1 of 4.
The default layout follows the default DSP channel configuration
of your console; for example, the first pages will show Input
Channels 1 to n; subsequent pages will show Monitor Channels 1
to n, etc. You can programme any DSP channel onto any of the
meters in any page:
2. Select the meter you wish to assign, either by using the
trackball or pressing the SEL soft key and left/right
navigation buttons.
The selected meter is highlighted by the dotted black and white
focus outline.
3. Now choose the DSP channel you wish to meter by
placing it access from the ACCESS CHANNEL/ASSIGN
control panel or fader strip SEL button.
4. Press the ASGN soft key to assign the channel to the
selected meter.
The meter label updates to show the new assignment.
5. To remove an assignment from the selected meter so that
it shows as blank, press the CLR soft key.
Meter assignments are saved within the production.
mc²66 V1.8/0 159/

159/ 474
Metering
Meter Pickup Points

The metering point on the Channel,
Channel Main and Metering
Metering displays
may be selected from the front panel using the CHANNEL:
METER PICK UP buttons on the central control section:
• INP – meters the channel input (post the INMIX section).

• SND – only active for monitor channels, and meters the track
send.
• RET – only active for monitor channels, and meters the track
return.
• PF – meters the pre fader signal.
• AF – meters the post fader signal.
• DIR – meters the direct output.
Alternatively, the metering point may be altered from the
Channel Config display. See Page 167 for details.
160/
160/ 474 V1.8/0 mc²66
Metering
Meter Scales
Scales
A range of meter scales and characteristics are available for the
Channel,
Channel Main and Metering displays including:
• PPM – Peak metering, 10ms attack time and 1.5s release.
• SMPL – Sample accurate peak metering, 0ms attack time and
1.5s release.
• FAST – Fast response peak metering, 1ms attack time and
1.5s release.
• VU – RMS metering, 300ms attack and 300ms release.
• DIN – DIN PPM scale, conforming to IEC 268-10.
• UK – UK PPM scale, conforming to IEC 268-10 IIA.
• NORD – NORDIC PPM scale, conforming to IEC 268-10 I.
• dBFS – digital meter scale with options to colour code the
meters.
The selection is made from the System display and affects all
metering globally across the console. Please see Page 429 for
details.
Peak H
Hold
old
Also from the System display, see Page 430, you can enable the
peak hold facility which monitors and marks the peak level
reached on each meter across the console:
Options are available to clear the peak hold indicator

automatically after a certain time period, or manually using the
CLEAR peak hold soft key. You can also set the colour for the
peak hold indicator.
mc²66 V1.8/0 161/

161/ 474
Chapter 3: Console Configuration
Introduction

Configuration
Introduction
In this chapter we will cover how to configure the signal flow and
control surface layout for the console.
Together these concepts allow you to configure as many input
channels, monitor return channels, track busses, groups, main
sums and auxiliary sends as the production requires, and then
assign these elements across the console’s fader strips as you
desire.
First, let’s take a closer look at signal flow through the console.
Signal Flow Concepts

The mc266 uses a very simple, yet flexible, approach to signal
flow.
The console provides two basic types of DSP channel - full
processing and reduced processing (Tiny channels) – which are
applied to input channels, monitor return channels, group
masters, main sums and auxiliary masters according to your
choice of DSP configuration.
This allows you to choose a configuration which provides enough
of the right resources for the production. For example, a live
production may require lots of input channels, groups and
auxiliary sends but no monitor returns, while a recording session
requires both input and monitor return channels but perhaps less
processing on auxiliary outputs.
This also means that group and auxiliary masters using full
processing channels are treated in exactly the same way as input
channels, with signal processing (EQ, Dynamics, etc.) and the
ability to re-assign busses to other outputs (for example, to assign
a group master onto an auxiliary send.) Assign a bus master onto
the control surface, as described later in this chapter, and then
control EQ, Dynamics, etc, in the same way as on an input
channel.
The number of full and reduced processing channels, and their
configuration, is determined by three factors – the hardware
specification of the console, the choice of sampling rate and your
choice of DSP configuration. For more details on sample rate
selection and DSP configurations, please refer to Page 171.
Otherwise read on to learn more about channel signal flow, signal
processing order and configuring surround outputs.
162/
162/ 474 V1.8/0 mc²66
Channel Signal Flow
Channel Signal Flow

Depending on your hardware specification and choice of DSP
configuration, your console will have a number of input and
monitor return channels, groups, main sums and auxiliaries, some
configured with fully featured audio processing and others with
reduced audio processing (otherwise known as Tiny channels).
Fully Featured DSP Channels

Every fully featured DSP channel includes all of the following
audio modules, except where noted:
IN MIX – input gain, phase and stereo input control. (Available on
Input and Monitor channels only; not applicable to Group, Sum
or Auxiliary master channels.)
DIGIAMP – digital gain trim.
FILTER - 2-band filter/equaliser section.
EQ - 4-band equaliser section offering a choice of characteristics.
INSERT – insert send and return for outboard processing. The
insert send is always active providing an additional send, with
level control, which may be taken from any point in the signal
flow.
DELAY - delay of up to 1800 ms adjusted in frames, ms or
meters.
EXPAND, GATE, COMP and LIMITER - four independent bands
of dynamics which may be placed at any position in the signal
flow, including the direct output as shown in our example
opposite.
IMAGE – controls the image for a stereo channel. (Not active on
mono channels.)
TRACK SWITCH – send and return switching. (Applicable to
monitor return channels only.)
FADER – fader level, mute and AFL/PFL monitoring.
METER – indicates the channel’s meter pickup point.
BUS – bus and pan assignments to groups, sums and track
busses.
DIROUT – the direct output which may be positioned freely
within the signal path. (Not available on monitor return channels.)
In addition, not shown on the Channel Config display, are the
channel’s 32 auxiliary sends which may be switched pre EQ, pre
fader, or post fader.
mc²66 V1.8/0 163/

163/ 474
Channel Signal Flow
Reduced (Tiny)
(Tiny) DSP Channels
Reduced processing channels are ideal for outputs such as
auxiliaries which do not require full signal processing, or inputs
from a sub mixer which have already been processed.
Note that only input channels, auxiliaries and sums may be
configured as tiny channels; groups and monitor channels are
always configured with full audio processing.
Every Tiny DSP channel includes the following audio modules:
INput
IN – source assignment.
FADER – fader level, mute and AFL/PFL monitoring.
BUS – bus and pan assignments to groups, sums and track
busses.
DIROUT – the direct output which can be positioned freely within
the signal path.
AUX – auxiliary sends which can be pre EQ, pre fader, or post
fader for up to 32 auxiliary sends.
Fader Mute Options

Note that the fader strip MUTE button may be set to one of two
options from the System display, see Page 420:
164/
164/ 474 V1.8/0 mc²66
Channel Signal Flow
Changing the Signal Processing Order

Order
The Channel Config display shows the signal flow for the channel
in access. With the exception of the IN MIX and BUS assignment
sections, which are always first and last within the signal flow,
audio modules may be positioned in any order in the chain.
To interrogate the signal processing order for a channel:
1. Assign your desired channel to the Central Control Section
by pressing its fader strip SEL button, or selecting a channel
type and number from the ACCESS CHANNEL/ASSIGN
control panel.
2. Press the CHAN/CONFIG button, located on the centre
section SCREEN CONTROL panel, to select the Channel
Config display:
Note that each time you press the

CHAN/CONFIG button you toggle
between two pages – the Main display and Channel Config.
Config The
current page is always highlighted at the top of the display – in
our example, page 2 of 2.
This display shows the order of the audio processing modules for
the channel in access. Note that the display will vary according to
whether you are accessing a full or tiny DSP channel. The above
example shows a full processing channel.
As on the Main display, audio modules shown in grey are
switched off and those shown in green are switched on.
mc²66 V1.8/0 165/

165/ 474
Channel Signal Flow
To change the signal processing order for the selected channel:
1. Using the trackball, select the audio processing module
you wish to move.
The selected module, for example LIMITER,

LIMITER is highlighted by the
black and white dotted focus outline.
2. Use the soft keys to move the selected module as follows:
• UP and DOWN – moves the module up or down within the
main channel signal path.
• LEFT and RIGHT – moves the module into or out of the Direct
Output path.
The display updates to follow your changes.
3. Repeat steps 1 and 2 until you happy with the signal flow
order.
You cannot move the position of the INMIX or BUS modules.
For stereo channels, you move modules for the left and right sides
of the channel simultaneously.
For monitor channels, the LEFT and RIGHT soft keys move the
selected module to the track bus signal path.
166/
166/ 474 V1.8/0 mc²66
Channel Signal Flow
Dynamics Hard/Soft Knee Selection

If you select the COMP or LIMITER audio module, the four soft
keys, located on the SCREEN CONTROL panel, update to allow
you to change the knee of the compressor or limiter between
hard or soft operation:
1. Press the SET soft key and then use the rotary control to
select between hard and soft knee operation.
The display updates to follow your selection.
The ExtKey fields are reserved for future implementation.
mc²66 V1.8/0 167/

167/ 474
Channel Signal Flow
Changing the Meter Pick up Point

If you select the METER audio module, the four soft keys, located
on the SCREEN CONTROL panel, update to allow you to change
the channel metering point for the meter on the Channel and
Main Displays:
Displays
• IN – meters the channel input (post the INMIX section).

• PRE – meters the pre-fader signal.
• BUS – use this to meter the input to the BUS assign module
(post fader and post processing).
• DOUT – meters the direct output.
The meter pickup point may also be selected from the Central
Control Section, see Page 125 for details.
168/
168/ 474 V1.8/0 mc²66
Channel Signal Flow
Configuring Surround Outputs

Group and Sum output channels may be configured for either of
the following options:
• 2-Channel - an odd/even pair of sum or group channels may
be configured as 2-channel to provide independent master
controls for the left and right sides of a stereo output. This
offers an alternative to creating a stereo group or sum
channel where the master channel is then controlled from a
single stereo fader strip. In both cases, channels assigned to
the group or sum are panned with a left/right pan law.
• Surround – a number of sums or groups may be configured
for surround operation such that send channels are assigned
with a surround pan format. A variety of surround formats are
offered to include 5.1 and 7.1 panning options. In each case,
the master channels retain independence so that, for
example, you can set independent LCRLsRs levels, EQ, etc. To
link the group or sum master channel controls, use module
linking as described on Page 224.
Note that when configuring outputs for surround operation, you
must first select the surround format you wish to use from the
System display. For example, to set up a 5.1 sum master output,
first select 5.1 as the console’s surround format, see Page 420 for
details, and then configure the sum master channels for surround
operation as follows:
To configure the sum or group output:
1. Put the first sum or group channel you wish to configure
into access, either by pressing its fader strip SEL button, or
selecting a channel type and number from the ACCESS
Note that only certain selections are valid. For example, odd/even
pairs of channels must be configured for 2-channel operation,
therefore always select an odd numbered sum or group.
When configuring for surround operation, then the sum or group
channel which you must select depends on the surround format.
mc²66 V1.8/0 169/

169/ 474
Channel Signal Flow
For example, if configuring 5.1 outputs, you may select SUM 1 to
configure Sums 1-6; SUM 7 to configure Sums 7-12; SUM 13 to
configure Sums 13-18, and so on. But, if the surround format is
4.0, then the valid options are: SUM 1 to configure Sums 1-4,
SUM 5 to configure Sums 5-8; SUM 9 to configure Sums 9-12;
etc. See Page 420 for more details on selecting the console’s
surround format.
Note that you can assign SUM 7 to 12 to surround, even if Sums
9 to 12 are tiny channels!
Let’s assume that you have selected SUM 1.
CHAN/CONFIG
2. Next, press the CHAN/C ONFIG button to select the
Channel Config display:
3. Select the PAGE button to access the second level of soft

key functions within this display.
Any of the signal processing blocks may be in focus as the soft
key options are identical for all.
4. Use the soft keys to make the configuration as follows:
• 2-CH – will configure SUM 1 and SUM 2 for 2-channel
operation.
• SURR – will configure SUM 1 to SUM n for surround
operation depending on the console’s surround format.
5. To undo the 2-channel or surround configuration,
deselect the 2-CH or SURR soft keys.
170/
170/ 474 V1.8/0 mc²66
Channel Signal Flow
Configuring Surround Inputs

Inputs
In addition to configuring sums or groups as surround outputs, a
number of inputs may be defined to operate as a surround return.
For example, to return a surround reverb unit back to the mix.
Let’s assume that we have already configured SUMs 1 to 6 as a
surround output.
To configure INP 1 to 6 for a surround return:
1. Put the first input channel you wish to configure into
access, either by pressing its fader strip SEL button, or
selecting a channel type and number from the ACCESS
Note that as for surround outputs, only certain selections are
valid. For example, if configuring 5.1 inputs, you may select INP 1
to configure Inputs 1-6; INP 7 to configure Inputs 7-12; and so
on. See Page 420 for more details on selecting the console’s
surround format.
Let’s assume that you have selected INP 1.
2. Press the CHAN/CONFIG button to select the Channel
Config display:
PAGE
key functions within this display.
Any of the signal processing blocks may be in focus as the soft
key options are identical for all.
4. Press the SURR soft key to configure INP 1 to INP 6 for
surround operation.
mc²66 V1.8/0 171/

171/ 474
Configuration
Channel Signal Flow
5. Now if you assign say INP 1 to SUM 1, then all inputs
within the surround return (INP 1 to INP 6) are assigned to
all sums within the surround output (SUM 1 to SUM 6):
Note that when a surround input is created, panning is switched

off, and assignments are made onto the surround sum
automatically using a cross matrix assignment.
i.e. the surround cross matrix maps IN1 to SUM1, etc.
If you wish to apply panning, then you can re-enable the pan
controls for the input.
172/
172/ 474 V1.8/0 mc²66
DSP Configurations
DSP Configurations
For any given hardware specification, you may choose from a
number of DSP configurations designed to meet a variety of on-
air, recording and post production needs.
Each configuration offers different numbers of input channels,
monitor return channels, groups, main sums, auxiliaries and also
affects whether your AFL bus is stereo or surround. In addition,
the configuration determines how many of these paths are
provided with fully featured or reduced (Tiny) processing.
Note that the number of DSP channels available for each
configuration is affected by the sample rate of the console. This
choice is made within the low level configuration data and may
not be modified by the user. Higher sample rates (e.g. 96kHz or
88.2kHz) use twice as much DSP resource as lower sample rates
(e.g. 48kHz or 44.1kHz). Therefore you will be able to configure
more input channels at lower rates.
Your current DSP configuration may be viewed on the DSP
Config display.
1. Press the DSP CONFIG button, located on the centre
section SCREEN CONTROL panel, to view this display now:
The upper half of the display provides details of each of the

Available Configurations for your hardware specification. The
DSP-
DSP-Boards box shows the number of DSP boards detected by
the HD core.
The Active Configuration summary, displayed in green, shows the
details for you current DSP configuration.
mc²66 V1.8/0 173/

173/ 474
DSP Configurations
The Selected Configuration summary provides similar details for
the selected configuration. This allows you to interrogate an
alternative configuration before making it active.
In each of the summaries, you will find the following information:
• Inputs and Tiny Inputs – the number of fully featured and
reduced processing input channels.
• Sums and Tiny Sums – the number of fully featured and
reduced processing sum channels.
• Monitors – the number of monitor return channels. Note that
monitor channels are always created using full audio
processing.
• Groups – the number of group channels. Note that groups are
always created using full audio processing.
• Auxes and Tiny Auxes – the number of fully featured and
reduced processing auxiliary channels.
All resources are displayed as mono channels. For example, a
configuration with 24 inputs provides 24 mono input channels, or
12 stereo input channels, or any combination such as 16 mono
plus 4 stereo input channels. Similarly, if you configure your main
sum output for a surround format, this uses 4, 6, 7 or 8 of your
available sum channels.
174/
174/ 474 V1.8/0 mc²66
DSP Configurations
Changing Your DSP Configuration

Configurations may be changed at any time, making it easy to
modify the mix structure if you decide, for example, that the
production requires some additional groups or auxiliaries.
However, note that changing the DSP configuration will cause a
brief interruption to audio and therefore it is not recommended
that you change configuration while live on air!
To change the DSP configuration:
CONFIG
1. Press the DSP CONFIG button, located on the centre
section SCREEN CONTROL panel, to view the DSP Config
display:
2. Using the left and right navigation buttons, select a new

configuration column from the Available Configurations.
Configurations
The details for your selection are displayed in the Sel summary
column allowing you to make a side-by-side comparison with
your Active Configuration in green.
3. Press the LOAD soft key, located above the trackball, to
load the selection.
The console now re-configures its processing to provide the
selected DSP resources, and the Active Configuration summary
updates to reflect the new settings.
Note that loading the new configuration may cause an
interruption to the console’s audio.
mc²66 V1.8/0 175/

175/ 474
DSP Configurations
Depending on the change of configuration, a number of things
may happen to each type of DSP resource:
• If you have increased the amount of resource, for example
you now have 8 groups rather than 4, the additional groups
become available for control in the usual manner.
• If you have reduced the amount of full processing resource,
the console will allocate tiny processing where possible. For
example, you have reduced the number of Inputs from 24 to
20 but have 4 Tiny Input channels available - input channels
21 to 24 are automatically configured with tiny processing.
• If you have reduced the amount of full and tiny processing
resource, then channels are removed while that configuration
is active. For example you may have configured monitor
return channels such that your input channel count has fallen.
The input channels are no longer available and are removed
from the control surface. However, note that all settings for
the previous configuration are stored. This means that if you
recall the previous configuration, the settings for those
channels are recalled.
Saving the DSP Configuration

The DSP configuration is stored and recalled with the production.
See Page 241 for details on how to update the current
production.
Note that if you recall a snapshot saved with a different DSP
configuration, then the snapshot settings will be recalled to the
available DSP resources. For example, if a snapshot saved with
settings for 192 input channels. The DSP configuration is changed
to a lower number of input channels. When this snapshot is
loaded, settings will be recalled to all the available input channels.
176/
176/ 474 V1.8/0 mc²66
DSP Configurations
Redundant DSP
Any number of DSP boards fitted to the HD core may be reserved
to provide redundant processing in the unlikely event of a DSP
board failure. You can investigate whether you have a redundant
board from the DSP Config display:
If, for example, your HD core is fitted with 8 DSP boards and the
Active Configuration uses 7 DSP-
DSP-Boards,
Boards then the eighth board
will provide redundancy in the event of a failure.
This can also be seen on the HD core front panel where the spare
board is shown in Standby. Note that the system uses boards
from left to right across the HD core, so in our example, slot 8
hosts the spare board.
In the unlikely event of a failure, the system automatically
switches all DSP resources and settings from the faulty board to
the spare; the faulty board may then be safely removed and
replaced.
Note that the replaced board, for example slot 5, now acts as the
spare board either until the HD core is restarted or a new DSP
configuration is loaded. Following the reconfiguration, boards are
utilised from left to right across the HD core, in our example slots
1 to 7 for main DSP resources and slot 8 in standby status.
Upgrading Your DSP Configuration

By now, your hardware specification will have been pre-
determined, unless of course you are reading this prior to console
purchase! However, you may upgrade your system by retrofitting
additional DSP cards at any time in the future.
mc²66 V1.8/0 177/

177/ 474
Control Surface Configuration
Control Surface Configuration

The mc266 control surface configuration allows you to lay out
your input channels, groups, main sums, auxiliary masters, VCA
masters and GPCs (General Purpose Channels) across the
console’s fader strips as you desire. The control surface is capable
of accessing many more channels and masters than the physical
number of faders in front of you. This access is handled through
the configuration of user banks and layers.
Depending on the currently loaded snapshot, you may be sat in
front of a pre-configured control surface or a series of blank fader
strips. For the moment, let’s assume that your console has pre-
configured fader strips and cover the operation of the console’s
bank and layer switching. However, if this is not the case, please
refer to Page 192 for details on how to assign channels to fader
strips.
Banks an
andd Layers
Up to six control surface banks may be configured; think of each
fader bank like a separate console, with fast global switching
between banks. They may be used, for example, to access
different sets of music channels during a live entertainment show,
or to separate live and post production sources during a sports
production.
Within each bank, fader strips may also be switched, either
individually or globally, between two layers. For example, to
switch between input and monitor channels during a recording
session, or to switch between main and backup microphone
channels during a live production.
In addition, note that in every bank or layer you have both
channel and main fader strips. Due to the reduced number of free
controls on a main fader strip, they are most suitable for
controlling master channels such as main sums, groups or VCA
masters. See Page 216 for more details on main fader strips.
178/
178/ 474 V1.8/0 mc²66
Chapter 3: Console
Console Configuration
Banks and Layers
Bank Switching
There are two ways to switch between the console’s six user
banks: globally from the centre section or locally, 8 faders at a
time, from the fader strips.
To page the control surface globally:
1. Locate the six BANK access buttons, numbered 1 to 6
above the ACCESS CHANNEL/ASSIGN control panel in the
centre section.
One of these buttons will be illuminated; this is your currently
selected fader bank.
2. Press any numbered button to switch to a new bank of
channel and main fader strips.
As you do this, all fader labels, control positions and Channel
displays update across the console to reflect the new settings. If
your banks are not yet configured with assignments, then you will
switch to blank fader strips.
Note that if a fader bay is isolated, the 8 faders within the isolated
bay are not switched by the global banking buttons.
To control bank switching locally from the fader strips:
3. Locate the BNK1,
BNK1 BNK2,
BNK2 BNK3,
BNK3 BNK4,
BNK4 BNK5 and BNK6
buttons:
One of the buttons will be illuminated; this is your currently

selected fader bank.
4. Press any of the other buttons to switch to a new bank.
This time only the 8 fader strips within your local module switch
to the new bank.
Note that as soon as you press a global BANK access button, this
will reset any local selections, unless the fader bay is isolated. See
Page 184 for more details on isolating fader bays.
mc²66 V1.8/0 179/

179/ 474
Banks and Layers
Layer Switching
Within each of the six banks, each fader strip has two layers –
Layer 1 and Layer 2. Layers can be switched globally, locally, 8
faders at a time, or individually, making them ideal for fast access
to related sources. For example, assign a main microphone
channel to Layer 1 and a backup microphone channel to Layer 2,
or assign your input channels to Layer 1 and monitor return
channels to Layer 2.
To switch between layers globally:
1. Locate the four LAYER access buttons above the ACCESS
CHANNEL/ASSIGN control panel in the centre section.
2. Press the FLIP button to invert the layer for all fader strips
- channel and main.
This inverts the current layer selections allowing you to view all
‘hidden’ channels on the alternate layer with one button push.
3. Press the ALL 1ST button to reset all fader strips - channel
and main - to Layer 1.
4. Press STRP 2ND to switch the channel fader strips to
Layer 2.
5. Press the MAIN 2nd button to switch the eight main fader
strips to their second layer.
As you change between layers, the fader labels, control positions
and Channel displays update across the console to reflect the new
settings. If your second layer is not yet configured with
assignments, then you will switch to blank fader strips.
The name and label on top of the Channel display (e.g. INP1
Guest
Gue st 1)
1 show the system name and user label for the active
layer; the name and label below (e.g. GRP1)
GRP1 show the system
name and user label for the alternate layer.
Note that if a fader bay is isolated, the 8 faders within the isolated
bay are not switched by the global layering buttons, see Page
184 for details.
Note that when you deselect ALL 1ST,
1ST STRP 2ND or MAIN 2nd, 2nd
the console reverts to the previous layer status. For example, if
you had switched some individual fader strips to the second layer,
then these selections will be recalled when you exit the global
modes.
To reset the layer status more permanently, press and hold the
ALL 1ST,
1ST STRP 2ND or MAIN 2nd buttons for more than 3
seconds.
180/
180/ 474 V1.8/0 mc²66
Banks and Layers
To control layer switching locally 8 faders at a time:
1. Press the FLIP button located within each fader strip
module:
This time only the 8 fader strips within your local module invert
layers.
Note that as soon as you press a global LAYER access button, this
will reset any local selections, unless the fader bay is isolated.
To switch an individual fader strip between layers:

1. Press the 2nd button located on the fader strip.
The fader’s label, control positions and Channel display update to
reflect the settings for the Layer 2 channel. If there is nothing
assigned to the second layer, then you will switch to a blank fader
strip.
2. Press the 2ND button again to revert back to Layer 1.
Note that any individual 2ND layer access selections will be
overridden by the local FLIP button and/or global LAYER
selection buttons.
mc²66 V1.8/0 181/

181/ 474
Banks and Layers
Isolating Fader Strips

Strips from Bank/Layer Switching
There will be times when you wish to keep a fader, for example
your main presenter or sum master, on the control surface at all
times.
To isolate fader strips from bank switching (but not layer
switching) you may use the ACCESS CHANNEL/ASSIGN isolate
buttons as follows:
1. Press the MAIN ISO button to isolate all eight main fader
strips from bank switching.
The eight main fader strips are now isolated from bank switching.
Note that if you switch banks and then deselect the MAIN ISO
button, the fader strips update to reflect the settings for the
selected bank.
2. Press the PERM ISO button to select individual fader strips
to isolate.
The fader SEL buttons across the console flash, in green:
182/
182/ 474 V1.8/0 mc²66
Banks and Layers
3. Press the SEL button(s) on the fader(s) you wish to isolate.
You may select channel or main fader strips.
The SEL buttons change colour from green to red to indicate that
they are now isolated from bank switching operations.
4. Deselect the PERM ISO button and now the selected
faders remain isolated from bank switching.
5. To undo the bank switching protection, select PERM ISO
and press the fader SEL buttons so that they change colour
back from red to green.
6. Finally, use the SEL ISO to temporarily isolate the selected
channel from bank switching.
Whichever channel is in access will now not change bank when
you press any of the 1 to 6 bank switching buttons.
The CLEAR ISO button is reserved for future implementation.
If you wish to isolate a fader strip from both bank and layer
switching, then an alternative approach is to assign the channel to
the same position within every bank and layer using the BOTH
LAYERS and ALL BANK assignment options. Please refer to Page
197 for details.
Alternatively, if you are working with more than one engineer
and wish to provide separate 8-fader bays for the second
engineer, you may use the isolate fader bay feature, described in
the next section.
mc²66 V1.8/0 183/

183/ 474
Chapter 3: Console
Console Configuration
Isolating Fader Bays

For complex productions, you may require more than one
engineer to work on the same console, for example, one engineer
to mix the main broadcast sound and a second engineer to mix
the international sound.
Any number of 8-fader bays may be isolated from the main
console so that both users can have independent bank/layer
switching, AFL/PFL monitoring and DSP parameter control. In the
example shown below, the last eight faders have been isolated.
However, the isolated fader bay(s) may be located in any position
across the console.
Isolating a Fader Bay

To isolate a fader bay:
1. Press the ISO button located on the bay’s fader strips:
The 8 fader strips are now isolated from the centre section’s
BANK and LAYER access buttons.
Bank
Bank and Layer Switching
On the isolated bay(s), the second engineer may now switch
banks and layers independently using the local fader strip BNK1,
BNK1
BNK2,
BNK2 BNK3,
BNK3 BNK4,
BNK4 BNK5,
BNK5 BNK6 and FLIP buttons as described
on Pages 179 and 180.
184/
184/ 474 V1.8/0 mc²66
Independent AFL and PFL

AFL and PFL selections made within an isolated bay(s) may be
routed onto a second AFL and PFL bus. For example, to provide
the second engineer with independent headphone monitoring.
This option is selected from the System display,
display see Page 424 for
details.
When the ISO AFL2/PFL2 option is selected, any channels in AFL
or PFL within an isolated fader bay are routed to the AFL2 and
PFL2 busses. These busses may then be routed to a separate
loudspeaker or headphone feed from the Signals display. If you
wish, then a CLEAR AFL2/PFL2 button may be programmed onto
the 24 Control Room Monitoring panel buttons.
If the ISO AFL2/PFL2 option is not selected, then all AFL and PFL
selections across the console feed onto the main AFL and PFL
bus.
Snapshot Filter
To prevent snapshots recalled by the main engineer affecting

isolated fader bays, use the BAY snapshot filter button to protect
settings on the isolated bay. For example, if the main engineer
wants to recall a new fader strip layout without changing the
second engineer’s isolated bay(s), then turn on the BAY snapshot
filter button before recalling the snapshot. See Page 265 for more
details on snapshot filters.
mc²66 V1.8/0 185/

185/ 474
Bays
DSP Parameter Control (ISO Bay Access)

Access)
Within an isolated bay, the DISP EQ,
EQ DISP DYN,
DYN DISP AUX and
DISP MISC buttons allow the second engineer to control DSP
parameters such as EQ locally from within the bay. This enables
the first engineer to be compressing a channel from the Central
Control Section while the second engineer applies EQ to a
channel within an isolated bay simultaneously.
If you are mixing by yourself, you can also use the ISO Bay
Access feature to adjust DSP parameters locally rather than from
the Central Control Section. This has the advantage of providing
one knob per function for each of the DSP module parameters.
1. First, if you haven’t already done so, press the ISO button
to isolate the fader bay.
2. Next, select the DSP module which you wish to control –
for example EQ by pressing DISP EQ.
EQ
3. Then select the channel you wish to adjust by pressing its
fader SEL button:
The 32 free controls within the isolated bay update to show the
EQ parameters for the selected channel:
186/
186/ 474 V1.8/0 mc²66
4. Turn a control to adjust an EQ parameter – for example,
EQ1G to adjust the gain for equaliser band 1.
5. Deselect the DISP EQ button to return the free controls to
their previous assignments.
For further details on the DISP
DISP EQ,
EQ DISP DYN,
DYN DISP AUX and
DISP MISC parameters, please see Page 188.
Note that the behaviour of fader SEL button within the isolated
bay is determined by the Select Isolate option set from the
System display,
display see Page 423 for details.
If Select Isolate is off, then the fader SEL buttons within an
isolated fader bay do not change the fader ‘in access’. In other
words, you would use this mode when working with two
engineers in order to prevent the second engineer from updating
the channel in access while the show is running.
If Select Isolate is on, then the fader SEL buttons within an
isolated fader bay do update the fader ‘in access’. In other words,
only one SEL button may be active across the whole console. You
might use this mode when working alone so that the Central
Control Section always follows your SEL button selection
regardless of whether a bay is isolated.
When working with Select Isolate
Isolate off, note that if you deselect
and then reselect the bay’s ISO button, the console will
remember the selected channel within the isolated bay so that
you can return to adjusting its parameters easily.
mc²66 V1.8/0 187/

187/ 474
Within an isolated fader bay, the 32 free controls provide access
to parameters as follows:
• Select DISP EQ to adjust parameters for the 4-band equaliser,
high and low pass filters, and dynamics sidechain filters:
EQ EQ EQ EQ Filter Filter Sidechain Sidechain

Band Band Band Band 1 2 Filter 1 Filter
Filter 2
1 2 3 4
Free Type Type Type Type Type Type Type Type

Control
1
Free Q Q Q Q Q Q Q Q
Control
2
Free Freq Freq Freq Freq Freq Freq Freq Freq
Control
3
Free Gain Gain Gain Gain Gain Gain Gain Gain
Control
4
188/
188/ 474 V1.8/0 mc²66
• Select DISP DYN to adjust gate, expander, compressor and

limiter parameters:
Gate Gate Expander Expander Compressor Compressor Limiter Limiter
Free Attack Release Attack Release Attack Release Attack Release

Control Time Time Time Time Time Time Time Time
1
Free Threshold Look Threshold Hold Threshold Hold Threshold Look
Control Ahead Ahead
2 Delay Delay
Free Hold - Ratio - Ratio - Hold -
Control
3
Free Floor - Gain - Gain - - -
Control
4
mc²66 V1.8/0 189/

189/ 474
• Select DISP AUX to adjust aux send parameters:
Aux Gain for sends 1 to 32 is adjusted as shown. Note that if an

aux is stereo you can adjust the gain and pan for the stereo send.
190/
190/ 474 V1.8/0 mc²66
• Select DISP MISC to adjust input :
Input Gain & Width & DAMP, Panning Panning - Audio Audio
Balance Position Delay, Follow Follow
Insert, Video Video
Dir Out
Free Input Gain (IN) Width Digital Slope High-Low - On Rise
Control or Analogue Mic (stereo Amplifier Pan Level Time
1 Gain (AN) inputs) (DAMP) (PanZ) (ONLV) (RTME)
depending on the
input source.
Free - - Delay Level to - - Off On
Control Time the Low Level Time
2 (in ms, Frequency (OFLV) (OTME)
m or Effect
frames) (EFF)
Free Balance (if the Position Insert Front- - - Event Fall

Control input is stereo) (stereo send Back Pan Number Time
3 inputs) level (PanY) (EVNT) (FTME)
Free - - Direct LCR Pan - - - -

Control Out (Pan X)
4 level or Balance
for stereo
inputs
mc²66 V1.8/0 191/

191/ 474

Fader strips are assigned from the STRIP ASSIGNMENT and
ACCESS CHANNEL/ASSIGN control panels in the centre section
of the console:
The configuration is stored and recalled with the console

snapshot. Therefore, once a configuration is prepared for a
particular production, the set up may be recalled in an instant
prior to subsequent shows.
Remember that there are two types of fader strip on the control
surface – the channel fader strips and the eight main fader strips.
Either may be used to control inputs (input and monitor
channels), outputs (auxiliary, group and sum masters) or VCA
masters providing access to source channels and masters where
you need them.
Fader Strip Assignment

To assign a fader strip, you first select the channel type and
number you wish to assign, from the ACCESS CHANNEL/ASSIGN
control panel, followed by the fader strip destination. For a
reminder on how to put different channel types and numbers into
access, please see Page 17.
For example, to assign Input channel 1 to channel fader strip 1:
panel, either by entering INPUT and the number 1, or using
the NEXT and PREV buttons.
This puts INP 1 into access as indicated on the CHANNEL and
LABEL displays.
192/
192/ 474 V1.8/0 mc²66
Chapter
2. Now press the global ASSIGN button, located on the
STRIP ASSIGNMENT: ASSIGN MODES panel.
Across the console, the fader SEL buttons flash, in green, to
indicate possible destinations for your chosen channel:
3. Press the fader SEL button on channel fader strip 1 to

complete the assignment.
The fader SEL button stops flashing and changes colour, from
green to red, to indicate the assignment. In addition, the fader
strip controls update to the show the settings for input channel 1.
4. Deselect the ASSIGN button or press ESC
ESC, on the ACCESS
CHANNEL/ASSIGN control panel, to exit the fader strip
assignment mode.
You can assign the same channel to multiple fader strips on the
same bank or layer, or alternate banks or layers, by keeping the
ASSIGN button selected, moving to the desired bank or layer and
pressing the fader SEL buttons on the destination fader strips.
mc²66 V1.8/0 193/

193/ 474
Assigning Consecutive Sources to Multiple Strips

To assign multiple fader strips in one operation, for example,
input channels 1-24 to fader strips 1-24:
panel, either by entering INPUT and the number 1 or using
This puts INP 1 into access as indicated on the CHANNEL and
LABEL displays.

possible destinations for your chosen channel.
3. Press the fader SEL button on the first fader in the range
you wish to assign (e.g. on fader strip 1) followed by the
fader SEL button on the last fader in the range (e.g. fader
strip 24).
The console incrementally assigns input channels 1 to 24 from the
first selection (channel fader strip 1) to the last selection (channel
fader strip 24).
ESC on the
mode.
The start and end of the range can be at any position across the
control surface, and sources may be routed from left to right or
from right to left by reversing the order of your first and last fader
selection. Note that FIRST LAST operations treat channel and
main fader strips independently, allowing you to assign
consecutive channel fader strips without affecting main fader strip
assignments or vice versa.
194/
194/ 474 V1.8/0 mc²66
Inserting Channels within a Configuration

Normally any existing fader strip assignments are replaced by the
new selection. However, there are times when you may wish to
keep your current assignments and insert a channel between two
existing faders. For example, to insert an extra guest channel, let’s
say on channel fader strip 5, during a talk show:
1. Select the channel you wish to insert using the ACCESS
CHANNEL/ASSIGN control panel as before.
The CHANNEL and LABEL displays show the name and label for
the guest input channel.
2. Select the INS MOVE button, located on the STRIP

possible destinations for your chosen channel.
3. Press the fader SEL button on the fader strip to the left of
where you wish to insert the new channel.
For example, if you press SEL on strip 4, then the channel is
inserted on strip 5, and channels assigned from strip 5 upwards
move one step to the right across the control surface.
Note that this moves the last channel on the current layer off the
end of the console. The settings for this fader are stored as a
virtual fader. For example, on a 24-fader control surface, the
above operation would shift fader strip 24 up onto a virtual fader
strip 25. This fader cannot be accessed, but remains in this
location and will be brought back onto the control surface if a
fader strip is deleted with INS MOVE.
MOVE
mc²66 V1.8/0 195/

195/ 474
To delete a channel from the current configuration:
1. Select the channel you wish to delete by pressing its fader
strip SEL button.
This puts the channel in access; the SEL button should be red.
2. Select the INS MOVE button, located on the STRIP
the console the fader SEL buttons flash.
3. Press the channel’s fader SEL button again to confirm the
delete.
The channels above it ripple down the control surface to fill in the
gap.
Note that channel and main fader strips are treated independently
for INS MOVE operations so, for example, channels inserted or
deleted from channel fader strips do not affect main fader strip
assignments or vice versa.
196/
196/ 474 V1.8/0 mc²66
Multiple Modes
The six MULITPLE MODE buttons provide a number of short cuts
for assigning fader strips across several banks or layers. In
addition, this area contains the CLEAR button used for clearing
current assignments.
Assigning Channels across All Ba

Banks/
nks/Both
nks/Both Layers
You can assign channels to any of the console’s banks and layers
by selecting the bank or layer before you start the assignment
process. However, when dealing with multiple layer or bank
assignments, the MULTIPLE MODE buttons provide a number of
short cuts.
Let’s take an example where you wish to assign input channel 1
to fader strip 1 across all six control surface banks.
panel, either by entering INPUT and the number 1 or using
This puts input channel 1 into access; the CHANNEL and LABEL
displays show the name and label for input channel 1.
2. Now press ALL BANK on the MULTIPLE MODE panel.
This automatically selects the global ASSIGN button, such that
the fader SEL buttons across the surface start to flash in green.
In addition, the six BANK select buttons 1 – 6 are illuminated:
3. At this stage, you may deselect any bank buttons which
you don’t want to use as part of the assignment. For
example, if you wanted to start the assignment from bank 2,
you would deselect bank 1. For the purposes of our
example, keep all six BANK buttons selected.
4. Press the fader SEL button on channel fader strip 24 to
complete the assignment across all six banks.
In addition to bank assignments, the BOTH LAYERS button may
be used to assign the channel in access to both the 1st and 2nd
layers of the selected bank or banks. Repeat steps 1 to 4 but
select the BOTH LAYERS button in addition to or instead of ALL
BANK.
BANK
mc²66 V1.8/0 197/

197/ 474
Clearing Individual Fader Strip Assignments

The CLEAR button is used to clear fader strip assignments:
1. Press the CLEAR button on the MULITPLE MODE panel.
This automatically selects the global ASSIGN button, such that

the fader SEL buttons on the current surface start to flash.
2. Press the fader SEL button(s) on any fader strips you wish
to clear.
3. When you are finished, deselect the CLEAR button to
prevent accidental changes to your configuration!
Clearing a Bank of Fader Strips

The CLEAR BANK button may be used to clear a complete bank
of fader strip assignments. Note that this operation applies
globally to both layers of the selected bank.
1. Press the CLEAR BANK button on the MULITPLE MODE
panel.
2. Select the bank or banks you wish to clear using the 1 to
6 BANK access buttons:
3. Press the Enter button, located on the ACCESS

CHANNEL/ASSIGN control panel, to complete the
operation.
198/
198/ 474 V1.8/0 mc²66
Copying Banks of Fader Strip Assignments

When making fader strip assignments, you can copy the current
control surface configuration to a new bank or banks.
This can be very useful when you wish to keep some channels
common across banks. For example, you may wish to keep fader
strips 25 to 32 allocated to your main presenter and guest
channels while other fader strips (1-24) bank switch between
different sets of music channels during an entertainment show.
1. Bring the bank you wish to copy to the active surface
using the 1 to 6 BANK access buttons:
The control surface updates to show the settings for the selected
bank.
2. Press the COPY BANK button on the MULITPLE MODE

panel.
3. Now select the destination by pressing one of the 1 to 6
BANK access buttons.
4. Press the Enter button, located on the ACCESS
CHANNEL/ASSIGN control panel, to complete the
operation.
mc²66 V1.8/0 199/

199/ 474
Strips
Locking the ACCESS and ASSIGN Control Panels

Panels
In order to protect the channel in access and other assignments
during a live production, you may use the Lock buttons located
on the ACCESS CHANNEL/ASSIGN panel:
1. Press LOCK ACC to lock the current channel in access. For

example, you may wish to lock INP 24 into access so that it
remains accessible from the Central Control Section at all
times during the production.
When LOCK ACC is selected, you cannot use the ACCESS
CHANNEL/ASSIGN control panel or press fader SEL buttons to
update the channel in access.
2. Press LOCK ASN to disable the STRIP ASSIGNMENT and
BUS ASSIGNMENT buttons. This prevents you from
accidentally changing your fader strip and bus assignments
from the front panel during a production.
Note that can still assign a channel to an aux send from the
Central Control section, or use the Bus Assign display to make
bus assignments with LOCK ASN active.
200/
200/ 474 V1.8/0 mc²66
General Purpose Channels (GPCs)
General Purpose Channels (GPCs)

(GPCs)
In addition to controlling onboard DSP, fader strips may be
assigned to GPCs (General Purpose Channels), allowing control of
parameters within external devices via MIDI.
Typical applications include using faders or rotary controls to
adjust and store camera microphone levels via MIDI to VCA
converters; to adjust fader levels and other parameters within an
external DAW; to adjust reverb settings within an external effects
unit.
The console supports up to 256 General Purpose Channels and
each channel features the same control objects as a normal DSP
channel – EQ, Delay, Compressor, Limiter, etc. Remember that
these channels are for control only, and the parameters they
adjust depend on the mapping within the MIDI protocol. For
example, you may be using channel Delay to set the reverb time
within an outboard effects unit. The assignment of channel
objects to MIDI program changes and controller values is
configured within the MIDI setup of the console. Please refer to
the mc266 Technical Manual for full details.
Assigning GPCs to Fader Strips

GPCs may be assigned to any channel or main fader strip on the
control surface by selecting GPC as the channel type.
Note that when GPCs are selected, the CHANNEL and LABEL
displays are shortened as follows:
• GPC 1 to 9 – displayed as GPC1, GPC2, etc.
• GPC 10 to 99 – displayed as GP10, GP11, etc.
• GPC 100 to 256 – displayed as P100, P101, etc.
Storing Settings
The settings for GPCs are stored in snapshots in exactly the same
way as normal DSP channels. Therefore, you may use SNAP ISO
to isolate a GPC from snapshot recall, or protect all GPCs using
the DSP Filter option. Please refer to Page 265 for more details.
mc²66 V1.8/0 201/

201/ 474
Multitrack Recording and Monitor Channels

Several of the DSP configurations support both input and monitor
channels, providing the ability to easily configure the mc266 for
multitrack recording applications. A number of special features
apply to monitor return channels and the auxiliary sends routed
from them.
In--Lin
In Line
e Console Configuration
Using a traditional in-line approach, the console may be
configured with input channels providing control of sends to the
recorder and monitor return channels providing switched
monitoring of the sends and returns to/from the recorder. Let’s
take an example where we have a 24 track recorder.
1. First assign your input and monitor channels onto the
control surface.
By assigning your input channels to layer 1 and monitor channels
to layer 2 of the same fader bank, you will have fast access to
your send and return channels using layer switching. Please see
Page 192 for details on assigning channels to fader strips.
2. Assign the sources you wish to record to your input
channels using the Signals display, see Page 388 for details,
and open your faders to set the record levels.
3. Assign the returns from the multitrack machine to your
monitor channels and open your faders to set the monitoring
levels.
4. The next step is to route your input channels to the track
busses feeding the recorder.
Note that a fixed relationship exists between each track bus and
monitor channel, in that track bus 1 always feeds monitor send 1,
track bus feeds send 2, etc. Therefore, to route our input channels
to our 24 track recorder, we need to route to track busses 1-24
(MON 1-24).
Use either Forward or Reverse Bus Assign to route your input
channels onto MON 1-24. Please see Page 76 for details.
You may record other busses, such as a group, by assigning
group channels rather than input channels to the monitor
channels/track sends.
Alternatively, if you wish to send a pre fader signal to the track
send, you may route the direct output or the insert send from the
input channel directly to the track send from the Signals display.
202/
202/ 474 V1.8/0 mc²66
5. Now flip your monitor channels 1-24 onto the active
control layer, and use the SND,
SND RET and MIX buttons –
located either on the Central Control Section on a broadcast
console, or on each fader strip on a recording console – to
switch the input to each monitor channel between:
• SEND – the recorder send.

• RET – the recorder return.
• MIX – a sum of the send and return.
• REC button – reserved for future implementation. You should
record arm the track from the multitrack recording device.
Use the individual or global layer switching buttons to flip
between your input channels (to control the send levels to the
recorder) and monitor channels (to control the monitor mix).
Note that normally for multitrack operation, a monitor channel
cannot be assigned back to its associated track bus in order to
prevent feedback. However, when using monitor channels for
non-multitrack applications, you may override this feature from
the System display, see Page 420 for details.
Other Monitor Channel Applications

The only difference between input channels and monitor channels
is that the monitor channel direct out is used to provide the track
bus signal path. This means that you can also use monitor
channels in non multitrack applications to handle any type of
source with exactly the same processing facilities as an input
channel except there is no direct output.
mc²66 V1.8/0 203/

203/ 474
Monitor Channels and Auxiliary Cue Feeds

A couple of special rules apply to the signal flow of a monitor
channel, and auxiliary sends 17 to 32 which are fed from them.
Firstly, the direct output on a monitor channel is used to create
the track send to the multitrack recorder. By default, this is
assigned to the corresponding track bus, for example, track bus 1
feeds monitor channel send 1, but it may be re-assigned to any
input source from the Signals display - for example, to record an
input directly, or to record a pre-fader send from the input
channel.
Secondly, auxiliary sends 17 to 32 have special properties when
assigned from monitor channels in order to create overdub cue
feeds for the recording artist. When any auxiliary from 17 to 32 is
assigned from a monitor channel, its source is also switched
between the send, return or a mix of both send and return. This
switching occurs independently from the monitor channel,
allowing the engineer in the control room to be monitoring the
track return, while the artist hears a mix of the send and return up
to the drop-in point.
The auxiliary send is switched between the various source signals
from the auxiliary control panel:
• Press PEQ to switch the monitor return signal to the auxiliary
send.
• Press PF to switch the monitor send signal to the auxiliary
send.
• Select both buttons to send a sum of both send and return
signals to the auxiliary send.
Note that this source selection occurs automatically on auxiliary
sends 17 to 32 only. Therefore, use these sends for cue feeds
when overdubbing.
Also note that the source selection only affects auxiliaries 17-32
when assigned from monitor channels. In non recording
applications, these sends behave in a conventional manner.
204/
204/ 474 V1.8/0 mc²66
Chapter 4: The Centre Section
Introduction
Introduction
This chapter deals with the centre section functions normally
presented to the operator. Note that several control areas, such as
snapshots, are dealt with in other chapters of the manual. Please
refer to the page references as follows:
• The Central Control Section – dedicated channel control (see
Page 86).
• AUTOMATION – timecode automation control (see Page
320).
• SNAPSHOT/SEQUENCE – snapshot and real-time sequence
control (see Page 253).
• CONTROL ROOM MONITORING – main, alternate and
secondary monitor feeds (see Page 206).
• The Main Fader Strips – assignable to any channel, but
typically used as VCA group masters, audio sub group or
main sum masters (see Page 216).
• USER PANEL – reserved for special panels for talkback,
sequence automation, or additional user keys (see Page 226).
• LINK - used to link odd/even fader strips for stereo link
control (see Page 224).
• ACCESS and ASSIGN controls – for assigning channels to the
Central Control Section, fader strips and bus outputs (see
Pages 89, 192 and 76 respectively).
• CHANNEL DISPLAY – used to change the Channel display
INFO window (see Page 226).
• FADER CONTROL – enables faders to control other object
types. For example, to control auxiliary send levels from the
channel faders to set up a quick headphone balance (see Page
227).
• STRIP CONTROL – used to select what is shown on the free
control alphanumeric displays, and fader labels (see Page
227).
• PANNING – joystick panning (see Page 108).
• SCREEN CONTROL – display selection and navigational
controls for the centre control screen displays (see Page 20).
mc²66 V1.8/0 205/

205/ 474
Control

The mc266 provides three monitor outputs:
• Control Room Monitor 1 (CRM1) – surround (up to 7.1).
• Alternate (ALT) – an alternate set of speakers fed from
CRM1.
• Control Room Monitor 2 (CRM2) – stereo.
Normally, you would use the CRM 1 output for your main
speakers. You may then choose whether to connect your mini
speakers to the ALT output, for inter cancelling mains and minis,
or to the CRM 2 output, for simultaneous monitoring on two sets
of speakers.
Control Room Monitor 1 (CRM1)

(CRM1)
The main and alternate CRM1 monitor outputs are adjusted from
the CONTROL ROOM MONITORING panel:
206/
206/ 474 V1.8/0 mc²66
The CRM1 output may be mono, stereo or any surround format

up to 7.1. The format is defined by the console’s surround format
option, set from the System display. Please refer to Page 420 for
details.
mc²66 V1.8/0 207/

207/ 474
Source Selection.
Selection.
At the top of the panel are 24 programmable buttons for monitor
source selection and other functions such as CLEAR AFL/PFL,
AFL/PFL PFL
to Mains,
Mains etc
The buttons are programmed in the factory configuration and can
be used to switch external sources, analogue or digital, or internal
busses, such as the main sum or group outputs, to the CRM1
monitor output.
Note that some of the buttons may be assignable allowing you to
programme the source from the Signals display. Please refer to
your console specification for details.
1. Press one of the pre-programmed buttons to select your
monitor source.
The selected source appears on the CRM1 speakers.
Monitor Level
1. Use the CRM1 rotary control to set the main monitor
level.
The monitor level is shown in the 4-character display as it is
adjusted.
The maximum monitoring level is set in the factory configuration;
please refer to your console specification for details.
Monitor Dim
1. Press DIM to dim the main CRM 1 monitors.
The monitor dim level is shown in the 4-character display.
Note that the console features two independent monitor dim
settings:
• Monitor Dim – actioned by pressing the DIM button
• Talkback Monitor Dim – actioned either by pressing an
internal TALK button or external GPI trigger; for example, to
dim the main monitoring when you press a Talkback button.
208/
208/ 474 V1.8/0 mc²66
You can adjust the amount of dim independently for each setting:
1. Press the SET button to enter the set parameter mode.
The 4-character display changes to BAL showing that you are in
set Balance mode.
2. Press the DIM button to select the monitor dim
parameter.
The 4-character display changes to DimL showing that you are in
Dim Level mode.
3. Adjust the monitor dim level using the monitor level
control.
As long as you keep touching the control, the amount of dim is
shown in the 4-character display.
4. Now push the SET button again to set the amount of
talkback dim.
The 4-character display changes to TbDL showing that you are in
Talkback Dim Level mode.
5. Adjust the talkback dim level using the monitor level
control.
As long as you keep touching the control, the amount of dim is
shown in the 4-character display.
6. Deselect SET to exit the set parameter mode.
Mono Left/Right
Left/Right
The M button allows you to check mono compatibility.
1. Press M to mono the Left and Right CRM1 monitor
outputs to both speakers.
This automatically applies a 3dB reduction to the left and right
channels to compensate for the mono sum.
You may adjust the mono gain reduction level:
set Balance mode.
mc²66 V1.8/0 209/

209/ 474
3. Now press the M button to select the mono gain trim
parameter.
The 4-character display changes to T M to show that you are in
Trim Mono mode.
4. Adjust the mono trim level using the monitor level control.
As long as you keep touching the control, the trim level is shown
in the 4-character display.
Stereo Monitoring Functions

1. Press LtoB to monitor the Left CRM1 output on both left
and right speakers.
2. Press RtoB to monitor the Right CRM1 output on both
left and right speakers.
3. Press PH L to reverse the phase of the Left CRM1 output.
4. Press PH R to reverse the phase of the Right CRM1
output.
Note that both phase left and phase right buttons are available to
deal with phasing issues on either speaker.
Left/Right Monitor Balance

The monitor balance control allows you to offset the Left and
Right CRM1 levels to compensate for poorly aligned stereo
speakers.
set Balance mode.
2. Adjust the balance using the monitor level control.
As long as you keep touching the control, the balance value is
shown in the 4-character display. Balance may be adjusted from -
20dB to +20dB.
210/
210/ 474 V1.8/0 mc²66
Individual Speaker Mutes

The L, C, R, S1L,
S1L S1R,
S1R S2L,
2L S2R
S2R and LFE buttons are used to mute
the individual surround speakers and select parameters for setting
balance and volume trim settings.
1. To mute a speaker, press the corresponding mute button.
The mute button turns red when selected.
Note that not all mute buttons may be active depending on your
choice of surround format.
Individual Speaker Solos

The L, C, R, S1L,
S1L S1R,
S1R S2L,
S2L S2R and LFE buttons may also be
used to solo individual surround speakers. The solos are additive
so, for example, you can solo Left, Centre and Right speakers
simultaneously.
1. To solo a speaker, press the SOLO button followed by the
corresponding mute button.
The mute button turns green.
Note that if a speaker mute button was activated before the
SOLO mode, then if you try and solo the same speaker its LED
turns orange to indicate that you are now attempting to solo a
muted speaker!
mc²66 V1.8/0 211/

211/ 474
Individual Speaker Level Trims

Each of the CRM1 speaker outputs may be individually trimmed
to help align your surround speakers.
1. Press SET to enter the set parameter mode.
set Balance mode.
2. Choose the speaker you wish to adjust by pressing the
corresponding speaker mute button - L, C, R, S1L,
S1L S1R,
S1R S2L,
S2L
S2R or LFE.
LFE
The 4-character display changes to show that you are in Trim
level mode; the exact display depends on your choice of speaker,
for example TrFL
rFL for Trim Front Left.
For more details on the available surround formats and how they
correspond to the front panel mute buttons, see Appendix A on
Page 454.
3. Adjust the level of the selected output using the monitor
level control.
As long as you keep touching the control, the level is shown in
the 4-character display. Levels may be trimmed between -128
and +15dBr.
Alternate Speaker Switching

1. Press the ALT button to switch the CRM1 monitoring
output to an alternate set of speakers, for example your
minis.
The CRM1 output is now switched to the alternate speakers.
212/
212/ 474 V1.8/0 mc²66
Control Room Monitor 2 (CRM 2)
Control Room Monitor 2 (CRM 2)

The second monitor output is stereo and is designed for
simultaneous use with the main control room monitoring. For
example, you may connect your mini speakers to this output if
you wish to audition sources on the minis while keeping another
on the mains. Alternatively, you may use this output to feed a
separate destination such as the video gallery.
All controls are adjusted from the MONITORING 2 panel:
At the top of the panel are 15 programmable buttons for monitor

source selection. These can be used to select external sources
(analogue or digital) or internal busses such as the main sum or
group outputs. The buttons are programmed in the factory
configuration; some may be assignable allowing you to
programme the source from the Signals display.
1. Press one of the pre-programmed buttons to select your
monitor source.
2. Use the CRM 2 rotary control to set the monitor output
level.
3. Press OFF to mute the monitor 2 output.
4. Press M to mono the Left and Right monitor outputs to
both speakers.
5. Press LtoB or RtoB to monitor either the Left or Right
channels on both speakers.
mc²66 V1.8/0 213/

213/ 474
AFL and PFL Monitoring

external monitor speakers (AFL and PFL busses may be found in
the Bus Out directory on the Signals list for routing to external
speakers.) In addition, you may have access to AFL to Mains and
PFL to Mains switching from the 24 programmable Control Room
Monitoring panel buttons. These settings are programmed within
the factory configuration; please refer to your console
specification for details.
214/
214/ 474 V1.8/0 mc²66
A number of options exist for defining the behaviour of AFL and
PFL buttons, or AFL may operate as Solo-in-Place. See Page 432
for more details.
Note that key 24 is always programmed as CLEAR AFL/PFL.
AFL/PFL Press
this button to clear all active AFL and PFL selections across the
console.
Also note that a second AFL and PFL bus exists for isolated fader
bays. This allows a second engineer to have independent
monitoring from the main console in a multi user situation. See
Page 184 for details.
mc²66 V1.8/0 215/

215/ 474
Main Fader Strips
Main Fader Strips

The eight main fader strips in the centre section may be used to
control any channel type – input channels, monitor return
channels, groups, sums, auxiliaries, VCA masters – in exactly the
same way as a channel fader strip.
Each main fader strip provides:

• Two assignable ‘Free Controls’ and access buttons providing
local control of EQ, Panning, Dynamics, Aux Sends, etc.
• Four programmable ‘soft’ keys configured either for
communications functions (broadcast) or recorder control
(production).
• SEL button for assignment operations.
• Fader cassette with a 4-character label display, group
assignment display and AFL, PFL, mute and layer access
buttons.
The only differences in operation from channel fader strips are
that the main strips do not have input gain controls, and provide
two free controls as opposed to four. This makes them most
suitable for controlling master channels such as main sums,
groups or VCA masters.
216/
216/ 474 V1.8/0 mc²66
Main Fader
Fader Strips
Banking and Layering the Main Fader Strips

There are many applications for the main fader strips, and
therefore they may be configured in banks and layers in the same
way as channel strips.
Each of the six BANK buttons will provides access to a new set of
main faders. In addition, for each bank, you may configure two
layers of assignments.
1. To switch between banks, press one of the six BANK
buttons 1 to 6.
2. Within each bank, you can invert the layer selections by

pressing the FLIP button located on the LAYER control
panel:
3. Or, press MAIN 2ND to switch all eight main faders to the
second layer.
4. Alternatively, you may switch individual faders between
layer 1 and layer 2 by pressing the 2nd button on the fader
strip.
5. Or, you may switch banks and layers locally for all 8 main
faders using the BNK1,
BNK1 BNK2,
BNK2 BNK3,
BNK3 BNK4,
BNK4 BNK5,
BNK5 BNK6
and FLIP buttons:
mc²66 V1.8/0 217/

217/ 474
Main Fader Strips
If there is nothing assigned to other banks or layers, then you will

switch to a blank fader strip.
218/
218/ 474 V1.8/0 mc²66
Main Fader Strips
Group or Sum Master Channels

Typical applications for the eight main fader strips include
providing master channel control for your group and sum
outputs.
1. To assign a group or sum master channel onto one of the
eight main fader strips, use the ACCESS CHANNEL/ASSIGN
control panel and STRP ASSIGNMENT buttons as described
on Page 192.
2. You may assign any rotary control function onto the main
fader’s free controls using FC PRESETs, local free control
assignment buttons or parameter assign. Please see Page
134 for details.
3. Alternatively, press the SEL button to attention the main
fader strip to the Central Control Section and adjust signal
processing settings. See Page 86.
Note that if the Group or Sum is a Tiny channel, not all signal
processing will be available.
4. To make the Group or Sum stereo, go to the IMAGE area
of the Central Control Section and press the STEREO
STEREO button
to change the Group or Sum master to a stereo channel. For
more details on stereo channel operation, see Page 126.
Alternatively, you can choose to keep the Group or Sum master
channels independent but have sends routed to them with 2-
channel panning using the 2-CH output format option from the
Channel Config display, see Page 169.
5. To make the Group or Sum surround, go to the Channel
Config display, see Page 169.
6. You may re-assign master channels onto other masters,
for example to re-assign a Group onto a Sum, using Forward
or Reverse Bus Assign as described on Page 76.
mc²66 V1.8/0 219/

219/ 474
Main Fader Strips
VCA Group Masters

Another common application for the eight main fader strips is to
use them as VCA master channels. The console supports up to 16
dedicated VCA masters.
Let’s take an example where we want to assign the first eight
VCA masters onto the current layer of main fader strips:
1. Put VCA master 1 into access from the ACCESS
CHANNEL/ASSIGN control panel, either by entering VCA
and the number 1 or using the NEXT and PREV buttons.
The CHANNEL and LABEL displays should now show the name
(VCA
VCA 1)
1 and user label for the master.
possible destinations for your chosen channel:
3. Press the fader SEL button on the first main fader strip
followed by the fader SEL button on the last main fader
strip.
The console incrementally assigns VCA masters 1 to 8 from the
first selection (main fader strip 1) to the last selection (main fader
strip 8).
220/
220/ 474 V1.8/0 mc²66
VCA Grouping
ESC on the
mode.
5. Switch to the second layer and repeat the operation to
assign VCA masters 9-16 onto the second layer of main
fader strips.
VCA Grouping
The console supports up to 16 dedicated VCA masters and you
may assign any number of fader strips to a dedicated VCA
master. This provides the ability not only to control input channels
but also groups, sums and auxiliary masters.
When a VCA group is created, the grouped controls include:
faders, mutes, AFL, PFL, input gain, auxiliary send, panning and
image controls. You may set offsets within the group by adjusting
control positions on the slave channels.
Note that you may use links as an alternative to VCA grouping
where you wish to group specific elements of a channel. For
example, to link the faders and EQ but keep other processing
controls independent. See Page 224 for more details on linking.
Creating a VCA Group

1. Put the VCA master into access, either by pressing its
fader strip SEL button, or entering the channel type (VCA
VCA)
VCA
and number from the ACCESS CHANNEL/ASSIGN control
panel.
This puts the VCA master into access as indicated on the ACCESS
displays.
2. Now press the VCA button, located on the BUS
ASSIGNMENT panel in the centre section of the console:
The VCA button flashes to indicate that it is active, and across the
console the fader SEL buttons flash, in green, to indicate possible
sources for your chosen master.
mc²66 V1.8/0 221/

221/ 474
VCA Grouping
3. Press the SEL buttons on the fader strips you wish to
assign to the VCA group. Remember that you can assign any
type of channel to a VCA including output masters such as
groups or auxes.
selected VCA master. On each assigned channel, the VCA master
number is shown in the figure of eight display:
• VCA 1 to 8 are indicated by a single number – 1 2 3 etc.
• VCA 9 is displayed as 1.
4. To remove an assignment press the red fader SEL button
again.
It reverts to its flashing green status, and the group assignment
display goes blank.
222/
222/ 474 V1.8/0 mc²66
VCA Grouping
5. You may now control the following from the VCA master:
faders, mutes, AFL, PFL, input gain, auxiliary send, panning
and image controls.
Note that the VCA grouping behaves like a true analogue VCA.
Therefore, if the VCA master fader is not at 0dB when the slave
faders are assigned, the slaves will move by the dB offset to
reflect their new true level. In addition, when the VCA master
fader is closed, a slave fader cannot be opened.
In addition, if you mute the VCA master, all slaves mute. You
cannot deselect mute at the slaves unless you first deselect mute
at the VCA master.
6. To set offsets within the group, adjust the control
positions on the slave channels.
7. To set up the next VCA master, put the next VCA master
into access.
The flashing green and steady state red fader SEL buttons update
to reflect the current assignments to the new master, and allow
you to set the next group.
8. Repeat until all your assignments are made, and then
deselect VCA,
VCA on the BUS ASSIGNMENT panel, or press
ESC,
exit the VCA set up mode.
Note that a channel may only ever be assigned to a single VCA
master.
mc²66 V1.8/0 223/

223/ 474
Links
Links
Links
Links are used to link any part of an odd and even pair of fader
strips as an alternative to creating stereo channels for stereo
sources. For example, you may wish to link the faders and EQ for
a stereo source but adjust other processing functions separately.
The grouped controls within a link may be selected from any of
the Central Control Section’s modules.
Links are created from the LINK control panel in the centre
section of the console:
1. Put the odd numbered channel you wish to link into

access, either by pressing its fader strip SEL button, or
entering the channel type and number from the ACCESS
Note that you cannot activate the MODL LINK button with an
even channel or stereo channel in access.
2. Press the MODL LINK button located on the LINK panel.
224/
224/ 474 V1.8/0 mc²66
Links
3. Now press the SEL buttons on the Central Control Section
to select which audio modules you wish to link:
This links the selected modules of the odd and even channel pair
(e.g. module strips 1&2, 3&4, etc.) with the odd module as
master and the even module its slave. The link status is indicated
by the illuminated LNK LED on both the odd and even fader
strip..
You can create offsets between channels by adjusting control

positions on the slave (even) channel. Now return to the master
(odd) channel and turn a linked control to adjust both channel
positions while retaining the offset.
4. To clear a link, access the master odd channel, press
MODL LINK again, and deselect the SEL buttons on the
Central Control Channel.
The module link is cleared.
mc²66 V1.8/0 225/

225/ 474
User Panel
User Panel
Beside the main fader strips is the console’s user panel. A number
of standard options exist for this panel covering functions such as
Communications and Machine control. As each system will vary,
please refer to your console specification for more details.
Channel Display Views

The CHANNEL DISPLAY buttons are used to control what is
displayed across the fader strip Channel displays:
Note that the BRD,

BRD DIG,
DIG REC and SURR buttons are reserved for
future implementation.
The USE SNS and FC PRES buttons are used to change the INFO
window (the black area located below the channel meter):
• The default USE SNS (Use Touch Sense) mode reacts to the
controls you touch on the channel fader strip. For example, if
you touch an EQ1
EQ1G free control (EQ Gain Band 1) on a fader
strip, the INFO window displays the EQ graph and the
parameter value for the EQ Gain on Band 1. This parameter
continues to be displayed until you touch a different free
control on the channel strip.
• Select the FC PRES button to change the INFO windows so
that they follow the choice of FC PRESET buttons in the
centre section. If you select an EQ FC PRESET, all INFO
windows show the EQ graph, etc.
If the fader strips are blank, the console’s logo is displayed in the
INFO window.
226/
226/ 474 V1.8/0 mc²66
Fader Control of Levels

The FADER CONTROL section enables faders to control other
object types. For example, to control auxiliary send levels from
the channel faders to set up a quick headphone balance.
There are two approaches you may use to assign faders to a
different object:
• Select and scroll through the object types on the faders.
• Pre-select the object by copying it to the FADER CONTROL
CLIPBOARD and then assign it directly onto the faders.
Using the first approach:
1. Select the object type by pressing one of the following
buttons:
• EFF – The panning EFFECT control.
• AUX – Send levels for any of the console’s 32 auxiliaries.
• AFV ON – Audio Follow Video On level.
• DIG AMP – Digital amplifier gain.
• INSERT SEND – Insert send level.
• DIR OUT – Direct output level.
The name of the selected object (e.g. Ax1 G)
G flashes in the
CLIPBOARD display and the faders move to reflect the positions
for that object.
2. If you have selected AUX
AUX, use the Page Left and Page
Right arrow buttons to scroll up and down through the 32
sends.
Each time a new send or object is selected, the faders across the
console move to reflect the current positions for that send.
3. Now move the faders to adjust the send or object levels.
4. When you have finished, deselect the object type button
(e.g. AUX)
AUX to return the faders to their normal operation.
You may bank and layer switch while in the FADER CONTROL
mode to gain access to all assigned levels across multiple banks
and layers of channels.
To quickly set all auxes on a channel to the same level (e.g. unity
gain), switch aux 1 to the faders and set the fader to 0dB. Keep
touching the fader and scroll through each aux number using the
Page Left and Right arrow buttons – each aux send is set in turn
to 0dB.
mc²66 V1.8/0 227/

227/ 474
The second approach is designed to provide fast access to a pre-
selected object. For example, during a live production you may
wish to switch the faders between channel fader level and a
particular mix minus auxiliary send.
1. Select the object you wish to control by touching a control
on the Central Control Section. For example, touch auxiliary
send 1 gain to place it in the clipboard.
The name and number of the object is shown in the PARAMETER

COPY/ASSIGN CLIPBOARD (e.g. A 1G).
1G
2. When you are ready to switch the object to the faders,
press the USE TYPE button.
The faders are now controlling your selected object.
3. To switch back to normal fader level operation, deselect
USE TYPE.
Note that the FADER CONTROL and PARAMETER
COPY/ASSIGN CLIPBOARD are one and the same. Therefore, be
aware that if you update the clipboard to assign say auxiliary send
3 to a free control, this also puts auxiliary send 3 into the FADER
CONTROL clipboard.
228/
228/ 474 V1.8/0 mc²66
Note that you may only assign valid parameters to the FADER
CONTROL function. If you try to select for example, EQ, then the
USE TYPE function cannot be selected.
mc²66 V1.8/0 229/

229/ 474
Strip Control
Strip Control
The STRIP CONTROL panel provides options for the console’s
free control and fader label displays.
Free Control Views

The VIEW FC (View Free Control) buttons located on the STRIP
CONTROL panel are used to change what is shown on the free
control alphanumeric displays:
By default, the USE SNS (Use Touch Sense) button is selected. In

this mode, the alphanumeric displays show the parameter
function (e.g. EQ1G – EQ Band 1 Gain) until the control is
touched, when the display then updates to show the parameter
value (e.g. 6dB).
6dB
1. To switch the displays so that you may view parameter
values without having to touch controls, press the FC VALUE
button.
All alphanumeric free control displays update across the console
to show their parameter values (e.g.. 6dB
6dB).
dB
2. To switch the displays to always view the free control
function, even while adjusting controls, press the FC CTRL
button.
The free control displays will now always show the parameter
function even if controls are touched (e.g. EQ1G).
EQ1G
3. Press the USE SNS button to return to the default mode of
operation.
230/
230/ 474 V1.8/0 mc²66
Strip Control
Fader Label Views

The LABEL buttons located in the STRIP CONTROL area are used
to change what is viewed on the fader strip label displays, the
destination names within the Signals display and the auxiliary
names on the AUXILLIARY/ AUDIO FOLLOWS VIDEO panel.
1. Press DEFAULT to view the System Name. For example,

INP1.
INP1
Use this mode when you preparing a console configuration. This
enables you to easily view where you are assigning your input
channels, monitor returns, group masters, auxiliary masters, etc.
2. Press USER to view the user Channel Label. For example,
Guest 1.
1
3. Press INHERIT to view the source label of the source
assigned to the DSP channel. For example, Mic 1.
1
Remember that in the case of the fader strip label display, the
name will be shortened to 4 characters.
Note that if no source is assigned to a channel, the fader label
continues to display the channel label until a source is assigned.
For example, if you have used the names Guest 1, 1 Guest 2 and
Guest 3 as channel labels, and Mic 1,
1 Mic 2 and Mic 3as 3 source
labels for microphone inputs, when you begin to route sources to
channels for the show, the fader labels will display Guest 1, Guest
2 and Guest 3 until a source is assigned. Therefore, if you look
across the console and see Mic 1, 1 Mic 2 and then Guest 3 on
your fader labels you know that the Guest 3 channel is not yet in
use and available for a new guest microphone. In addition, this
provides an overview of the routes made from the Signals display
without viewing the display on the central control screen.
For more details on how to program your Channel and Source
Labels, please see Page 395.
mc²66 V1.8/0 231/

231/ 474
Chapter 5: Console Reset
Introduction
Introduction
This chapter explains the reset capabilities of the console and
covers the operation of productions, snapshots and sequences.
the settings required for a production or type of job. Productions
may be recalled at any time, reducing the amount of setup time
required before repeat or similar shows. Productions store low
level settings, such as the DSP configuration, SRC settings,
System display options and Metering display setup, in addition to
snapshots, sequences and automation mixes.
Within each production, folders may be created to store
snapshots and sequences. Snapshots are one-shot memories of
the console, and provide the ability to store different
mixes/setups for recall before or during a show. For example, you
may use snapshots to recall a different mix for each band
appearing in a live entertainment show. Or, snapshots may be
used to recall scene changes during a live theatre production.
All production data (Productions, snapshots and automations
mixes) are stored on the console’s internal user data flashcard.
You may export a production, a folder, an individual snapshot or
automation mix to USB interface or network drive for transfer to
other systems.
Sequences are provided for convenient recall of snapshots during
a live broadcast or theatre production. A sequence is a list of
snapshots which can be loaded in sequence during a live show.
The transition between snapshots in a sequence may be cross
faded. Note that the sequence itself does not store any settings,
but simply creates a list of pointers to snapshots stored within the
production folder.
You should create a new production for each new client or type
of work. For example, a production named ‘Olympic Games
2004’ may store the low level settings required for a series of
shows. Within this production, you may then create a number of
folders to store and recall snapshots to bring back different signal
routing, DSP settings and console layouts, for each show
transmission.
Remember to save the settings of the console regularly, either by
saving a new production or updating the current production.
Even if you have saved several snapshots, they are not stored
permanently on the internal flashcard until you update the
production.
To help understand which elements of the console are stored
where, let’s take a closer look at what is stored in productions and
snapshots.
232/
232/ 474 V1.8/0 mc²66
Data Storage Structure

The diagram below shows the console’s data structure in more
detail:
Two separate flash cards are used: one to hold the system’s
application software (System Flashcard) and one to hold user
data including productions (Data Flashcard). For more details
on the system flash card, please see Page 456.
The data flash card may store any number of user productions
plus Configuration data (Config).
The Configuration data stores settings specific to the console,
and cannot be modified by the console operator.
Configuration data includes the factory configuration, which is
fixed at the point of specification - for example, the
programming of the CRM 1 and 2 monitor selector panels. And,
also data created using the Admin HD configuration tool,
which may be modified by your system administrator. For
more details on Admin HD, please refer to the “mc266
Techincal Manual”.
In addition, the console’s warm start data is stored within the
Configuration data partition. Warm start data is updated when
you shut down the console, and is loaded back at the end of a
restart. This enables the system to recover to its last
operating state in the event of a power interruption.
mc²66 V1.8/0 233/ 478

What’s Stored in a Production?

Production?
Each production holds multiple folders to store snapshots and

sequences. Each production also holds multiple automation
mixes, each one with its own Pass Tree.
In addition, the production snapshot stores everything included in
a snapshot plus the following low level user settings:
• DSP configuration.
• Input and Output sample rate converter settings
• System display options.
• Metering display setup.
• Fader bay ISO status.
This means that you can store the current settings of the console,
including your balance, simply by updating or creating a new
production. You only need to create folders and snapshots if you
wish to store and recall different setups within the same
production.
As productions store and recall low level settings which may
cause a brief interruption to audio, they should not be loaded
during a live show. Instead, use snapshots to recall settings while
live on-air.
234/
234/ 474 V1.8/0 mc²66
What’s Stored in a Snapshot?

Snapshots are one-shot memories which may be used to recall
settings during a live show. Every snapshot stores all of the
following settings:
• DESK:
DESK the Console Configuration for the main desk; the
assignment of channels to fader strips across all banks and
layers, and the current status of bank and layer switching.
• DSP:
DSP DSP Settings; all channel DSP settings including
analogue input control.
• CONN:
CONN signal routing connections for all sources and
destinations using the Signals display.
• I/O:
I/O remote mic preamp and router I/O settings such as
router level and word length.
• LABEL:
LABEL User Labels; the source and destination labels as made
from the Signals display.
• BAY:
BAY the Console Configuration for any isolated (ISO) bays;
the assignment of channels to fader strips across all banks and
layers, and the current status of bank and layer switching for
isolated fader bays.
mc²66 V1.8/0 235/

235/ 474
Productions
Productions
Productions are managed from the Production display.
between two pages – Production
Production and File.
File The current page is
page 1 of 2.
The display is divided into two main areas: at the top of the
display you will see the name of the Active production; in the
lower part of the display are listed all the productions stored on
the internal user data flash card.
To the right of each production name you will see the date and
time when the production was last saved or updated. You may
also see a padlock icon indicating that the production is
protected.
The four soft keys located above the trackball provide access to a
number of production functions:
2. Focus on the lower part of the display, as shown above,
and the following soft key functions are available:
• LOAD – loads the selected production settings to the console.
• NEW – creates a new production with empty
snapshot/sequence folders and mixes.
• SAVE – creates a new production by saving the current
console settings, including any snapshot/sequence folders and
mixes.
236/
236/ 474 V1.8/0 mc²66
Productions
3. Press the PAGE button, located above the trackball, to
access the second level of functions:
• UPDT – saves the current console settings into the selected
production.
• PROT – protects the selected production.
• DEL – deletes the selected production.
• BKUP – shows/hides any backup productions.
4. Now focus on the Active production name at the top of
the display:
The second page of soft key functions update to:

• UPDT – as above.
• PROT – as above.
• DEL – as above.
• EDIT – edits the selected production name.
Let’s look at these operations in more detail.
mc²66 V1.8/0 237/

237/ 474
Productions
Loading a Production
You can load stored settings to the console at any time by loading
a production.
Note that when you load a production you will lose the current
settings of the console, so make sure that you have saved these
settings if you wish to retrieve them at a later date.
loaded, a backup of the current console settings is created in the
CONTROL panel in the centre section of the console.
The Production display appears on the centre control screen:
2. Select the production you wish to load from the lower

part of the display using the trackball or navigation controls,
for example Olympic Games 2004.
2004
the operation.
The console status will update, and the display now shows that
Olympic Games 2004 is the Active production.
For additional confirmation, watch the top of the display and you
will see a red loading… message indicating that production data
is being loaded.
238/
238/ 474 V1.8/0 mc²66
Productions
Saving a New Production

You can save the current settings of the console, including any
snapshot/sequence folders and automation mixes, into a new
production using the SAVE function.
If you want to clear out any existing snapshot/sequence folders
or automation mixes in the memory, then create a new
production using the NEW function, see Page 243.
It is a good idea to save and organise your productions early on.
Don’t overwrite your studio’s setup production with your own
settings! Instead, save a new production for your own templates
or for a particular show.
To save a new production:
FILE
1. If not already selected, press the PROD FI LE SCREEN
CONTROL button to access the Production display.
of productions in the lower part of the display.
The four soft key functions update to show LOAD,
LOAD NEW and
SAVE.
SAVE
3. Press the SAVE soft key to save the current console
settings into a new production:
A new entry appears in the productions list with a default name

(e.g. production 0042
0042).
42
This entry contains all the settings of the console and is time and
date stamped. The new production automatically becomes the
Active production as shown on the display.
mc²66 V1.8/0 239/

239/ 474
Reset
Productions
Renaming a Production
To rename the production:
1. Using the trackball or navigation buttons focus on the
Active production name at the top of the display.
soft key functions.
UPDT PROT,
PROT DEL
and EDIT.
EDIT
3. Press EDIT
EDIT:

name, in this case the letter p.
button.
240/
240/ 474 V1.8/0 mc²66
Productions
Updating a Production
Having saved your settings in a new production, and renamed it,
you should continue to save your settings regularly as you work
by updating the active production.
Note that updating overwrites the settings on the user data flash
card. Therefore, make sure that you have selected the correct
production to update. To avoid accidental updates to important
productions, always protect them using the Protect function, see
Page 241.
updated, a backup of the current console settings is created in the
There are two ways to update a production:
• From the Production display using the UPDT soft key.
• From the SNAPSHOT/SEQUENCE panel using the UPDT
PROD button – this method allows you to update the active
production regardless of which display you are currently
viewing.
You will find that the UPDT PROD button also acts as a reminder
to help you save your settings regularly. Each time you save or
update a snapshot, or create or update an automation pass, the
UPDT PROD button flashes.
1. Press the UPDT PROD button to update the active
production.
Note that if the production is protected you will not be able to
update it; the UPDT PROD button continues to flash. Go to the
Production display and unprotect the active production. Now you
can use UPDT PROD to update settings while working.
mc²66 V1.8/0 241/

241/ 474
Productions
To update a production from within the Production display:
1. Select the production by focussing on its name either
using the trackball or navigation buttons. Note that the
Active production, production0042
production0042,
42 is selected by default.
2. Press the UPDT (Update) soft key, located above the

trackball.
The selected production is overwritten with the current console
settings. You can confirm this by looking at the new date and
time stamp.
For additional confirmation, watch the top of the production
display and you will see a red saving… message indicating that
the production data is being saved.
Note that a protected production cannot be updated.
242/
242/ 474 V1.8/0 mc²66
Productions
New Production
The NEW soft key creates a new production with an empty set of
snapshot/sequence folders and mixes. Use this before saving a
production when you wish to clear out any existing
snapshots/sequences or mixes from the current console memory.
To create a new production:
1. If not already selected, press the PROD FILE SCREEN
NEW
2. Press the NE W soft key:
A new untitled production is created as the Active production at

the top of the display.
If you now change displays to view Snapshots or Mixes,
Mixes you will
find that all folders and mixes have been emptied from the
console memory.
mc²66 V1.8/0 243/

243/ 474
Productions
3. To save the current console settings into the new empty
production and give it a name, press the SAVE soft key:
All current console settings are saved into the production which is
given a default name (e.g. production
production 0042
0042).
42
The production is time and date stamped and may be renamed or
protected in the usual manner.
244/
244/ 474 V1.8/0 mc²66
Productions
Deleting a Production
Deleting a production removes the production and all of its
contents – snapshots, sequences and mixes - from the internal
user data flash card.
To prevent accidental deletion, the current production or
protected productions may not be deleted.
2. Select the production you wish to delete either using the
trackball or navigation buttons (e.g. DTM 2004):
2004

soft key functions.
UPDT PROT,
PROT DEL
and BKUP.
BKUP
4. To delete the production, press DEL
DEL.
The production is deleted.
Note that a protected production or the current production
cannot be deleted.
mc²66 V1.8/0 245/

245/ 474
Productions
Protecting a Production
A protected production cannot be updated or deleted. Always
protect your productions when leaving the console as this will
prevent accidental changes from using UPDT or DEL.
DEL
2. Select the production you wish to protect either using the
trackball or navigation buttons.
soft key functions.
UPDT PROT,
PROT DEL
and BKUP.
BKUP
4. To protect the production, press PROT
PROT:
A padlock icon appears on the right hand side of the display to

show that the production is now protected.
Copying and Exporting Productions

A complete production, or elements of a production (such as a
folder, snapshot or mix) can be exported to a USB interface or
network drive for archiving or transfer to another console. In
addition, you can use this function to copy elements from one
production to another. See Page 266 for full details on the File
Import/Export functions.
246/
246/ 474 V1.8/0 mc²66
Productions
Backup Productions
Productions
Every time a production is loaded, updated, deleted or cleared
using NEW production, a temporary backup of the current
console settings is created in the backup productions memory.
This provides several levels of undo if you perform an operation
accidentally without first saving your settings.
For example, whilst setting up for Porsche Super Cup 2005,
2005 the
operator forgets to update the production. He/she decides to
load a different production to check the settings for Olympic
Games 2006
2006. In the background, the console automatically
creates a backup production of Porsche Super Cup 2005. The
operator then loads back the production for Porsche Super Cup
2005. It is now when he/she realises their mistake.
The Backup production memory provides a way of recovering the
‘lost’ settings as follows:
soft key functions.
UPDT PROT,
PROT DEL
and BKUP.
BKUP
3. Press the BKUP soft key to view the backup productions
stored in memory:
The productions list updates showing any permanent productions

in black and any backup productions in yellow.
mc²66 V1.8/0 247/

247/ 474
Productions
Following our example, one of the backup productions is named
– Porsche Super Cup 2005 (Time stamp: 12:21:20). This is the
backup production which was automatically created when the
operator loaded Olympic Games 2004.
2004
Note that the name of the backup production is taken from the
Active production, in our example Boxing 2004.
2004 However, the
backup is not a copy of the Active production but a backup of the
console settings before the load operation was performed. This
means that the settings stored within the backup production are
the settings which the operator forgot to save before changing.
To recover the settings:
1. Select the yellow entry named Porsche Super Cup 2005
(Time stamp: 09:23:33) from the production list.
The backup production is highlighted in black.
2. Deselect the PAGE button and press the LOAD soft key,
above the trackball, to load the backup production.
The backup production settings are loaded into the console and
the operator’s settings are restored!
3. To save these settings permanently, you must now use
SAVE to save the settings in a new production with a new
name, or UPDT to update the original Boxing 2004
production.
Warning
If you do not save or update the settings to a permanent
production, then they may be lost forever. The backup
productions memory is a first-in first-out memory holding a
maximum of 10 backup productions.
4. Having finished with the backup production memory, it is
best to deselect the BKUP button to hide the backup
productions from normal view. This avoids any confusion
between the permanent and backup productions.
A backup production is created each time a production is loaded,
updated, deleted or when NEW production is used to clear any
existing folders or mixes. For example, it may be used if you
update a production with the wrong settings, or if you press NEW
instead of SAVE and accidentally clear some snapshot folders by
accident. To recover your settings, load the backup production
with the same name as the active production which you
accidentally updated or cleared. This will contain all the settings
before you pressed NEW or UPDT.
UPDT
248/
248/ 474 V1.8/0 mc²66
Folders
Folders
Folders are used to organise snapshots and sequences within a
production. Each production may contain any number of folders,
and within each folder you may store multiple snapshots and
sequences.
For example, you may use folders to organise the snapshots and
sequences required for different live broadcast events within a
single production.
Note that when using sequences, it’s important to consider how
you organise data within your folders. A sequence may reference
any snapshot contained within the same folder, but not snapshots
from a different folder. For example, you can’t include a snapshot
stored in ‘Music’ if the sequence is stored in ‘Football 2004’.
If you do wish to use snapshots stored within different folders,
then use File Import/Export to copy the snapshots into the
required folder. See Page 266 for details.
Note that the Backup Folder is a special folder used to store
backup snapshots. This Folder cannot be deleted or renamed. See
mc²66 V1.8/0 249/

249/ 474
Folders
Creating a New Folder

You can create a new folder either from the Snapshots display or
from the Sequence display. For now, let’s work within the
Snapshots display.
1. If not already selected, press the SNAP/SEQUENCE
button, located on the SCREEN CONTROL panel, to view
the Snapshots display.
2. Using the trackball or navigation buttons, select a blank
grey folder from the Folders column on the left hand side of
the display.
The folders column is now in focus (outlined by the black and
white dotted line).
3. Now press the PAGE button, located in the middle of the
Folder soft key functions.
The four soft key functions update to show NEW,
NEW EDIT and DEL.
DEL
4. Press NEW to create a new folder.
A new folder entry appears in the Folders column with a default
name (e.g. Folder 0000):
0000
250/
250/ 474 V1.8/0 mc²66
Folders
Renaming a Folder
1. To rename the folder, press EDIT
EDIT:

name, in this case the letter f.
This completes the naming operation, and automatically steps
down to the next folder in the list.
button.
mc²66 V1.8/0 251/

251/ 474
Folders
Deleting a Folder
To prevent accidental deletion of snapshots and sequences, only
empty folders may be deleted. Therefore, first delete any
snapshots or sequences contained within the folder before
attempting this operation.
1. Select the folder you wish to delete either using the
trackball or navigation buttons:
The selected folder and snapshot are highlighted in black.

soft key functions.
The four soft key functions update to show NEW,
NEW EDIT and DEL.
DEL
3. To delete the folder, press DEL
DEL.
The folder is deleted. Note that only empty folders may be
deleted.
Exporting Folders
A complete folder can be exported to a USB interface or network
drive for archiving or transfer to another console. See Page 266
for full details on the File Import/Export functions.
252/
252/ 474 V1.8/0 mc²66
Snapshots
Snapshots
Snapshots provide the ability to store different mixes/setups for
recall before or during a live show. For example, you may use
snapshots to recall different setups for a series of shows – e.g.
Football; or to recall a different mix for each band appearing in a
live entertainment show; or to recall scene changes during a live
theatre production.
Snapshots are organised within Folders within a production. If
you save or update snapshots, remember to also update your
production to save the new snapshots to the internal flashcard.
The Snapshots Display

Snapshots are managed from the Snapshots display.
1. Press the SNAP/SEQUENCE button, located on the
SCREEN CONTROL panel, to view the Snapshots display:
Note that each time you press the SNAP/SEQUENCE button you
cycle through three pages – Snapshots,
Snapshots Sequence and Edit
Sequence.
Sequence The current page is always highlighted at the top of
the display – in our example, page 1 of 3.
On the left hand side of the display you will see a list of Folders
for the production. On the main part of the display you will see a
list of snapshots contained within the selected folder.
mc²66 V1.8/0 253/

253/ 474
Snapshots
2. Using the trackball or navigation buttons, select a folder
name (e.g. Music 2005):
2005
The selected folder is highlighted in black and its name appears in

the Selected Folder title at the top of the display. The Snapshots
list now shows all the snapshots contained with the selected
folder.
If the list of folders or snapshots is longer than the available
display entries, you may use the rotary control or up/down scroll
buttons to navigate up or down the list. When you scroll the
display, the selected entry is used to re-centre the list allowing
you to view all entries above and below your current selection.
When snapshots are first saved, they are given a default name
which gives the snapshot a unique number. You may then
rename the snapshots at any time.
If an S appears before the name of a snapshot, then this indicates
that the snapshot is used within a sequence.
Every snapshot also has a date and time stamp as shown in the
Date and Time columns.
The P column is used to identify any snapshots which have been
write-protected. This prevents snapshots from being updated or
deleted accidentally during operation.
At the bottom of the display, the Memo box may be used to
make notes for a particular snapshot.
The Last Snap box displays the name of the snapshot which was
last loaded.
254/
254/ 474 V1.8/0 mc²66
Snapshots
Loading a Snapshot
SCREEN CONTROL button to access the Snapshots display.
2. Select a folder on the left of the display either using the

trackball or navigation controls.
folder.
3. Using the trackball or navigation buttons, select one of
the snapshots from the list:
The snapshot name is highlighted in black.
the operation.
The console instantly updates to the loaded snapshot settings.
Note that you can isolate individual fader strips, individual sources
and destinations, or complete console elements from the
snapshot recall so that you can protect settings on the console.
Let’s look at these options.
mc²66 V1.8/0 255/

255/ 474
Snapshots
Isolating Fader Strips from a Snapshot Load

You may isolate a fader strip from the snapshot recall by selecting
the SNAP ISO button before using the LOAD function. This
isolates the complete channel’s DSP from the snapshot recall. For
example, to isolate your main presenter’s channel and other key
feeds during a live production.
Note that a system option provides the ability to disable all SNAP
ISO buttons across the console, see Page 419 for details.
Isolating Sources and Destinations from a Snapshot

Load
You may isolate particular sources and destinations from a
snapshot recall by selecting the Isolate function from the Signal
Settings display. For example, you may wish to protect important
signals, such as main sum distribution or monitor feeds, from
accidental reset. See Page 404 for details.
256/
256/ 474 V1.8/0 mc²66
Snapshots
Filtering Snapshots
The FILTER MODE buttons on the SNAPSHOT/SEQUENCE front

panel allow you to isolate the different console elements from a
snapshot recall. Select these buttons before you load a snapshot
to isolate the following elements:
• DESK:
DESK the Console Configuration for the main desk; the
assignment of channels to fader strips across all banks and
layers, and the current status of bank and layer switching..
• DSP:
DSP DSP Settings; all channel DSP settings including
analogue input control.
• CONN:
CONN signal routing connections for all sources and
destinations using the Signals display.
• I/O:
I/O remote mic preamp and router I/O settings such as
router level and word length.
• LABEL:
LABEL User Labels; the source and destination labels as made
• BAY:
BAY the Console Configuration for any isolated (ISO) bays;
the assignment of channels to fader strips across all banks and
layers, and the current status of bank and layer switching for
isolated fader bays.
To use the filtering, select the button or buttons for the elements
you do NOT want to recall and then load the snapshot. Note that
you may select all buttons except one to load only a single
element, for example signal routing.
mc²66 V1.8/0 257/

257/ 474
Snapshots
Saving a Snapshot
SCREEN CONTROL button to access the Snapshots display.
2. Select the folder you wish to save into on the left of the
display, either using the trackball or navigation buttons.
folder.
3. Press the SAVE soft key, located above the trackball, to
save all the current settings into a new snapshot:
A new snapshot appears at the bottom of the list. It is given a

default name (e.g. snapshot0001),
snapshot0001 and date and time stamped.
Note that all settings are always saved into a snapshot regardless
of the front panel SNAP ISO or FILTER selections.
258/
258/ 474 V1.8/0 mc²66
Snapshots
Renaming a Snapshot
You may give the snapshot a new name using the console
keyboard:
1. From the Snapshots display, select the folder and
snapshot you wish to modify either using the trackball or
navigation buttons.
soft key functions.
The four soft key functions update to show PROT,
PROT EDIT and DEL.
DEL
3. To rename the snapshot, press EDIT
EDIT:

mc²66 V1.8/0 259/

259/ 474
Snapshots
down to the next snapshot in the list.
button.
Adding a Memo
You may use the two lines below the snapshot name to add a
memo. For example, you may wish to remind yourself about the
artist’s position on stage for a particular snapshot.
1. Repeat steps 1 to 4 for naming the snapshot.

The selected snapshot is highlighted in black with the green
cursor highlighting a letter.
2. Press the Enter button on the keyboard.
The cursor moves down to the first line of memo information and
you may type to enter your information.
3. Press Enter again to access the second line of the memo
field.
4. When you are finished, press the Esc button on the
keyboard or deselect the EDIT button to exit the memo field.
260/
260/ 474 V1.8/0 mc²66
Snapshots
Snapshots
Updating an Existing Snapshot

Updating a snapshot overwrites the settings within the snapshot
memory. Therefore, before using this feature, make sure you save
the current snapshot settings into a new memory to allow you to
recover the original snapshot data if you make a mistake.
SCREEN CONTROL button to access the Snapshots display:
2. Select the folder and snapshot you wish to update either
using the trackball or navigation buttons:

3. Press the UPDT (Update) soft key, located above the
trackball, to update the snapshot with the current console
settings.
If the PAGE button is selected, deselect it first to access the
LOAD,
LOAD SAVE and UPDT soft key functions. Pressing UPDT
overwrites the selected snapshot with the new console settings,
as indicated by the new date and time stamp.
mc²66 V1.8/0 261/

261/ 474
Snapshots
Backup Snapshots
Backup snapshots may be used to provide levels of undo when
setting up the console.
A backup snapshot is automatically stored by the console every n
seconds. You can set how often the backup snapshots are stored
from the System display, see Page 421. For example, you may set
the backup snapshot interval to every 30 seconds. You can also
set how may backup snapshots are stored before the first is
overwritten. For example, you might limit the number to 20
backup snapshots giving yourself a 10 minute ‘undo’ window.
All the backup snapshots for a particular production are stored
within a special folder named ‘BACKUP FOLDER’; this Folder
cannot be renamed or deleted.
At any point during the operation of the console, you can use the
backup snapshot system to revert to an earlier configuration. For
example, while laying out the console, you make a mistake and
overwrite the fader strip assignments for Bank 1.
To revert to the latest backup snapshot:
1. Select the BACKUP FOLDER on the left of the display
either using the trackball or navigation controls:
The Snapshots list now shows all the backup snapshots, each one
time and date stamped.
262/
262/ 474 V1.8/0 mc²66
Snapshots
2. Using the trackball or navigation buttons, select the latest
backup snapshot from the list:
The snapshot name is highlighted in black.
the operation.
The console updates to the backup snapshot settings.
4. If your mistake was made longer than say 30 seconds
ago, then you may need to load an earlier backup snapshot
to undo your error.
Note that the backup snapshot time interval and the number of
backup snapshots are set from the System display, see page 421
for details.
To disable the backup snapshot system, set the number of
backup snapshots to 0. You may wish to do this during a live
show as each automatic save causes a brief interruption to
console control.
mc²66 V1.8/0 263/

263/ 474
Snapshots
Deleting a Snapshot
Deleting a snapshot removes the snapshot from the internal
memory. Therefore, before using this feature, make sure you save
the current snapshot settings into a new memory to allow you to
recover the original snapshot data if you make a mistake.
2. Select the folder and snapshot you wish to delete either
using the trackball or navigation buttons:

soft key functions.
PROT EDIT and DEL.
DEL
4. To delete the snapshot, press DEL
DEL.
The snapshot is deleted.
264/
264/ 474 V1.8/0 mc²66
Snapshots
Protecting a Snapshot
A protected snapshot cannot be updated or deleted. Always
protect important snapshots as this will prevent accidentally
overwriting a snapshot using UPDT or deleting the snapshot
using DEL.
DEL
2. Select the snapshot you wish to protect either using the
trackball or navigation buttons.
The selected snapshot is highlighted in black.
soft key functions.
PROT EDIT and DEL.
DEL
4. To protect the snapshot, press PROT
PROT:
A P appears in the Protect column on the right hand side of the

display to show that the snapshot is now write protected.
Exporting Snapshots
Individual snapshots can be exported to a USB interface or
network drive for archiving or transfer to another console. See
Page 266 for full details on the File Import/Export functions.
mc²66 V1.8/0 265/

265/ 474
File Import/Export
File Import/Export
The console’s file import/export functions can be used for a
number of applications:
• To archive or transfer production data between systems.
A complete production or elements of a production (such as a
folder, snapshot or automation mix) can be exported to a USB
interface or a network drive.
Note that Lawo cannot guarantee compatibility with all available
USB interfaces. Therefore, please check the compatibility of your
USB interface on your system.
In a networked installation, the Admin HD configuration software
can be used to define a central file server accessible from each
console within the network. This allows users to transfer their
own production data to or from any system.
Production data is fully compatible with any mc2 console,
regardless of the hardware configuration. For example, you can
load a snapshot saved on smaller console to a larger console in
order to recall a setup in another studio. You can even load a
mc290 production onto a mc266 or vice versa!
• To archive or transfer system log files for servicing purposes.
Any errors recorded by the system are stored within system log
files. You may be asked to export these from your system by a
service engineer.
• To copy elements from one production to another internally
within the console’s data flashcard.
For example, to copy a snapshot to a different production folder.
266/
266/ 474 V1.8/0 mc²66
File Import/Export
The File Display

All file import/export functions are handled from the File display.
between two pages – Production and File. File The current page is
highlighted at the top of the display – e.g. page 2 of 2.
The display is divided into two sides:
• On the left hand side (LHS) you are always viewing files or
directories on the console’s internal data card.
• On the right hand side (RHS) you can view files or directories
on one of the following storage devices:
o The internal data card.
o A mounted USB device (connected to the USB
port in the arm rest of the console).
o A network drive (pre-configured within
Admin HD).
Using the EXP (Export) soft key function, a file or directory is
exported from left to right – i.e. from the internal flashcard to the
internal flashcard, USB or network drive.
Using the IMP (Import) soft key function, a file or directory is
imported from right to left – i.e. from the internal flashcard, USB
or network drive to the internal flashcard.
mc²66 V1.8/0 267/

267/ 474
File Import/Export
If the storage device is mounted, then next to it’s icon you will
see that it is Ready:
Ready
Below the device icon, you will see the current file or directory
Selection–
Selection in our example, the Productions directory on the left
hand side and the / (root) directory on the right hand side. Also
within this area you will see the amount of free storage space in
Mb on your selected device.
Below the Selection area are listed all the available files or
directories within that selection. Each file or directory is displayed
with a prefix to indicate its type. In our example, P for each
zipped Production file and a green A for the Active Production.
You can also see the date and time when the file was last
updated and the file size in Kb.
Note that zipped files cannot be opened. Therefore, if you wish to
copy or export an individual production element, such as a
snapshot, mix or folder, then you must first make the production
active by loading it. See Page 238 for details.
Note that the Productions shown in yellow are backup
productions. See Page 246 for details.
268/
268/ 474 V1.8/0 mc²66
File Import/Export
File Selection and Navigation

Files and directories appear within the File display exactly as they
would on your computer, and the principles of file selection are
identical for internal and external storage devices.
To get used to the display, let’s look at how to navigate and
select files within the internal data card:
CONTROL button to access the File display.
2. Using the trackball or navigation buttons focus on the left
hand side of the display and scroll up to the top of the list
until you can see an icon showing a directory followed by
two green dots (shown opposite).
3. Click on this icon to navigate up one level.
4. Keep clicking on this icon until you reach the top level of
the internal data card.
You should see two directories– system logfiles and productions:
productions
5. To open a directory (e.g. System logfiles)

logfiles either select it
and then press the SEL soft key, or double-click on the
directory name.
mc²66 V1.8/0 269/

269/ 474
File Import/Export
The display updates to show any files or directories within your
selection – in our example, message files. These files are prefixed
with the L file type flag:
6. Return to the top level of the internal data card by clicking

on the icon opposite, and this time double-click on
Productions to open the Productions directory:
The display updates to show all the productions stored on your
system:
Note that this includes any backup productions which are

displayed in yellow. See Page 246 for details.
270/
270/ 474 V1.8/0 mc²66
File Import/Export
One production is marked as the Active Production
Production.
roduction This
production directory can be opened in order to view or select its
contents.
Other productions on the internal data card are zipped and are
prefixed with the P file type flag. They can only be selected as a
complete file, and cannot be opened to view or individual
elements. Therefore, if you wish to copy or export an individual
production element, such as a snapshot, you must first make the
production active and then return to the File
Fil display.
7. Double-click on the Active Production to open it.
The display updates to show two further directories: Snapshots
and Automation:
Automation
8. Double-click on Snapshots to open the snapshots

directory.
The display updates to show any snapshot Folders stored within
the Active Production. Folders are prefixed with an F file type
flag:
mc²66 V1.8/0 271/

271/ 474
File Import/Export
9. Double-click on a Folder to open it.
The display updates to show the individual snapshots within the
folder. Snapshot files are prefixed with an S:
Automation mixes are accessed via a similar hierarchy by

returning to the Automation directory within the Active
Production.
Production An individual Automation mix is prefixed with an A.
Remember that at any time, you can go back one level by clicking
on the icon opposite.
Sorting Files and Directories

To help locate a file or directory, you can choose to sort the lists
by name (alphabetically according to the filename) or date/time.
1. Using the trackball or navigation buttons, focus on the list
of files/directories on either the left or right sides of the
display.
soft key functions.
The first two soft key functions update to show S NM and S TM.
TM
3. Press S NM to sort the list by name, or S TM to sort by
time.
The list updates accordingly.
272/
272/ 474 V1.8/0 mc²66
File Import/Export
Which Files Can Your Export?

You can export the following files from the internal data card:
• A green A indicates the Active Production. The active
production can be exported in full, or opened in order to
select individual elements such as a folder, snapshot or
automation mix.
• P – zipped Production files. These are zipped files which
cannot be opened. They can be exported as a file to the
external storage device, imported on another console, and
then unzipped within that console to access their individual
elements.
• F – an individual Folder within the Active Production. By
selecting a Folder, you can easily export all the snapshots for
a particular show.
• S – an individual Snapshot within the Active Production.
• A – an individual Automation Mix within the Active
Production.
• L – a message file (system log file).
Warning
Having exported files to a USB interface or Network drive, you
can view and rename them on your computer. However, if you
edit the content of the file, or modify its file extension, you may
corrupt the file and lose data!
The following file extensions must be intact for the file to be
imported successfully:
• .Lawosn – a snapshot
• .Lawopn – production
• .Lawofn
Lawofn - folder
mc²66 V1.8/0 273/

273/ 474
File Import/Export
Exporting a File
You can export any of the file types described to either USB or a
networked drive. This allows you to export a complete
production, as a zipped file, or an element of a production such as
folder, snapshot or mix.
All operations are performed in a similar manner. Let’s start by
exporting a zipped Production to USB.
1. First, connect your USB interface to the USB port located
in the console arm rest.
3. Using the trackball or navigation buttons click on the USB
interface icon at the top right of the display.
The four soft key functions update to show INT,
INT USB and NET.
NET
• If the USB interface is mounted, then the USB icon will show
it as Ready,
Ready and the right hand side of the display will show
any files or directories already stored on the device:
• If the USB interface is not mounted, then the status is shown

as not available:
available
4. Press the USB soft key to mount the USB interface.

The device should now show as Ready. Ready If not, check your
connection or try a different USB device.
5. Use the trackball or navigation buttons to select the
destination directory on the right hand side of the display.
If you wish you can create a New directory on the USB interface
to help organise your files. See Page 280 for details.
274/
274/ 474 V1.8/0 mc²66
File Import/Export
6. Then select the file you wish to export on the left hand
side of the display – in our example, production003
production003.
003
The selected file and destination are displayed in the Selection
areas on the left and right hand sides of the display:
7. Make sure that the PAGE button is deselected on the

SCREEN CONTROL panel, and press the EXP
EXP soft key.
The file is copied from the internal data card onto your USB
interface:
8. Once the data has finished transferring, you can unplug

the USB device.
Note that there is no need to dismount the USB interface before
you remove it. However, DO NOT unplug the USB interface
while data is transferring as this may result in loss of data.
mc²66 V1.8/0 275/

275/ 474
File Import/Export
Import/Export
Exporting to a Network Drive

Follow the same steps as described above to export a file or
directory to a network drive. Note that the drive must be
configured by your system administrator using the Admin HD
configuration software for it be available.
Once configured, you can mount the drive in step 3 by pressing
the NET soft key:
Note that if files on the network drive are modified from another
console, or from an external computer, then to see these changes
you may need to refresh the File display as follows:
1. Using the trackball or navigation buttons click on the list
of files/directories on the right hand side of the display.
The four soft key functions update to show SEL,
SEL NEW and IMP.
IMP
2. Press the PAGE button on the SCREEN CONTROL panel
to access the second set of soft keys.
The four soft key functions update to show S NM,
NM S TM, DEL and
RFS.
RFS
3. Press the RFS soft key to refresh the File display.
276/
276/ 474 V1.8/0 mc²66
File Import/Export
Importing a File
You can import files from a USB interface or networked drive in a
very similar manner. Let’s take the example of importing a
snapshot into an existing folder within the Active Production.
1. First, connect your USB interface to the USB port located
in the console arm rest.
3. Using the trackball or navigation buttons select the
destination directory on the left hand side of the display – in
our example, Moto GP 2006.
2006
4. Then click on the USB interface icon at the top right of the
display.
The four soft key functions update to show INT,
INT USB and NET.
NET
5. Press the USB soft key to mount the USB interface.
The device should now show as Ready.
Ready
6. Now select the file you wish to import on the right hand
side of the display – in our example, the snapshot Setup.
Setup
The selected file and destination are displayed in the Selection
areas on the left and right hand sides of the display:
7. Now make sure that the PAGE button is deselected on the

SCREEN CONTROL panel, and press the IMP soft key to
import the file.
8. Once the data has finished transferring, you can safely
unplug your USB device.
9. If you now select the Snapshots display, you will find the
imported snapshot within your selected Folder.
mc²66 V1.8/0 277/

277/ 474
File Import/Export
Copying Files
Files Internally within the System
You can also use the file export and import functions to copy files
internally within the system. For example, if you wish to copy a
snapshot from one production to another.
As you cannot open up a zipped production to select individual
elements, you will need to perform this operation in several
stages:
1. First, load the production which contains the snapshot you
wish to copy from the Productions display. See Page 238 for
details.
2. Now, go to the File display and on the right hand side,
click on the internal drive icon.
You will see the contents of a temporary directory within the
internal drive as your destination. This directory may be empty, or
it may contain previously copied files.
3. Now, on the left hand side, open up the Active
Production,
Production the Snapshots directory, a folder and select the
snapshot file to copy – in our example, snapshot 003:
003
4. Now make sure that the PAGE button is deselected on the

SCREEN CONTROL panel, and press the EXP soft key to
export the snapshot to the temporary directory.
Snapshot003 is copied to the temporary directory.
278/
278/ 474 V1.8/0 mc²66
Chapter 5: Console
Console Reset
File Import/Export
5. Next, return to the Productions display and make the
production which you wish to copy to active.
6. Now go back to the File display.
7. On the left hand side, open up the Active Production and
select the folder where you wish to copy the snapshot to as
your destination – in our example, musa.
musa
8. And, on the right hand side, select the snapshot you
copied earlier as your source – snapshot003:
snapshot003
9. Press the IMP soft key to import the snapshot to the

Active Production Folder.
10. If you now select the Snapshots display, you will
find the imported snapshot within your selected Folder.
If you are using this operation to copy a lot of files, then it is a
good idea to delete files from the temporary directory. See Page
281 for details.
Note that the list of files on the right hand side of the display will
only ever show files which can be imported to your selected
destination. For example, if you have selected a snapshot folder,
you will only see snapshots; if you have selected the Productions
directory, then you will see productions. This prevents you from
copying files to ‘illegal’ locations.
mc²66 V1.8/0 279/

279/ 474
File Import/Export
File Management
In order to help manage your data on your external USB interface
or networked drive, the File display enables you to create a new
directory or delete a file or directory on the right hand side of the
display.
Note that these functions are designed to give you the basic tools
to manage your export data:
• You cannot create new directories or delete files within the
internal data card on the left side of the display. To perform
these data management functions, go to the Snapshots,Snapshots
Automation
Automation or Production displays.
• New directories are automatically named as New Directory
0001,
0001 New Directory 0002,
0002 etc. To rename a directory, or
reorganise data, connect the USB stick or Network drive to
your computer.
Creating a New Directory

You can create a new directory within the temporary folder on
the internal drive, or on your external USB interface or network
drive.
of files/directories on the right hand side of the display.
The four soft key functions update to show SEL,
SEL NEW and IMP.
IMP
3. Press NEW to create the new directory.
The directory is automatically named:
Note that directories cannot be renamed from the File display. To

edit the directory name or change the data structure on your USB
interface or network drive, connect the device to your computer!
280/
280/ 474 V1.8/0 mc²66
File Import/Export
Deleting a File or Directory

You can delete files or directories within the temporary folder on
the internal drive, or on your external USB interface or network
drive.
of files/directories on the right hand side of the display, and
select the file or directory you wish to delete:
3. Press the PAGE button on the SCREEN CONTROL panel

to access the second layer of soft keys.
The four soft key functions update to show S NM,
NM S TM,
TM DEL and
RFS.
RFS
4. Press DEL to delete the selected file.
The file is deleted.
Note that you cannot delete files or directories from the left hand
side of the display. To manage your productions, folders,
snapshots and automation mixes, use the Snapshots,
Snapshots Automation
or Production displays.
mc²66 V1.8/0 281/

281/ 474
Chapter 5: Console
Console Reset
Sequences
Sequences
For convenient recall of snapshots during a live broadcast or
theatre production, the mc266 provides real time sequence
automation. A sequence is a list of snapshots which can be
loaded in sequence during a live show. Note that the sequence
itself does not store any settings, but simply creates a list of
pointers to snapshots stored within the production folder.
Multiple sequences may be created within each folder to deal
with different versions of the show. For example, when
rehearsing a live theatre production, the running order may vary.
By creating multiple sequences, you have the option to play out
any variation.
You may also reference a single snapshot several times within
each sequence. For example, in an entertainment show you may
reference the same snapshot to return to presenter links between
each music act. This means that any updates to the snapshot are
carried through all occurrences within the sequence.
Note that a sequence may reference any snapshot contained
within the same folder, but not snapshots from a different folder.
For example, you can’t add a snapshot stored in a folder called
‘Music’ to a sequence stored in ‘Football 2004’.
Two displays are used to create and edit sequence automation:
• The Sequence display – allows you to create a sequence and
save or update snapshots as you work through a rehearsal.
This approach works well when the rehearsal runs in the same
order as the show, as you can save snapshots and add them
to the sequence in one operation.
• The Edit Sequence display – allows you to add existing
snapshots into a sequence offline. For example, if the
rehearsal is unlikely to follow the same running order as the
show, then it’s best to save your snapshots into the
production folder from the Snapshots display, and create the
sequence at a later time.
282/
282/ 474 V1.8/0 mc²66
Sequences
Sequences are played out from the SNAPSHOT/SEQUENCE front
panel controls. In addition to loading the sequence snapshots in
order, you may also choose to skip single or multiple snapshots or
revert back to the previous snapshot at the touch of a button:
In addition, you can cross fade between snapshots which are

entered into a sequence to fade automatically from one scene to
the next.
mc²66 V1.8/0 283/

283/ 474
The Sequence Display

The Sequence
Sequence display is the primary display for creating
sequences.
1. Access the display by pressing the SNAP/SEQUENCE
button, located on the SCREEN CONTROL panel, now:
Sequence.
The left hand side of the display lists the Sequences contained
within the selected Folder - in our example, we have six
sequences contained within a folder called Music.
Music The main part
of the display shows the list of the snapshots contained within the
selected sequence Don Giovanni.
Giovanni The green Active flag shows
that Don Giovanni is the sequence activated for play out.
The N, C and B flags are used when playing out sequences and
indicate the following:
• N - the Next snapshot to be loaded.
• C - the Current snapshot (i.e. the last snapshot loaded).
• B - the ‘Back’ snapshot. This will be whichever snapshot was
last loaded before the current one.
Below the name of each snapshot are two lines reserved for
memo information and details of the X-fade parameters (switch
mode and fade time) which will be used if you enable cross fades
during play out. You will also see the last date and time at which
the snapshot was saved or updated. The padlock icon indicates
that a snapshot is protected and therefore cannot be updated.
284/
284/ 474 V1.8/0 mc²66
Selecting a Folder
Let’s start with basics of creating and managing the list of
sequences within each folder. The selected folder is shown in the
Folder title at the top of the display – e.g. Music:
Music
To select a different folder:

1. Focus the display on the folder title and use the rotary
control or navigation buttons to scroll through all the folders
within the production.
the Folder title at the top of the display. The list of sequences
sequences
now shows all sequences contained with that folder. If no
sequences have been created, then this list will be blank.
mc²66 V1.8/0 285/

285/ 474
Changing a Sequence
1. Press the SNAP/SE
SNAP/SEQUENCE
QUENCE button, located on the
SCREEN CONTROL panel, to page to the Sequence display.
2. Using the trackball or navigation buttons focus the display
on the Sequence title box:
3. Using the trackball, up/down buttons or rotary control

select a different sequence from the list running down the
left hand side of the display, for example Don Giovanni.
A series of functions for managing sequences become available
on the four soft keys located above the trackball:
• NEW – creates a new sequence.
• LOAD – sets the selected sequence to active.
• ACT – switches the display back to the active sequence if you
have navigated to a different folder or different sequence.
• NEXT – loads the Next snapshot in the sequence.
4. Press the PAGE button, located above the trackball, and a
further set of functions appear:
• EDIT – edits the sequence name.
• DEL – deletes the sequence from the folder.
Let’s look at these operations in more detail.
286/
286/ 474 V1.8/0 mc²66
Creating a New Sequence

on the Sequence title box.
The four soft keys above the trackball update to access the
following functions: NEW,
NEW LOAD,
LOAD ACT and NEXT.
NEXT
3. Press NEW to create a new sequence:
The sequence is added to the sequence list and is given a default

name – for example, Sequence0000.
Sequence0000
Renaming a Sequence
access the second level of soft keys and then press EDIT.
EDIT
mc²66 V1.8/0 287/

287/ 474
Deleting a Sequence
select a sequence to delete, for example Don Giovanni:
The selected sequence is highlighted in black and its name

appears in the Sequence title.
access the second level of soft keys and then press DEL.
DEL
Warning
This operation will delete the sequence so be careful!
Note that deleting the sequence does just that, and does not
delete any snapshots contained within it.
288/
288/ 474 V1.8/0 mc²66
Setting the Sequence to Active

Before snapshots can be added to a sequence or the sequence
played out in real time, it must be set to active:
The four soft keys above the trackball update to show the
functions: NEW,
NEW LOAD,
LOAD ACT and NEXT.
NEXT
select the sequence you wish to work on from the list:
The selected sequence is highlighted in black and its name
appears in the Sequence title box.
4. Now press the LOAD soft key to set the sequence to
active:
The sequence name is highlighted in green with Active written

beside its name.
This sequence is now ready for preparation or play out.
mc²66 V1.8/0 289/

289/ 474
Navigating to the Active Sequence

If you have been viewing a different production folder or you
have a large list of sequences meaning that the active sequence
may not be visible, you can navigate to the active sequence by:
1. Focussing on the Sequence title box:
functions: NEW,
NEW LOAD,
LOAD ACT and NEXT.
NEXT
2. Pressing the ACT soft key:
The Sequence display will now automatically update to select the

active sequence.
290/
290/ 474 V1.8/0 mc²66
Snapshot List Focus

1. Now change the focus of the display to the main area
listing the snapshots contained within the sequence:
A series of functions for playing out sequences become available

on the four soft keys located above the trackball:
• SETN – sets the selected snapshot to be the Next snapshot to
be loaded in the sequence.
• SKIP – skips a snapshot.
• BACK – loads the ‘B
Back’ snapshot.
• NEXT – loads the Next snapshot.
2. Press the PAGE button, located above the trackball, and a
further set of functions, for saving and editing the sequence,
appear:
• MOVE – moves the selected snapshot position.
• EDIT – edits the snapshot name and enters memo
information.
• SAVE – saves a new snapshot and enters it in the sequence.
• UPDT – updates the selected snapshot.
Let’s look at the main operations in more detail.
mc²66 V1.8/0 291/

291/ 474
Saving Snapshots from the Sequence

Sequence Display
If the rehearsal is running more or less in the same order as the
show, it makes sense to save snapshots directly from the
Sequence display as this allows you to save snapshots and add
them to the sequence in one operation:
SCREEN CONTROL panel, to page to the Sequence display,
and check that your sequence is set to active:
The name of your sequence should be highlighted in green as

Active on the display.
2. Focus on the main area of the display which will contain
your list of snapshots.
functions: SETN,
SETN SKIP,
SKIP BACK and NEXT.
NEXT
3. Press the PAGE button to access the second level of soft
key functions.
functions: MOVE,
MOVE EDIT,
EDIT SAVE and UPDT.
UPDT
292/
292/ 474 V1.8/0 mc²66
The Sequence
Sequence Display
4. Press the SAVE soft key to save a new snapshot:
A new snapshot appears below the current selection. If this is the
first snapshot to be added to the sequence, then it will appear at
position 1 in the list!
Just as when saving snapshots from the Snapshots
Snapshots display, the
snapshot is automatically given a default name, and date and
time stamped.
Note that this action performs two operations: firstly, the
snapshot is stored within the production folder and, secondly, it is
added to the sequence list. This means that if you returned to the
Snapshots display, you would now find a snapshot in the current
folder with the same name.
5. Press the SAVE soft key a few times to save a number of
snapshots within the active sequence.
Each time, a new snapshot appears at the bottom of the
sequence list occupying the next position in the list – 1, 2, 3, 4,
etc.
Eventually, you will add enough snapshots to fill the first page of
the display. From here on, the display automatically scrolls to
keep up with each new addition. When adding a long list of
snapshots, use the sequence position numbers (7 7, 8, 9, 10,
10 etc.)
to identify whereabouts in the sequence you are.
mc²66 V1.8/0 293/

293/ 474
Naming Snapshots from the Sequence Display

For convenience, you can rename a snapshot within the active
sequence from the Sequence display.
Note that this operation renames the snapshot. Therefore, the
name is updated in both the Sequence and Snapshot displays.
and focus on the list of snapshots:
2. Using the trackball, navigation buttons or rotary control

scroll up and down to select the snapshot you wish to
rename
3. Make sure that the PAGE button, located above the
trackball, is selected to access the second level of soft key
functions - MOVE
MOVE,
VE EDIT,
EDIT SAVE and UPDT.
UPDT
4. To rename the snapshot press EDIT.
EDIT
name, in this case the letter A.
keyboard to confirm the new name, and deselect EDIT or
press Esc on the keyboard to exit the naming mode.
294/
294/ 474 V1.8/0 mc²66
Adding a Memo
You may use the two lines below the snapshot name to add a
memo. For example, you may wish to remind yourself about the
artist’s position on stage for a particular snapshot.
1. Repeat steps 1 to 4 for naming the snapshot.

The selected snapshot is highlighted in black with the green
cursor highlighting a letter.
field.
Note that if you press Enter again, you can edit the Xfade
parameters for the snapshot. See Page 316 for more details.
mc²66 V1.8/0 295/

295/ 474
Chapter 5:
5: Console Reset
Changing the Sequence Order

Having added some snapshots to the sequence, you can change
their order from the Sequence display.
and focus on the list of snapshots.
scroll up and down to select the snapshot you wish to move:

functions - MOVE,
MOVE EDIT,
EDIT SAVE and UPDT.
UPDT
4. Press MOVE.
MOVE
5. With MOVE selected, use the navigation buttons or rotary
control to nudge the position of the snapshot up or down
the list.
Use the sequence position numbers (7 7, 8, 9, 10,
10 etc.) to identify
the new sequence position for the selected snapshot.
6. When you are finished, deselect MOVE
MOVE. If you don’t, the
next time you use the navigation buttons you may still be
moving the position of the snapshot!
296/
296/ 474 V1.8/0 mc²66
Updating Snapshots
Snapshots
To avoid having to revert to the Snapshots display during a
rehearsal, you may update a snapshot within the active sequence
from the Sequence display. This operation will update the
snapshot contents with the current console settings.
If the snapshot is used multiple times, either within the same
sequence or different sequences, then all occurrences are
updated. If you wish to use the same snapshot within a sequence,
but keep all occurrences independent, then use the duplicate
function to copy the snapshot.
Note that if the snapshot is protected, indicated by a locked
padlock flag, then it cannot be updated. You may unprotect the
snapshot from either the Edit Sequence or Snapshots display.
scroll up and down to select the snapshot:

functions - MOVE,
MOVE EDIT,
EDIT SAVE and UPDT.
UPDT
4. To update the snapshot press UPDT
UPDT.
The new settings are stored within the snapshot and its date and
time stamp are also updated. Note that you cannot update a
protected snapshot.
mc²66 V1.8/0 297/

297/ 474
Running a Sequence
Running a Sequence
So far we have created and edited a sequence from the Sequence
display. Note that you may also edit sequences from the Edit
Sequence display, see Page 305. First, let’s look at how to run a
sequence in real time.
Preparing for Sequence Play Out

The sequence which will play out will be the active sequence so
check that you have the correct sequence activated!
SCREEN CONTROL panel, to page to the Sequence display:
The name of your sequence should be highlighted in green as

Active on the display.
If you have been viewing a different sequence you can use the
ACT soft key to navigate back to the active sequence. See Page
289 for details on changing the active sequence.
298/
298/ 474 V1.8/0 mc²66
Running a Sequence
2. Before any snapshots may be loaded, sequence
automation must also be enabled. Select the SEQ ON
button, located on the SNAPSHOT/SEQUENCE panel to
enable sequence automation:
You are now ready to run the active sequence.
Running the Sequence in Order

The easiest way to run sequences is using the NEXT button on
the SNAPSHOT/SEQUENCE panel.
Alternatively, you can focus on the list of snapshots within the
Sequence display, and use the NEXT soft key.
Note that you don’t have to view the Sequence display to play
out a sequence. However, it’s a good idea as the display includes
helpful information such as which snapshot is Current (C C) and
which snapshot will be the Next to play out (N
N).
mc²66 V1.8/0 299/

299/ 474
Running a Sequence
3. Press the NEXT button to load the next snapshot in the
sequence:
If this is the first time, you’ve played the sequence then this will
be the snapshot located in position 1. The stored snapshot
settings are recalled to the console according to any filtering or
SNAP ISO selections which you may have applied and the loaded
snapshot is now marked with a C for Current.
4. Keep pressing the NEXT button to step down through the
sequence loading each snapshot in turn.
Each time you load the next snapshot in the sequence, notice
how the N, C and B indicators update:
• N indicates the Next snapshot to be loaded and therefore
shows you exactly which snapshot you will recall when you
press the NEXT button.
• C marks the Current snapshot. This is always the last snapshot
loaded.
• B indicates the ‘Back’ snapshot. This is snapshot loaded before
the current one.
If you want to play out the sequence from beginning to end, then
pressing NEXT repeatedly causes the three indicators to move
down the sequence snapshot list in turn.
When you reach the last snapshot in the list, the sequence ends
and the NEXT button performs no further function.
300/
300/ 474 V1.8/0 mc²66
Running a Sequence
Loading the Back Snapshot

At any time, you can load the back snapshot to return to the
previous snapshot’s settings. For example, if an artist misses their
cue you may need to quickly revert to the previous snapshot.
1. Press the BACK button on the SNAPSHOT/SEQUENCE
front panel to load the Back snapshot.
Alternatively, you can focus on the snapshots list within the
Sequence display and use the BACK soft key.
The Back snapshot loads and the Next, Current and Back
indicators update accordingly.
mc²66 V1.8/0 301/

301/ 474
Running a Sequence
Resetting the Sequence

To return to the top of the sequence, or to any snapshot position
within the sequence:
SCREEN CONTROL panel, to page to the Sequence display
2. Select the snapshot you wish to return to using the
trackball, navigation buttons or rotary control:

3. Press the SETN soft key (Set Next).
The Next indicator moves beside your selection, and the sequence
will restart from this position when the NEXT button is actioned.
302/
302/ 474 V1.8/0 mc²66
Running a Sequence
Skipping a Snapshot or Snapshots

You can skip a single snapshot or multiple snapshots in the
sequence if, for example, an act is cut from the performance,
1. Press the SKIP button on the SNAPSHOT/SEQUENCE
front panel.
Alternatively, you can focus on the snapshots list within the
Sequence display and use the SKIP soft key.
The Next indicator moves one position down the list. By pressing
SKIP multiple times, you can skip more than one snapshot.
2. Now press NEXT to load the Next snapshot in the
sequence.
Reloading the Current Snaps

Snapshot
hot
You can reload the current snapshot, if for example during the
performance you have made some manual changes to the
console settings and now want to recall the Current snapshot
settings.
1. Press the RELOAD button on the SNAPSHOT/SEQUENCE
front panel:
The Current snapshot is loaded.
Note that this function is only available from the front panel
controls.
mc²66 V1.8/0 303/

303/ 474
Running a Sequence
Automatic Scrolling on the Sequence Display

The Sequence display provides a number of options to manage
how the display scrolls when there are lots of snapshots in the
sequence.
1. Focus on the Selection Mode
Mode box at the bottom right
hand corner of the display:
The four soft keys located above the trackball update to provide
the following options:
• FREE - sets the Selection Mode to Free. Free This allows your
snapshot selection to differ from the Current or Next
snapshot even while playing out snapshots from the
sequence. For example, during a rehearsal you may want to
edit snapshot names or change the sequence order for the
beginning of the show but still load snapshots off the bottom
of the list using the NEXT button. Choose this mode so that
the display will always stay fixed on the selected snapshot and
not revert to the Current or Next snapshot after pressing
NEXT.
NEXT
• CURR – sets the Selection Mode to follow current.
current This forces
the selected snapshot to revert to the current snapshot each
time you press the NEXT button. Use this mode when you
wish the display to automatically scroll to the Current
snapshot on the Sequence display.
• NEXT - sets the Selection Mode to follow next.
next This forces the
selected snapshot to revert to the next snapshot each time
you press the NEXT button. Use this mode when you wish the
display to automatically scroll to the Next snapshot on the
Sequence display.
304/
304/ 474 V1.8/0 mc²66
The Edit Sequence Display

The Edit Sequence display provides additional functions for
preparing your sequence list offline. For example, you may wish
to add existing snapshots into the sequence, or duplicate
snapshots to keep them independent from one another.
In addition, some functions from the Sequence display such as
saving and naming snapshots are duplicated to avoid having to
change between displays during operation.
SCREEN CONTROL panel, to page to the Edit Sequence
Sequence
display:
Sequence.
At the top of the display you will see the name of selected Folder
(e.g. Music)
Music and Active Sequence (e.g. Don Giovanni).
Giovanni Note that
you cannot change the folder or activate a different sequence
from this display. To perform these operations, revert to the
Sequence display.
The right hand side of the display lists all the snapshots contained
within the selected folder, while the left hand side of the display
shows the sequence so far – in our example, Don Giovanni Giovanni
contains 7 snapshots in sequence positions 1 to 7.
The N, C and B flags are used when playing out the sequence
and indicate the positions of the Next, Current and Back
snapshots.
If an S appears before the name of a snapshot, then this indicates
that the snapshot is used within a sequence.
mc²66 V1.8/0 305/

305/ 474
Adding Existing Snapshots to a Sequence

You can add any snapshot contained within your production
folder to the active sequence.
Note that you cannot add snapshots located in a different folder.
Although you could always load the snapshot to the console,
change folders and then resave the snapshot to achieve the same
result.
display, and focus on the list of snapshots:
functions: ADD and NEXT.
NEXT
scroll up and down to select the snapshot you wish to add to
the sequence.
3. Press the ADD soft key to add the snapshot to the
sequence.
The selected snapshot is added to the bottom of the sequence.
You can add the same snapshot multiple times if you wish. This
will create several pointers to a single snapshot. Therefore, if you
update the snapshot at a later date, all occurrences within the
sequence are updated. If you don’t wish this to be the case, then
you can use the duplicate function to create independent
occurrences of the same snapshot.
306/
306/ 474 V1.8/0 mc²66
Chapter
Duplicating Snapshots in a Sequence

The console provides the ability to either reference the same
snapshot multiple times throughout a sequence, or duplicate a
snapshot to keep each occurrence independent.
display, and focus on the sequence list.
functions: SAVE,
SAVE UPDT,
UPDT DUPL and NEXT.
NEXT
scroll up and down to select the snapshot you wish to
duplicate.
3. Press the DUPL soft key to duplicate the snapshot:
This creates a copy of the snapshot with a new name. The name
given is taken from the original snapshot name. For example,
duplicating a snapshot named Akt 1.Scene will create a new
snapshot called Akt 1.Scene(1)
1.Scene(1).
(1)
mc²66 V1.8/0 307/

307/ 474
Deleting Snapshots
Snapshots
You can delete a snapshot from the sequence as follows.
Note that this operation only deletes the snapshot from the
sequence, and does not delete the snapshot from the Snapshots
display. To delete a snapshot from the system completely, delete
it using the Snapshots display.
display, and focus on the sequence list.
scroll up and down to select the snapshot you wish to delete
from the sequence:

functions - MOVE and DEL.DEL
4. To delete the snapshot press DEL.
DEL
The snapshot is now removed from the sequence list. Note that it
is not deleted from the snapshots folder, and therefore may be
added back into the sequence at any time.
308/
308/ 474 V1.8/0 mc²66
Other Edit Sequence Operations

For convenience, many of the functions from the Sequence
display such as saving, updating, naming, moving and loading
snapshots are duplicated in the Edit Sequence display:
display and focus on the list of snapshots:
The following functions become available on the four soft keys

located above the trackball:
• ADD – adds the selected snapshot into the sequence.
2. Press the PAGE button, located above the trackball, and
further functions appear:
• EDIT – edits the selected snapshot name.
mc²66 V1.8/0 309/

09/ 474
3. Now deselect the PAGE button and change the focus of
the display to the sequence list:
The following functions become available on the four soft keys

located above the trackball:
• SAVE – saves a new snapshot and enters it in the sequence.
• UPDT – updates the selected snapshot with the current
console settings.
• DUPL – duplicates the selected snapshot.
4. Press the PAGE button to access:
• MOVE – moves the selected snapshot position.
• DEL – deletes the selected snapshot from the sequence.
310/
310/ 474 V1.8/0 mc²66
Snapshot Cross Fade (X-
(X-Fade)

(X-Fade)
Fade)
When playing out snapshots from a sequence, you may choose
to cross fade from one snapshot to another.
For each snapshot, you can decide which modules will cross fade
(e.g. faders, mutes, EQ, etc.), what the cross fade time will be,
and whether switched functions, such as mutes, change state at
the start or the end of the cross fade. These parameters are saved
with each snapshot whenever it is saved or updated.
When the sequence is played out, with X-Fade enabled, then the
cross fade parameters for the snapshot you are fading to are
applied. For example, if Snapshot 0001 has a cross fade time of 1
second and Snapshot 0002 a cross fade time of 2 seconds, and
you step from the Snapshot 0001 to 0002 using the NEXT
button, then a cross fade time of 2 seconds is applied. If, you
then step back from Snapshot 0002 to Snapshot 0001 using the
BACK button, then a cross fade time of 1 second is applied.
Note that cross fade parameters may only be applied when you
play out snapshots from a sequence, and not when recalling
snapshots from the Snapshots display.
Preparing a Sequence/Default
Sequence/Default X-Fade Parameters
The fastest way to set a show, where you wish to use cross fades,
is to proceed as follows:
1. First, create a new sequence for the show from the
Sequence display as described on Page 287:
mc²66 V1.8/0 311/

311/ 474
(X-Fade)
2. Make this sequence active, as described on Page 289:
3. BEFORE you save any snapshots, set the default cross

fade parameters you want from the System display as
described on Page 446:
You can set the default switch mode so that switched functions,
such as mutes, will change state at the start or end of the cross
fade.
You can also set the default cross fade time in 100ms steps.
If you set these defaults before you save your snapshots, then
you will save editing time later. You can, of course, edit the cross
fade parameters for each individual snapshot later, see Page 316.
However, this can be time consuming, especially for a complex
show!
312/
312/ 474 V1.8/0 mc²66
(X-Fade)
4. Now set up the console for the show. When you are
ready, save a snapshot for each new console setting:
Each snapshot is saved with the default cross fade parameters you
set in step 3.
Note that you can save your snapshots from either the Snapshots
or Sequence display, as cross fade parameters are always stored
with each snapshot. For details on adding existing snapshots to a
sequence, see Page 305.
5. If you haven’t been able to save the snapshots in the
correct order for play out, then re-order them now so that
they are listed in play out order. See Page 295 for details.
Note that you can edit the cross fade switch mode and time for
each individual snapshot. However, don’t do this yet! First, we
are going to set which modules we want to cross fade when the
snapshot plays out.
mc²66 V1.8/0 313/

313/ 474
Reset
(X-Fade)
Selecting Modules to Cross Fade

By default, when snapshots are saved or updated, they are set so
that no modules will cross fade. Therefore, the next step is to
select, for each snapshot, which modules you wish to fade.
To do this, you will need to select the modules to fade, and then
store these settings with the snapshot by updating it. Therefore,
before you begin, make sure that the snapshot you want to edit
is loaded into the console surface. The quickest way is like this:
1. Select the Sequence display so that you are viewing your
active sequence.
2. Turn on the SEQ ON button on the
SNAPSHOT/SEQUENCE panel so that you can play out the
snapshots:
3. Press the NEXT button to load the next snapshot:
The next snapshot in the sequence is loaded into the console; the
console should update; and the snapshot is marked as Current.
If the snapshot does not load, check your isolate and filter
settings, see Pages 256 and 265.
4. Now turn on the SEL XFADE button on the
SNAPSHOT/SEQUENCE panel.
SEL XFADE flashes when active.
314/
314/ 474 V1.8/0 mc²66
(X-Fade)
5. Select which modules you wish to cross fade using the SEL
buttons on the Central Control Module. For example, to
cross fade the fader and mute, press SEL beside the fader,
and mute sections:
Remember if you wish to select several modules, it is quickest to

press SEL ALL and then turn off SEL buttons to deselect modules.
6. When you have made your selections, turn off SEL
XFADE.
XFADE
The SEL XFADE button stops flashing.
7. Finally, store your selections by updating the snapshot.
You can do this by focussing on the snapshots list in the
Sequence display and pressing the UPDT soft key located on
the second page of soft key functions.
The X-Fade module selections are stored with the snapshot.
8. Repeat steps 3 to 7 for each of the snapshots in the
sequence.
mc²66 V1.8/0 315/

315/ 474
(X-Fade)
Running the Sequence with Cross Fades On

To play out the sequence with cross fades enabled:
1. Turn on the XFADE ON button on the
SNAPSHOT/SEQUENCE panel:
XFADE ON illuminates when active. You won’t be able to turn
this on unless SEQ ON is already active.
2. Now run the sequence as you would normally, see Page
299.
In our example, if snapshot 0004 is the current snapshot, press

NEXT and the console will cross fade to snapshot 0001.
Continuous parameters (e.g. fader level) fade from one setting to
the other over the time period = X-Fade time.
Switched parameters (e.g. mute) will change state either at the
start or end of the fade.
Note that the snapshots will fade using the parameters set within
the snapshot you are fading to.
If nothing happens when you recall your snapshot, check the
following:
• Have you selected and stored the modules to cross fade using
SEL XFADE?
XFADE
• Are those modules protected from snapshot recall, either
using isolate or filter settings?
• Make sure that you’re not cross fading between snapshots
with the same parameters!
316/
316/ 474 V1.8/0 mc²66
(X-Fade)
Editing Snapshot Cross Fade Parameters

You may wish to edit the X-Fade Switch Mode and/or Fade Time
parameters for an individual snapshot. This may be because it
needs different settings from the default, or because you have
imported an existing snapshot which was saved before you set
your default parameters. You can use one of two methods
depending on what you want to achieve:
• If you want to modify the parameters for a large number of
snapshots to the same values, then the quickest method is to
change the default cross fade parameters to the new values;
load the snapshot to the console surface; and then update the
snapshot. When each snapshot is updated, it will store the
new default cross fade parameters.
• Alternatively, if you wish to edit parameters for an individual
snapshot, then proceed as follows:
1. From the Sequence display, focus on the snapshot you
wish to edit and press the EDIT soft key available on the
second page of soft key functions:
A green cursor appears highlighting the first letter of the snapshot

name.
mc²66 V1.8/0 317/

317/ 474
(X-Fade)
2. Press the Enter button on the keyboard 3 times to cursor
down to X-Fade Switch,
Switch and turn the rotary control to
change the setting:
The parameter will toggle between ‘at start’ and ‘at end’.
3. Press the Enter button again to cursor down to Fade Time,
Time
and turn the rotary control to change the setting:
The fade time can be altered in steps of 100ms.
318/
318/ 474 V1.8/0 mc²66
(X-Fade)
4. When you have finished, deselect EDIT or press Esc on the
keyboard to exit the edit mode.
The new X-Fade parameters are set for the snapshot:
Note that if you update the snapshot at any point, the X-Fade
Switch Mode and Fade Time will be reset to the default
parameters as defined within the System display. Therefore, make
sure that you are happy will all other aspects of the snapshot
before editing these parameters.
mc²66 V1.8/0 319/

319/ 474
Chapter 6: Timecode Automation
Introduction
Chapter 6:
6: Timecode Automation
Introduction
This chapter explains the operation of the console’s timecode
automation system.
The mc26666’s automation system provides the ability to automate
console settings referenced to timecode. Note that in addition to
providing automation of channel parameters such as faders,
mutes, aux sends, EQ, etc., the system allows you to automate
other settings such as bus routing, channel signal flow, etc. Also
remember that the channels you automate may be any type of
channel – inputs, groups, sums, auxes, VCA masters, GPCs, etc.
In addition, you may recall snapshots into the automation system
to record a complete scene/section change against timecode.
The automation system acts as a timecode slave and may lock to
external Midi Timecode (MTC). Control of the replay machine(s)
is handled from the external machine or from an optional
Machine Control Panel which replaces the console’s User Panel in
the centre section:
320/
320/ 474 V1.8/0 mc²66
Before You Mix
Automation data can be written with timecode rolling at any
speed, providing fast and efficient mixing. A normal automation
day starts at 00:00:00:00 and ends at 23:59:59:xx and, if you
wish, you can choose to work with a timecode offset.
The way in which data is written is governed by a number of
modes, allowing you to write dynamic or static automation; step
in or step out of write to make updates; protect channels to
prevent overwriting existing moves; and isolate channels to
remove them from the automation system completely.
Each stream of automation data is recorded as a ‘Pass’, and
multiple passes are stored within a ‘Mix’. A ‘Pass Tree’ allows you
to view the history and A/B between different passes within each
mix. Multiple mixes may be created for each production and are
stored permanently on the system when you update the
production.
Before You Mix

Let’s assume that you have created a new production and have a
basic setup with levels, panning, EQs, etc. Before enabling the
automation system, there are a few basic checks to perform:
1. Select the timecode reference for the automation system –
the console may run as a master using its own internal
timecode generator, or slave to external Midi timecode
(MTC). This option is set from the System display, see Page
441.
2. Change the Central Control Screen to display timecode
rather than local time. This option is set from the System
display, see Page 437. Press PLAY on your machine and
check that the timecode on the display follows. If required,
you can set a timecode offset. See Page 380.
3. Check the Mixes display and, if necessary, create a new
mix to store automation. See next page.
4. Select the channels/parameters you want to automate.
See Page 323.
mc²66 V1.8/0 321/

321/ 474
Before You Mix
Checking the
the Mixes Display
When you enable automation, data from the Active Mix is loaded
to the console. Therefore, to make sure you don’t lose your
settings, by loading automation already stored within the
production, check the Mixes display.
1. Press the AUTO SCREEN CONTROL button to access the
Mixes display:
Note that each time you press the AUTO button you toggle
between two pages – Mixes and Pass Tree.
Tree The current page is
page 1 of 2.
The Mixes display lists all the Mixes stored within the current
production. The Active Mix is highlighted in green, and its name,
memo information, number of passes within it, size and the date
and time when it was last updated are displayed at the top of the
page.
If this is a new production, the list will be empty and you can skip
straight onto selecting the channels and parameters you want to
automate. The first time you enable the automation, a new mix is
created automatically.
However, if there are a number of mixes already stored within the
production, you will need to create a new mix before proceeding.
Otherwise, when you press the automation ON button, the
system will load the Active Mix data to the console.
322/
322/ 474 V1.8/0 mc²66
Before You Mix
Creating a New Mix

1. If not already selected, press the AUTO SCREEN
CONTROL button to access the Mixes display:
2. Press the NEW soft key located above the trackball.

A new mix appears at the bottom of the list and automatically
becomes the Active Mix.
Mix It is given a default name (e.g.
mix0003),
mix0003 and date and time stamped.
mc²66 V1.8/0 323/

323/ 474
Automation
Before You Mix
Selecting Faders for Automation

You can select which channels, and parameters within those
channels, you wish to automate at any time during the mix.
However, it’s a good idea to think about your initial selections
before enabling the automation. This operation is performed from
the AUTOMATION front panel controls:
To keep things simple, let’s select the faders across all fader strips
on the current bank/layer.
1. Assign one of the channels you want to automate to the
Central Control Section, either by pressing its fader SEL
button or entering the channel type and number from the
2. Press the SEL AUTO button, located in the DYNAMIC
MODE/WRITE DATA section of automation controls.
The button flashes red to show it is active.
324/
324/ 474 V1.8/0 mc²66
Before You Mix
module(s) you wish to automate, in this example the fader,
by pressing the SEL buttons beside the fader.
The SEL button turns orange showing that the fader is selected
for automation on that particular channel.
To make sure that no other modules are selected other than the
fader, first press SEL ALL twice – this will clear any existing
selections. Now press the fader SEL button to select only this one
module.
So far we have selected the fader on the channel in access for
automation. To select the faders across the rest of the console:
4. Press the MLT button located DYNAMIC MODE/WRITE
DATA section of automation controls:
This activates the multiple SEL AUTO mode and all the fader SEL
buttons across the console flash, in green:
5. Press the SEL buttons on the fader strips you wish to

automate.
The buttons change from green to red when selected.
6. When you have finished, deselect SEL AUTO or press ESC
to complete the operation.
Multiple faders across the console are now selected for
automation.
If you wish to select faders on hidden banks or layers, then bring
each bank or layer to the surface and press the fader SEL buttons
during step 5.
Note that the first time you select
parameters to be automated, they
default to dynamic automation mode. For more details on static
automation mode, please refer to page 345.
mc²66 V1.8/0 325/

325/ 474
Turning On the Automation

Having selected the channels and parameters you wish to
automate, you are now ready to turn on the automation and
write your first pass.
Writing Your First Mix Pass

1. Press the ON button located in the GLOBAL CONTROL
section of automation controls:
Automation
The R/W buttons beside each fader will turn green. If they don’t,
326/ 474 V1.8/0
then the fader is not selected for automation. See Page 336 for
mc²66
details on selecting channels and parameters for automation.
Turning On
2. Check that the FILL END button is selected from the STEP
OUTthe
MODE section of automation controls.
The FILLAutomation
END automation mode is great for writing early passes
where you are working through the song or production
chronologically. Each time you stop and finish a pass, any values
in write are written through to the end of the mix. This means
that you don’t have to play through the whole song just to write
a fader level to the end of the mix. For details on alternative step
out modes, see page 333.
326/
326/ 474 V1.8/0 mc²66
CONTROL button to view the Mixes display:
In our example above, a new mix (mix000mix0001

mix0001) was created
manually using the new mix function, see Page 323. However, if
this is a brand new production, then the system automatically
creates a new mix when you turn automation ON - mix0000.
In either case, the Active mix is highlighted in green and shown at
the top of the display.
4. Press the AUTO SCREEN CONTROL button to view the
Pass Tree display for the active mix – page 2 of 2:
Note that the Pass Tree is empty as we have not written any data.
mc²66 V1.8/0 327/

327/ 474
5. Press play and write some dynamic fader moves as the
timecode rolls forwards.
As soon as you touch a fader, its R/W button changes from green
to red to indicate that you are now writing new data.
You will also see that a Record Pass (Rec
Rec Pass)
Pass is created in the
Pass Tree display – pass0000:
pass0000
Note that you cannot create a new Record Pass if the mix is
protected.
6. When you are ready, you can finish the pass in one of
two ways:
• Press rewind or locate backwards; the change of timecode
direction causes the pass to finish automatically. The system
will also finish the pass, if the incoming timecode is at an
earlier position then the current timecode of your mix.
• Press the FINISH button located at the bottom of the
AUTOMATION control panel to manually finish the pass.
In either case, the stream of automation data is now recorded in
pass0000 which moves to the Play Pass window in the Pass Tree
display:
In addition, all fader R/W buttons return to green indicating that

they are back in read mode.
7. Locate back to the beginning of the mix and press play.
Watch your recorded moves play back against timecode!
328/
328/ 474 V1.8/0 mc²66
Updating a Pass
To update the moves in pass0000
pass0000:
1. Press play and touch the faders you want to update.
The R/W buttons on the faders turn red to show that they are
back in write. Other fader R/W buttons remain green and play
back the moves from pass0000.
Note that next to each fader in write you will see an orange
marker – either up or down. This indicates the direction of the
fader level stored within the Play Pass and is particularly useful
when you using modes such as OUT IF CRSS,
CRSS see Page 348.
Having written some moves, a new Record Pass – pass0001 – is
created:
2. Finish the pass either by pressing FINISH or locating

backwards.
Pass0001 now becomes the current Play Pass ready for further
updates.
Note that as you selected the FILL END automation mode earlier,
any levels in write when you finish the pass are written through
to the end of the mix. See Page 333 for more details on
alternative step out modes.
3. Continue updating the mix as above.
Note that each time you update the current Play Pass, a new
Record Pass is created with a new unique reference number –
pass0002, pass0003, etc. The passes are kept within the Pass
Tree showing the history of each update.
You can view the list of passes either by name or by date/time
stamp, and rename or delete passes. See Page 374 for details.
mc²66 V1.8/0 329/

329/ 474
Cancelling a Pass
If you start a new Record Pass and make a mistake, you can
throw away the data before finishing the pass:
1. Press the CANCEL button located in the GLOBAL section
of automation controls.
The next time you begin a Record Pass, it takes the next unique
pass number. For example, if you cancel pass0001, then the next
Record Pass is named pass0002:
330/
330/ 474 V1.8/0 mc²66
Reverting to an Earlier Pass

If you’ve made a mistake and already finished the pass, then you
can go back to an earlier play pass using the Pass Tree display.
1. Using the trackball or navigation controls, focus on the
pass which you want to revert to, for example pass0002.
The pass is highlighted by the focus outline and appears in the Sel
Pass window.
2. Press the PLAY soft key located above the trackball.
Pass0002 becomes the current Play Pass and the console settings
update to reflect the new replay data.
3. Now go into play and write some fader updates.
4. Finish the pass by locating backwards or pressing the
FINISH button.
Note that the newly created pass takes the next unique pass
reference number, in our example pass0008
pass0008, and appears as a
new branch in the Pass Tree display:
The Pass Tree provides a history for every pass created within the
active mix. You can use the Pass Tree to A/B between different
mixes or to write different versions of automation for a chorus or
scene. Passes may be loaded, named or deleted. Please refer to
Page 374 for more details on using the Pass Tree display.
mc²66 V1.8/0 331/

331/ 474
Saving Your Mix Data
Saving Your Mix Data

Every time you finish a pass you create a new temporary pass
stored within the active mix. To store all the finished passes for a
mix permanently, you must update the production.
When a production is updated, all passes within each mix are
stored permanently onto the system’s user data flash card. Any
number of passes may be stored within the mix, and any number
of mixes within each production. You can use the File
Import/Export functions to copy mixes onto USB or a network
drive for archiving purposes.
Please refer to Chapter 5 for more details on productions and
data storage.
332/
332/ 474 V1.8/0 mc²66
Updating Fader Moves
Moves

So far we have updated fader moves by touching the faders to
step into write, and finishing the pass to step out of write. By
using the FILL END automation mode, any levels in write when
the pass is finished are written through to the end of the mix.
To go back and correct moves earlier in the song or production,
we need to change to STEP OUT mode. In addition, you can
make mixing more efficient by using the fader R/W buttons, or
touch sense, to step out of write while in play.
Step Out Automation Mode

Writing in STEP OUT mode means that any parameter in write
reverts to the Play Pass data when you step out of write. This
allows you to write a new move early on in the song or
production, step out of write and keep all your following moves
from the previous Play Pass.
1. Press the STEP OUT button, located in the STEP OUT
MODE section of controls, to change from ‘fill to end’ to
‘step out’ automation.
2. Press Play and touch the faders you want to update.

The R/W buttons on these faders turn red to show that they are
in write.
3. Finish the pass either by pressing FINISH or locating
backwards.
Now play back the pass and you should see your new fader
moves followed by moves from the previous play pass.
mc²66 V1.8/0 333/

333/ 474
Using the R/W buttons

To make mixing more efficient you can use the fader R/W
buttons to step in and out of write while in play. This allows you
to step in and out of write several times during a single pass.
1. To work in this way, first press the WRITE R/W button
located in the DYNAMIC MODE/WRITE DATA section of
automation controls:
The R/W buttons beside each fader now allow you to step in and
step out of write for that fader.
Note that when WRITE R/W is not selected, the R/W button
disarms the fader. This means that the fader is write-protected
and you won’t be able to write new automation data for it. See
Page 364 for more details on arming and disarming.
2. To step in to write you can now either touch the fader or
press the R/W button beside the fader.
The R/W button turns red to show that the fader is in write.
3. To step out of write, press the R/W button again.
The fader jumps back to its previous pass position and the R/W
button turns green to indicate that the fader is now reading back
the Play Pass.
4. Continue stepping in and out of write on as many faders
as you wish as you roll forwards in play.
5. When you finish the pass all the updates you have made
are recorded in the new Play Pass.
You can combine STEP OUT and WRITE R/W with other modes
such as GLIDE,
GLIDE OUT IF CRSS or NEXT CHANGE.
CHANGE For more details
on automation modes, please refer to Page 348.
You can also step in and out of write globally (for all parameters
selected for automation) using the START WRITE or STOP WRITE
buttons. Or step in and out for a cluster of channels (for example,
to update your brass section!) using the CLUST button. See Page
354 for more details on global or cluster operations.
334/
334/ 474 V1.8/0 mc²66
Touch
If you would like the faders to step out of write when you release
them, then turn on the TOUCH button located in the MANUAL
MODE section of controls:
1. Step into write by touching the fader.

The R/W button turns red to show that the fader is in write.
2. Keep touching the fader and when you wish to step out
of write, release the fader.
The fader jumps back to its previous pass position and the R/W
button turns green to indicate that the fader is now reading back
the Play Pass.
You can combine TOUCH with GLIDE if you wish the faders to
glide back to the Play Pass on release. For more details on
automation modes, please refer to Page 348.
Note that TOUCH applies to any variable control so you can use
it on touch sensitive rotary controls such as panning, aux sends,
etc.
mc²66 V1.8/0 335/

335/ 474
Writing Automation on Controls and Switches
Writing Automation on Controls

Controls and
Switches
In addition to faders, you can write automation for any other
channel control, for example, mutes, panning, EQ, even functions
such as bus routing.
Faders and rotary controls are touch sensitive which allows them
to step into write whenever you touch a fader or control.
Switches step into write whenever you change the state of the
switch or force a step in using the WRITE R/W mode.
Let’s look at a couple of examples - writing automated mutes and
writing a dynamic pan move.
Selecting Channel Parameters for Automation

First, you need to select the parameters you wish to automate
using the SEL AUTO function and the Central Control Section.
1. Assign one of the channels you want to automate to the
2. Press the SEL AUTO button, located in the DYNAMIC

module(s) you wish to automate, in this example mute and
pan, by pressing the SEL buttons beside the mute and pan
modules.
The SEL buttons turn orange showing that the modules are
selected for automation on that particular channel.
Note that the fader SEL will also be lit if you have been writing
fader automation on that channel.
336/
336/ 474 V1.8/0 mc²66
Switches
To make the selections across multiple channels:
This activates the multiple SEL AUTO mode and all the fader SEL
5. Press the SEL buttons for the channels you wish to

automate.
6. When you have finished, deselect SEL AUTO or press ESC
The three parameters – fader, mute and pan – and now selected
for automaton across multiple channels.
Note that the first time you select parameters to be automated,
they default to dynamic automation mode and are armed (ready
to read and write automation). For more details on these
functions, please refer to Pages 345 and 364.
mc²66 V1.8/0 337/

337/ 474
If you wish to select automation for channels on hidden banks or
layers, then bring each bank or layer to the surface and press the
fader SEL buttons during step 5 above.
If you wish to select other parameters for automation, then use
the corresponding SEL buttons from the Central Control Panel
during step 3. Parameters are selected as follows:
• INPUT MIXER – all input settings.

• IMAGE – stereo image and position.
• DAMP - digital amplifier gain.
• DELAY– channel delay.
• INS – channel insert.
• DIROUT – direct output.
• GATE – gate.
• EXPANDER – expander.
• SCF – sidechain filter settings.
• FILTER – 2-band filter settings
• EQ – 4-band EQ settings.
• COM – compressor.
• LIMITER – limiter.
• PANNING – surround panning.
• MUTE SEL – status of the mute button.
• Fader SEL – the fader position.
338/
338/ 474 V1.8/0 mc²66
You can also automate other channel parameters using the

following buttons on the PARAMETER COPY/ASSIGN panel:
• CH - selects the channel signal processing order as set on the
Channel Config display.
• BUS - selects the channel’s bus assignments.
To select all parameters for a channel, press the SEL ALL button
above the fader SEL button. By deselecting SEL buttons, you may
then edit the selection to copy a subset of parameters.
To clear down all the selections:
1. Press the SEL ALL button above the Central Control
Section Fader to select all audio modules.
2. Then deselect SEL ALL.
ALL
mc²66 V1.8/0 339/

339/ 474
Writing Switch Automation

Switches step into write whenever you change the state of the
switch or force a step in using the WRITE R/W mode. Assuming
that you have selected the mute buttons for automation, as
described in the previous section, you should be ready to go.
However, note that you will not be able to write automation if
the mute buttons have been disarmed (see Page 364), and you
will not be able to write dynamic changes if the mute buttons are
running in static automation mode (see Page 345).
1. With automation on, go into play and press the mute
button either on the fader strip or Central Control Section to
write your changes.
2. To check that you are writing automation, assign the
channel to the Central Control Section:
The mute SEL button turns orange when the mute is in write.
FINISH button and play back the automation.
The mute SEL button turns green when the mute is in replay.
340/
340/ 474 V1.8/0 mc²66
Updating Switch Automation

You can update switch automation by rewinding and rewriting
the switch change. However, if you want to remove a switch
change or you want to write other automation on other
parameters you will want to step in and out of write while in play.
1. To work in this way, assign the channel you want to
automate to the Central Control Section.
2. Next press the WRITE R/W button located in the
DYNAMIC MODE/WRITE DATA section of automation
controls:
The SEL buttons beside each Central Control Section module now
allow you to step in and step out of write for that module.
For example, to overwrite a mute which is in the wrong position,
we want to step into write when the mute is off and then step
out again past the mute on point from the previous pass. To do
this:
3. Rewind before the mute you want to remove.
4. Step in to write by pressing the SEL button beside the
mute on the Central Control Section.
The mute goes into write in its current state – i.e. mute off. The
SEL button turns orange to show that the switch is in write.
5. Locate or play past the end of the unwanted mute.
6. To step out of write, press the SEL button again.
The SEL button turns green to indicate it is now in replay and the
mute button reverts to the data from the Play Pass. In our
example, the status of the mute doesn’t change.
7. Finish the pass, either by pressing FINISH or locating
backwards.
The updates you have made are recorded in the new Play Pass.
Another great way to update switch automation is to combine
STEP OUT with NEXT CHANGE.
CHANGE For more details on automation
modes, please refer to Page 348.
mc²66 V1.8/0 341/

341/ 474
Writing Rotary Control Automation

Rotary controls, like faders, are touch sensitive and go into write
when you touch them or force a step in using the WRITE R/W
mode. Let’s write a dynamic pan left/right pan move. Assuming
that you have selected the pan module for automation, as
described earlier, you should be ready to go.
However, note that you will not be able to write automation if
the pan module has been disarmed (see Page 364), and you will
not be able to write dynamic changes if the pan module is
running in static automation mode (see Page 345).
1. With automation on, go into play and move the left/right
pan control either from a free control or the Central Control
Section to write your changes.
2. To check that you are writing automation, assign the
channel to the Central Control Section:
The panning SEL button turns orange when in write.

FINISH button and play back the automation.
The panning SEL button turns green when in replay.
342/
342/ 474 V1.8/0 mc²66
Updating Rotary Control Automation

You can update the pan move by rewinding and rewriting the
move. However, if the move starts too early or you want to write
other automation on other parameters you will want to step in
and out of write while in play.
1. First, assign the channel you want to automate to the
2. Next press the WRITE R/W button located in the
DYNAMIC MODE/WRITE DATA section of controls:
The SEL buttons beside each Central Control Section module now
allow you to step in and step out of write for that module.
3. Rewind before the start of the pan move you want to
update.
4. Step in to write by pressing the SEL button beside the pan
module on the Central Control Section.
The pan module goes into write in its current state – i.e. left/right
pan at its starting position. The SEL button turns red to show that
the module is in write.
5. Now go into play and move the left/right pan control to
rewrite your move at the correct timecode.
6. To step out of write, press the SEL button again.
The SEL button turns green to indicate that the pan module is
now in replay and the left/right pan control reverts to the data
from the Play Pass.
7. Finish the pass, either by pressing FINISH or locating
backwards.
The updates you have made are recorded in the new Play Pass.
Another great way to update rotary control automation is to
combine STEP OUT with OUT IF CRSS. CRSS For more details on
automation modes, please refer to Page 348.
If you would like the controls to step out of write when you
release them, then turn on the TOUCH button located in the
MANUAL MODE section of controls.
mc²66 V1.8/0 343/

343/ 474
Automation
Writing Automation for a Complete Module

The previous examples showed how to update an individual
control such as the fader, mute and left/right pan control.
However, you can also choose to step a complete module, for
example all four bands of EQ, in and out of write as follows:
1. Select EQ on a channel to be automated as described on
Page 336.
2. Select the WRITE R/W button located in the DYNAMIC
MODE/WRITE DATA section of automation controls:
3. Assign the channel you are automating to the Central

Control Section.
4. With automation on, go into play.
The distinction between whether you write an individual control,
for example EQ1 Gain, or the complete module is made as
follows:
5. Move the EQ1 Gain rotary control to step in to write just
on the one control.
The EQ SEL button turns orange indicating that only part of the
module is in write.
6. Alternatively, press the EQ SEL button to force the
module into write in its current state.
The EQ SEL button turns red indicating that all controls and
switches within the EQ module are in write.
7. Make your changes and step out either by pressing the
EQ SEL button or finishing the pass in the usual manner.
344/
344/ 474 V1.8/0 mc²66
Automation Modes
Automation Modes
The way in which automation is written is governed by two
primary modes:
• Dynamic or Static automation
• The STEP OUT mode
Dynamic or Static Automation

You can choose whether modules write dynamic or static
automation – for example, you may wish to emulate an analogue
console’s automation system by writing dynamic fader and mute
changes, while keeping all EQ, Compression, etc. at one static
setting for the entire mix.
It theory, it is not strictly necessary to select static automation if
you want say a single EQ setting for an entire mix. If you select
only faders and mutes for automation, then all other modules
remain at their current settings while running automation.
However, if for example, you then disable automation, load a
different snapshot and re-enable automation. Because the EQ
and other settings were not stored in the mix pass, you will not
get back those settings simply by enabling the automation. To
work in this way, you will need to make sure that you have saved
a snapshot for all settings outside of the automation pass.
For this reason, we recommend selecting all modules used for the
mix for automation. Please note that it is possible to have more
then 500 channels within a system. If you select every module of
each channel the system might getting slower with growing
automation data. You can then use static or dynamic automation
modes to control whether settings are written dynamically or not.
When modules are selected for automation, they default to
dynamic automation mode. To select static mode:
1. Assign one of the channels you want to change to the
2. Press the SEL DYN button, located in the DYNAMIC
mc²66 V1.8/0 345/

345/ 474
Automation Modes
module(s) you wish to automate by pressing the SEL buttons
beside the modules.
The SEL buttons turn orange showing that the modules are
selected for automation on that particular channel.
To make the selections across multiple channels:
346/
346/ 474 V1.8/0 mc²66
Automation Modes
This activates the multiple SEL DYN mode and all the fader SEL
5. Press the SEL buttons for the channels you wish to change
to static mode.
6. When you have finished, deselect SEL DYN or press ESC
The selected parameters across the selected channels are now set
for static automation.
When you make changes to these parameters, the last value in
write is written for the entire mix, providing a great way to write
one EQ or one Compressor setting across the whole song or
production.
If you wish to select static automation for channels on hidden
banks or layers, then bring each bank or layer to the surface and
press the fader SEL buttons during step 5 above.
mc²66 V1.8/0 347/

347/ 474
Automation Modes
Step Out Automation Modes

These modes affect what happens when you step out of write,
and are selected from the STEP OUT MODE buttons on the
AUTOMATION control panel:
There is a choice of several modes, many of which can be used in

combination with each other to achieve different results.
Note that it is the mode selected when you finish the pass which
will be applied. For example, if you are in STEP OUT mode while
playing through the chorus but then decide you wish to write the
updated values to the beginning of the mix, you can stop, change
to FILL START and then press FINISH to finish the pass.
FILL START and FILL END

• FILL END – this automation mode is great for writing your
first passes where you are working through the song or
production chronologically. Each time you stop and finish a
pass, any values in write are written through to the end of the
mix. This means that you don’t have to play through the
whole song just to write a fader level to the end of the mix.
Readpass
Modification
• FILL START – using this mode, any values in write are written
back to the start of the mix.
• FILL END plus FILL START – with both modes selected, any
values in write are written as a static value for the whole mix.
348/
348/ 474 V1.8/0 mc²66
Automation Modes
Readpass
Modification
Result for
Fill to End
Result for
Fill to start
Note that you can also write static values between specific
timecode points using the Punch In and Punch Out times in
conjunction with the FILL COMM button. See Page 361 for
details.
mc²66 V1.8/0 349/ 474

Automation Modes
STEP OUT
Writing in STEP OUT mode means that any parameter in write
reverts to the Play Pass data when you step out of write. This
allows you to write a new move early on in the song or
production, step out of write and keep all your following moves
from the previous Play Pass:
Readpass
Modification
Result for
step out
350/
350/ 474 V1.8/0 mc²66
Automation Modes
GLIDE
Combine STEP OUT with GLIDE to create a glide back to the Play
Pass when you step out of write:
Readpass
Modification
Result for
Glide-out
Glidetime
GLIDE is applied to all variable parameters – fader levels, panning,

aux send levels, etc. – and can be used in conjunction with
TOUCH such that controls will step out of write on release and
glide back to the Play Pass.
mc²66 V1.8/0 351/

351/ 474
Automation Modes
To set the glide time:
CONTROL button to access the Pass Tree display:
2. Make sure that the PAGE button, located in the middle of

the SCREEN CONTROL soft keys, is not selected.
The four soft key functions show PLAY,
PLAY TIME,
TIME GLDE and TC O.
O
3. To set the glide time, press the GLDE soft key and then
turn the rotary control.
The glide time is shown in the Glide time box and may be
adjusted from 0 to 60000ms (60 seconds).
352/
352/ 474 V1.8/0 mc²66
Automation Modes
OUT IF CROSS
This mode can be combined with STEP OUTOUT, FILL END or FILL
START and is a great mode for updating variable parameters such
as fader levels.
When selected, any values in write will automatically step out
when their value crosses the read pass.
For example, you may use this mode if you wish to update a
fader level before a fantastic move you have just written! Go back
and update your level; when the read pass crosses the new level,
the automation automatically steps out and replays your fantastic
move from earlier!
Use the orange marker beside the fader to show whether you
need to move your fader up or down to cross the read pass.
NEXT CHANGE
This mode can be combined with STEP OUT
OUT, FILL END or FILL
START and is great mode for updating switched parameters such
as mutes.
When selected, any values in write will automatically step out
when a parameter change occurs in the read pass:
For example, let’s say that you have written some mute
automation and now wish to update a section earlier in the mix.
Go back and update your mute automation and leave your mute
switch in write. When the next change of mute position occurs in
the read pass, then the mute will automatically step out of write.
mc²66 V1.8/0 353/

353/ 474
Step In/ Step Out Functions
Step In/
In/ Step Out Functions
Eariler we used the R/W and SEL buttons to step in and out of
write on individual controls. However, there are a number of
useful functions which you can use to step in or out of write
across multiple channels, or to set an automatic step in/step out
between two timecode values (Punch In/Punch Out).
Remember that these functions only affect which elements of the
console step in or out of write. The way in which automation data
is written is still governed by the automation mode. For example,
if you use START WRITE in combination with FILL END:
END
1. Press Play on your machine so that timecode is rolling.
2. Press START WRITE and all parameters enabled for
automation step into write at their current positions.
3. What happens next depends on your choice of operation:
• If you locate backwards to finish the pass, then the selected
mode will be applied - FILL
FILL END.
END In other words, the values in
write will be written to the end of the mix.
• However, if instead of finishing the pass, you press STOP
WRITE,
WRITE all your parameters will step out back into replay. In
other words, you have achieved a step in and step out,
without having to change automation mode!
• If you combine the above with GLIDE,
GLIDE then rather than an
instant step out, variable parameters will glide back to their
replay positions.
For more details on automation modes, please see Page 348. This
section looks at the step in and step out functions.
354/
354/ 474 V1.8/0 mc²66
Global Step In/Step Out

The START WRITE and STOP WRITE buttons allow you to step in
and out of write globally across all automated parameters on the
console.
1. Press the START WRITE button, located in the GLOBAL
CONTROL section of automation controls, to step into write
across the console:
All parameters and modules which have been selected for

automation step into write. The R/W buttons beside each fader
will turn red when in write.
2. Press the STOP WRITE button to step out of write across
the console:
Any parameters in write step out back to the Play Pass.
Use STOP WRITE to step out on all parameters at a section
change such as the end of a chorus. Combine STOP WRITE with
GLIDE to glide back to the Play Pass values.
mc²66 V1.8/0 355/

355/ 474
Functions
Cluster Step In/Step Out

You can use the Cluster function to step in or out of write across
a cluster of channels. The cluster works like a group but just for
automation parameters. First define which channels you wish to
cluster. Then when you step into write on say the EQ on one
channel, all EQ sections within the cluster also step into write.
Note that the CLUST button can be used to step in and out of
write, or to arm and disarm clustered parameters. See Page 366
for details on SEL ARM.
ARM
First, define the clustered channels as follows:
1. Press the CLUST button located in the DYNAMIC
MODE/WRITE DATA section of automation controls:
The button flashes to show that it is active, and all the fader SEL
buttons across the console flash, in green.
2. Press the flashing fader SEL buttons to add channels to

the cluster.
The fader SEL buttons change from green to red.
3. Deselect the CLUST button to complete this part of the
operation.
The cluster is now defined.
356/
356/ 474 V1.8/0 mc²66
You can now step in and out of write across a group of
parameters within the cluster. For example:
1. On any channel within the cluster step into write on the
EQ module.
All EQ modules within the cluster step into write at their current
values.
Note that parameters will only step into write if they have been
selected for automation and are armed.
You can also use the Cluster function to arm or disarm the cluster
of parameters, see Page 366 for details.
mc²66 V1.8/0 357/

357/ 474
Join
The JOIN and JOIN AUTO buttons also allow you to step into
write across a selection of parameters. However, the parameters
which are ‘joined’ are automatically defined for you and are the
parameters which were in write when you finished your last pass.
These functions are especially useful when working on a section
of the mix, such as the Chorus of a song, where you are
constantly rewinding to make updates.
Auto Join
1. Select the JOIN AUTO button, located in the GLOBAL
CONTROL section of automation controls:
2. Locate to the beginning of the Chorus and press Play.

3. During the Chorus write some fader and control moves.
You will now have a selection of parameters in write as indicated
by the red R/W fader strip buttons and/or SEL buttons on the
4. Locate back to the beginning of the Chorus and press play
to play back the pass.
Your moves replay and at the timecode where you located
backwards (or finished your last pass), all the parameters which
were in write in step 3 automatically step into write at their
current value (this is called an auto join).
So, by working in JOIN AUTO,
AUTO you can be constantly rewinding
to make updates without having to pay attention to the step out
point or to which parameters you updated.
JOIN AUTO also provides a useful tool for checking which
controls you updated on your last pass. For example, if you
accidentally touched a fader on your last record pass, then when
you play back the pass and reach the join timecode, the fader’s
R/W button turns red as it joins.
358/
358/ 474 V1.8/0 mc²66
JOIN
The JOIN button is very similar to JOIN AUTO but allows you to
join (step controls into write) manually. This can be useful for
overwriting a move you didn’t like. For example:
1. Locate to the beginning of the Chorus and press Play.
2. During the Chorus write some fader and control moves.
You will now have a selection of parameters in write. However,
let’s say that you liked the first series of moves but not the latter.
3. Locate back to the beginning of the Chorus and press
play.
4. Watch your moves replay and at the point where you
wish to step back into write, press JOIN.
JOIN
All the parameters which were in write in step 2 now step into
write (join) at their current value. If you keep playing you will
now overwrite your unwanted moves.
mc²66 V1.8/0 359/

359/ 474
Punch In/Punch Out Automation

The Punch In and Punch Out times can be used for two
applications:
• To automatically set the timecode positions where controls
will step in and step out of write so that you do not
accidentally update automation outside of this timecode
window.
• Or, to apply parameter values to a region of the mix. For
example, to write values for the whole of a Chorus or scene.
In either case, first you need to set the punch in and out times as
follows:
CONTROL button to access the Pass Tree display:
2. Play or locate your timecode to the punch in time.
3. Then on the AUTOMATION front panel, locate the
MARKER CONTROL buttons.
4. Press SET (it will flash) followed by IN:
IN
The current timecode position is entered in the Punch in time box
on the Pass Tree display.
5. Now play or locate your machine to the punch out time,
and press SET followed by OUT.
OUT
The current timecode position is entered in the Punch out time
box on the Pass Tree display:
6. Deselect the flashing SET button to complete this part of

the operation.
360/
360/ 474 V1.8/0 mc²66
Automatic Punch In and Out

To use the punch in and out times to automatically step in and
out of write:
1. Make sure that the SET button is off.
2. Turn on the IN and OUT buttons to make the punch in
and punch out times active.
The buttons turn blue when active.
3. Now rewind before the punch in timecode and press Play.
At the Punch in time,
time all parameters and modules which have
been selected for automation step into write at their current
values. The R/W buttons beside each fader will turn red when in
write.
4. You can now write new moves into the automation.
When you pass through the Punch out time,time all parameters and
modules step out of write back to the Play Pass. The R/W
buttons beside each fader will turn green.
You can select the IN and OUT buttons independently if you wish
to only step in or step out automatically.
5. When you have finished mixing that section, remember to
deselect the IN and OUT buttons to deactivate the
automatic punch in/punch out mode.
Fill Region
To apply parameter values to a region of the mix. For example, to
write values for the whole of a Chorus or scene:
1. Set the Punch In and Punch Out times to define the start
and end of the region as described earlier.
2. Now play through the section of the mix and adjust any
parameters to the values you wish to write for the region.
You will now have a selection of parameters in write.
3. Before you rewind or finish the pass, press the FILL
COMM button, located in the GLOBAL CONTROL section
of automation controls:
Any parameters in write are written at their current value

between the Punch In and the Punch Out times.
mc²66 V1.8/0 361/

361/ 474
Protecting Automation Data

Having written automation, you may wish to play back your mix
data but protect it from being overwritten. There are a number of
options available:
• PLAY SAFE – when running in ‘Play Safe’, all channels will
read automation data from the Play Pass but cannot write
new data. In addition, if you move the position of a control,
you will NOT hear any change in the audio. This mode
applies globally to all channels and parameters, and is a great
mode to use when laying back your mix.
• BYP – this mode is very similar to ‘Play Safe’. When running
in ‘Bypass’, all channels will read automation data from the
Play Pass but cannot write new data. The difference to ‘Play
Safe’ is that if you move the position of a control you WILL
hear the change in audio.
While running in ‘Bypass’, if you adjust a control and like the new
value, you can step the control into write using Direct IN (DIR DIR
IN).
IN See Page 364.
• SEL ARM – alternatively, you may wish to protect the mix
data on individual controls while you write new moves on
others. To do this use the SEL ARM function. Armed controls
are armed for reading and writing automation data. Disarmed
controls will read automation but cannot write new data.
• SNAP ISO - finally, you can isolate individual channels
completely from the automation system so that they do not
read or write automation data. Effectively, this turns off the
automation system but on individual channels only.
Let’s look at these functions in more detail.
362/
362/ 474 V1.8/0 mc²66
Play Safe
This mode applies globally to all parameters of the console:
1. To enable this mode, press the PLAY SAFE button located
on the AUTOMATION GLOBAL CONTROL panel:
Once selected, all channels enabled for automation will read data
from the Play Pass but not write new data if touched or changed.
2. If you move the position of a control, you will NOT hear
any change in the audio, and when you let go the control
will step back to its Play Pass position.
Bypass
This mode applies globally to all parameters of the console:
1. To enable this mode, press the BYP button located on the
AUTOMATION GLOBAL CONTROL panel:
Once selected, all channels enabled for automation will read data
from the Play Pass but not write new data.
mc²66 V1.8/0 363/

363/ 474
2. If you move the position of a control, you will hear the
change. You now have two options:
• If you Stop, Rewind and Press Play, the control will revert to
its Play Pass position.
• However, if you like the new position of the control, you can
step it into write at the new value using the DIR IN (Direct In)
button:
3. Press DIR IN located on the DYNAMIC MODE/WRITE
DATA panel:
Any parameters which have been altered from their Play Pass
positions will step into write at their current values. If you now
finish the pass, then automation will be written according to your
choice of STEP OUT mode.
Note that the DIR IN button is only active when running in
Bypass mode.
364/
364/ 474 V1.8/0 mc²66
Arm and Disarm

The SEL ARM function allows you to protect the mix data on
individual channels or controls. You can choose to arm or disarm
any number of parameters on any number of channels. For
example, you may wish to protect the mute automation on a
channel:
1. Assign the channel you want to protect to the Central
Control Section, either by pressing its fader SEL button or
entering the channel type and number from the ACCESS
2. Press the SEL ARM button, located in the DYNAMIC
The button flashes green to show it is active.

On the Central Control Section the current status of all modules
are shown as follows:
• SEL button lit (yellow) = module is armed (read and write)

• SEL button off = module is disarmed (read only)
mc²66 V1.8/0 365/

365/ 474
module(s) you wish to disarm, in this example the mute, by
deselecting its SEL button.
The SEL button LED turns off showing that the module is now
disarmed on that particular channel.
This means that the Play Pass mute automation will play out
when automation is on, but you cannot write new automation
data. In the example of mute automation you will not be able to
change the status of the mute switch as it is now locked into
automation replay.
4. Deselect SEL ARM or press ESC to complete the
operation.
5. To re-arm mute automation, repeat the operation and
reselect the mute SEL button during step 3.
You can arm or disarm parameters across multiple channels, using
the MLT button, as described for selecting parameter automation
on Page 337.
Or, you can arm or disarm parameters within a cluster of channels
as follows:
1. Define the cluster of channels as described on Page 356.
2. Make sure that one of the channels in the cluster is ‘in
access’ by selecting its fader SEL button.
3. Then press SEL ARM.
ARM
The button flashes green to show it is active.
module(s) you wish to arm or disarm as described above.
All modules within your cluster of channels will be armed or
disarmed accordingly.
366/
366/ 474 V1.8/0 mc²66
Chapter 6: Timecode
Timecode Automation
Recalling a Snapshot or Sequence
SNAP ISO
To temporarily take a complete channel out of automation so that
it neither reads nor writes data, you can use the SNAP ISO button
on each fader strip.
1. Press SNAP ISO

ISO on the fader strip(s) you wish to isolate.
The buttons light across the console, and any fader R/W buttons
will go out to reflect they are no longer playing back or writing
new data.
Recalling a Snapshot or Sequence

You may recall snapshots or play out a sequence, with or without
crossfades, while running the automation system. For example, to
to record a complete scene/section change against timecode.
The system behaves as if every control was touched and therefore
allows you to step in and out of write as if you had manually
updated the controls.
The snapshot recall will respond to Snapshot ISO in the usual
way.
Note that depending on the size of the mix, and the number of
changes actioned by the snapshot, there may be a slight delay
when recalling the snapshot.
mc²66 V1.8/0 367/

367/ 474
Mixes and Passes
Mixes
Mixes and Passes
Within the current production, you can create multiple mixes and
within each mix store multiple passes. This system is designed so
that, for example, your production may store all the low level
console settings for a particular client or album. Within the
production, you can then create multiple mixes for different jobs
or songs which you are working on. The pass history then
provides a mechanism for managing subtle variations of the mix,
for example vocals higher, rhythm section lower, etc.
Remember that every time you finish a pass you create a
temporary pass. To store all the passes for the mix permanently,
you must update the production. See Page 241 for details on
how to do this now.
If you forget to update the production, you can use the backup
production memory to recover lost data, see Page 246 for details.
However, it is strongly recommended that you update your
production regularly. This ensures that all passes are stored for all
mixes on a regular basis, and guarantees that you will be able to
recover this mix at a later date.
Changing Productions
A single production may store multiple mixes for, say, all the
songs on an album. When you load a different production you
are loading a new set of mixes into the console. Therefore, always
update or save your production before loading a new one. Please
see Chapter 5 for more details on working with productions.
Note that when a production is saved or updated, the system
stores which mix was Active, and which Play Pass was current for
each mix. This means that when you load back a different
production, you will always get back to the last mix and pass you
were working on.
To load back a mix from a different production, first load the
production as described on Page 238.
368/
368/ 474 V1.8/0 mc²66
Mixes and Passes
Loading a Mix
The active mix stores all the Play Passes created while automation
is enabled. At any time you can load a different mix within the
production from the Mixes display. This provides quick access to
different songs or jobs for a particular client.
Note that when you change to a different mix, any passes created
within the previous mix are held in temporary memory. This
allows you to change quickly between mixes and passes within
the same production. However, remember that if you change to a
different production, the temporary memory is cleared. Therefore,
always update your production to save mixes permanently.
CONTROL button to access the Mixes display:
2. Using the trackball or navigation buttons, focus on the list

of mixes and select the mix you want to load.
The selected mix name is highlighted in black – for example,
mix0000.
mix0000
3. Press the LOAD soft key located above the trackball.
Mix0000 becomes the Active Mix and its name appears at the
top of the display.
If automation is enabled, then the settings on the console will
update to reflect the automation positions for the last Play Pass
created within the new mix.
mc²66 V1.8/0 369/

369/ 474
Mixes and Passes
If automation is not enabled, press the ON button located on the
AUTOMATION control panel to load in the mix settings.
Note that when the production is updated, the system stores
whichever Play Pass was selected for each mix. This means that
when you load back a different mix, you will always get back to
the last pass you were working on.
Renaming a Mix
To rename a mix:
1. From the Mixes display, select the mix you wish to modify
either using the trackball or navigation buttons.
The selected mix is highlighted in black.
soft key functions.
The four soft key functions update to show EDIT,
EDIT DEL and PROT.
PROT
3. Press EDIT
EDIT:

name.
button.
370/
370/ 474 V1.8/0 mc²66
Mixes and Passes
Adding a Memo
You may use the two lines below the mix name to add a memo.
1. Repeat steps 1 to 4 for naming the mix.

The selected mix is highlighted in black with the green cursor
highlighting a letter.
field.
mc²66 V1.8/0 371/

371/ 474
Mixes and Passes
Protecting a Mix
You can protect important mixes so that they cannot be deleted
or accidentally updated:
1. From the Mixes display select the mix you wish to protect
either using the trackball or navigation buttons:

soft key functions.
PROT EDIT and DEL.
DEL
3. To protect the mix, press PROT
PROT.
A Padlock icon appears next to the mix to show that it is
protected.
A protected mix cannot be deleted. In addition, you cannot create
a new Record Pass within a protected mix.
372/
372/ 474 V1.8/0 mc²66
Mixes and Passes
Deleting a Mix
Deleting a mix removes it from the internal memory. Therefore,
take care when using this feature. Note that you cannot delete a
protected mix.
1. From the Mixes display select the mix you wish to delete
either using the trackball or navigation buttons:

soft key functions.
PROT EDIT and DEL.
DEL
3. To delete the mix, press DEL
DEL.
You cannot delete a protected mix.
mc²66 V1.8/0 373/

373/ 474
Mixes and Passes
Working with the Pass

Pass Tree
The system keeps all finished passes for the active mix in the Pass
Tree display. This means that you can revert to an earlier pass at
any time, even while in play. For example, you may want to A/B
between two different passes, or write two different versions of
automation for a chorus or scene. See Page 331 for details on
how to revert to an earlier pass.
Each time you revert to an earlier pass and then make updates,
you start a new branch within the tree. With lots of reverts, this
can lead to a complex tree, for example:
If the tree is wider than the display, then the display will
automatically scroll as you focus on passes to the left or right of
the edge. Similarly, if the number of passes within a branch is too
long for the display, then the page scrolls up or down
accordingly.
To avoid too much display scrolling, create a new Mix rather than
a new pass to store different data.
374/
374/ 474 V1.8/0 mc²66
Mixes and Passes
Viewing Passes by Name or Date/Time

You can view the passes in the tree either by name or by
date/time. To change the view:
PLAY TIME,
TIME GLDE and TC O.
O
2. To change the view, press the TIME soft key.
When viewing by date/time you will see the date and then the
time when the pass was finished.
mc²66 V1.8/0 375/

375/ 474
Mixes and Passes
Renaming a Pass
To rename a pass:
1. From the Pass Tree display, select the pass you wish to
modify either using the trackball or navigation buttons.
The selected pass is highlighted in black.
soft key functions.
EDIT DEL and
COMB.
COMB
3. Press EDIT
EDIT:

name.
button.
376/
376/ 474 V1.8/0 mc²66
Mixes
Mixes and Passes
Deleting a Pass
Having created several passes, you can delete any which you no
longer require.
Note that you cannot delete the current Play Pass.
Pass
Deleting a pass removes it from the internal memory. Therefore,
take care when using this feature.
1. From the Pass Tree display, select the pass you wish to
delete either using the trackball or navigation buttons.
The selected pass is highlighted in black.

soft key functions.
EDIT DEL and
COMB.
COMB
3. To delete the pass, press DEL
DEL.
mc²66 V1.8/0 377/

377/ 474
Mixes and Passes
Combining Mix Passes

Within a mix, you can choose to combine the automation data
between two passes. For example, to copy the Chorus section
from one pass to another.
Note that data is always combined from the Selected Pass into
the Play Pass, between the Punch in and Punch out times shown
on the Pass Tree display.
1. From the Pass Tree display, make the pass you wish to
combine into the current Play Pass.
2. Then select the pass you wish to combine from.
In our example, we are combining from the Rough Mix into
pass010:
4. Next, set the punch in and out times as described on Page

360.
378/
378/ 474 V1.8/0 mc²66
Mixes and Passes
soft key functions.
EDIT DEL and
COMB.
COMB
6. To combine the passes, press COMB
COMB.
A new pass is created from the Play Pass and the Sel Pass as
shown below:
mc²66 V1.8/0 379/

379/ 474
Mixes and Passes
Setting an Offset Timecode

If you wish you can offset the internal timecode of the
automation system. For example, if your mix starts at an odd
timecode value and you wish to view it as starting at
01:00:00:00.
1. First, select the System display and GUI topic.
2. Focus on the Time display parameter and select the OFF

(Offset) soft key option.
The timecode shown at the top of each display will now show the
offset timecode.
3. Now press the AUTO SCREEN CONTROL button to
access the Pass Tree display:
4. Locate your machine to the timecode which you wish to

offset to Midnight (00:00:00:00).
380/
380/ 474 V1.8/0 mc²66
Mixes and Passes
PLAY TIME,
TIME GLDE and TC O.
O
6. To set the offset, press the TC O soft key.
The current timecode position is entered in the Midnight box, and
the timecode at the top of all displays is offset accordingly:
mc²66 V1.8/0 381/

381/ 474
Front Panel Control
Control Summary
Front Panel Control Summary

The AUTOMATION control panel provides access to the
following functions:
Global Control
• ON – turns the automation system on or off. When on,
automation replays from the Play Pass within the Active Mix.
• CANCEL – cancels the Record Pass, see Page 330. Use this
button to discard moves which you have just written.
• PLAY SAFE – use this mode to protect your mix. When
running in ‘Play Safe’, all parameters will read automation
data from the Play Pass but cannot write new data. In
addition, if you move the position of a control, you will NOT
hear any change in the audio.
• BYP – identical to ‘Play Safe’; all parameters will read
automation data from the Play Pass but cannot write new
data. However, if you move the position of a control, you
WILL hear the change in the audio.
• START WRITE – press this button to step all parameters into
write.
• STOP WRITE – press this button to step all parameters out of
write.
382/
382/ 474 V1.8/0 mc²66
• JOIN and JOIN AUTO – use these buttons if you are going to
be reviewing and updating a section of the mix. See Page
358.
• FILL COMM (Fill Region) – use this button to write any
parameter values in write between the Punch In and Punch
out times.
Dynamic Mode/Write Data

• SEL AUTO – flashes red when selected. Use the Central
Control Section SEL buttons (they turn orange) to choose the
audio modules you want to automate, see Page 336.
• SEL DYN – flashes red when selected. Use the Central Control
Section SEL buttons to choose dynamic or static automation
for each audio module, see Page 345.
• SEL ISO – reserved for future implementation.
• SEL ARM – flashes green when selected. Use the Central
Control Section SEL buttons to arm or disarm (write protect)
each audio module, see Page 364.
• WRITE R/W – flashes red when selected. Turns the fader strip
R/W buttons and the Central Control Section SEL buttons
into step in and step out of write controls, see Page 334.
• SEL TRIM – reserved for future implementation.
• DIRECT IN – allows you to step a control into write when
running in Bypass, see Page 364.
• MLT – allows you to set the automation selections, modes
and arming across multiple channels, see Page 337.
• CLUST – allows you step in and out of write on a cluster of
channels, see Page 356.
• ALL – reserved for future implementation.
Step Out Mode

• FILL START – selects the fill to start automation mode.
• FILL END – selects the fill to end automation mode.
• NEXT CHANGE – selects the next change automation mode.
• GLIDE – when enabled, variable parameters will glide back to
the Play Pass. The glide time can be set from 0 to 60,000 ms.
• STEP OUT – selects the step out automation mode.
• OUT IF
IF CRSS – selects the out if cross automation mode.
mc²66 V1.8/0 383/

383/ 474
Manual Mode
• ABS,
ABS TRIM and KT (Key Touch) - are reserved for future
implementation.
• Touch – when enabled, faders and variable controls will
automatically step out of write on release.
• FINISH – press to finish a mix pass manually, see Page 328.
Marker Control
• SET – press to set the punch in or out times.
• IN – press to enable automatic step into write at the punch in
time. (If SET is active, press to set the punch in time.)
• OUT – press to enable automatic step out of write at the
punch out time. (If SET is active, press to set the punch out
time.)
384/
384/ 474 V1.8/0 mc²66
Chapter 7: Signal Routing
Introduction
Chapter 7:
7: Signal Routing
Introduction
In this chapter you’ll learn about the mc266
66’s routing capabilities
handled from the Signals display. The console’s integrated digital
routing matrix allows you to route any source to any channel, and
any output mix or send to any destination. In addition, you may
route sources directly to destinations, for example to feed a
Mic/Line input to an AES output for archive recording purposes.
Multiple consoles may also be networked in order to share I/O
resources. For example, to share the same microphone input
between two consoles.
In addition, this chapter covers input and output settings. These
are handled from the Signal Settings display and provide the
following functions:
• Reverse interrogation for sources and destinations – use this
function to see a list of all sources feeding a particular
destination, or all destinations being fed from a particular
source. See Page 404.
• Mix-minus configuration – the assignment of auxiliary sends
for mix-minus (N-1) outputs. See Page 115.
• Isolate – allows you to isolate sources and destinations from
snapshot recall so that you can protect important signals such
as main distribution or monitor feeds from accidental reset.
See Page 404.
• Router level control – sets digital input and output levels
within the console’s router. This level is independent of the
input gain control. For example, you may wish to correct a
3dB offset between the left and right sides of an incoming
stereo source within the router rather than on the input
channels. See Page 407.
• Digital input and output settings (see Page 406):
o I/O DSP on/off – the option to bypass input
and output router DSP functions such as level
control.
o Input SRC on/off – the option to disable
sample rate conversion on digital inputs.
o Output sample rate selection – clock selection
for digital outputs; options include System
Clock, 44.1kHz, 48kHz or outputs may follow
the input sample rate from which they are
routed.
o Output word length selection – options for
16-, 20- or 24-bit.
• Tone generator control (see Page 412).
mc²66 V1.8/0 385/

385/ 474
The Signals Display
The Signals Display

All routing within the console is handled by the Signals display.
page 1 of 2.
The display represents the console’s integrated router, with
sources listed on the left side of the display and destinations on
the right. In order to keep the list manageable, sources and
destinations are divided into Directories and Subdirectories
Subdirectories.
es
If the selected source and/or destination are already routed, then
a green link appears to show the route on the display. Sources
and destinations are marked by a white cross with a red dot in the
middle if they are already routed to a destination.
You may see a number of other marks to help identify certain
types of signal:
• Interlocking red and green circles indicate that the source or
destination is stereo.
• If a source or destination name is shown in white, then the
signal is disconnected, see Page 397.
• A T prefix indicates Tiny (reduced processing) channels.
• An S prefix indicates that a source or destination is ‘Shared’
(made available) to another console.
• An I prefix indicates that a source or destination is ‘Imported’
from another console.
386/
386/ 474 V1.8/0 mc²66
The Signals
Signals Display
2. Using the trackball or navigation buttons, select one of
the Source Directories from the top left of the display (e.g.
Stagebox).
Stagebox
The selected directory is highlighted in black and the list of
available Subdirectories updates.
3. Now select one of the Subdirectories (e.g. Mics).
Mics
The selected sub-directory is highlighted in black and the Source
Name and Label columns update to show the available sources.
4. One of the sources will be selected, in black e.g.
MIC_06.7
MIC_06.7:
If this source is routed to a destination on the right hand side of

the display, then the route is marked with a green line linking the
source to its destination. In our example, the selected source
(MIC_06.
MIC_06.7
MIC_06.7) is routed to INP7
INP7 (Input channel 1).
5. Using the trackball or navigation keys, move up and down
the list of sources to get a feel for the operation.
6. Repeat steps 2 and 3, this time selecting a destination
from the right hand side of the display.
You can interrogate all the routes to or from a particular source or
destination from the Settings display. Please refer to Page 404 for
details.
Depending on the I/O configuration of your system, you may
have different directory and sub-directory names from our
example. In addition, note that each source and destination label
may be programmed and saved with the snapshot for the
production. Please refer to Page 395 for details on how to use
source and destination labels.
mc²66 V1.8/0 387/

387/ 474
The Signals Display
Routing a Source to a Destination
To make a route using the Signals display, for example, to route a
microphone input to channel 7 (e.g. INP7):
CONTROL panel, to view the Signals display:

Mics)
Your selections are highlighted in black and the Name and Label
columns update to show all available sources.
wish to route (e.g. MIC_06.7
MIC_06.7)
example, select Inputs/Mon as your directory, Inp 1-
1-24 as
Label list.
388/
388/ 474 V1.8/0 mc²66
The Signals Display
between your source and destination.
If the input channel is allocated to a fader strip on the control
surface, you will see the Fader Label update, and also the name
and label on the Channel display. However, note that you don’t
need to have the channel assigned to the surface in order to
assign a source. Note that if the INHERIT button is active, see
Page 231, the labels show the name of the source rather than the
DSP channel.
For help on assigning input channels to fader strips, please see
Page 192.
If you make a mistake or want to undo an existing route:
6. Repeat steps 1 – 4, and press DCON (disconnect) to undo
the route.
The green line between the source and destination disappears
mc²66 V1.8/0 389/

389/ 474
Chapter 7:
7: Signal Routing
The Signals Display
A/ B Input Sources
For any input or monitor DSP channel, you may assign a main
source (A) and back up source (B). For example, you may assign
to B during the show if the first mic fails.
Therefore, you will find two Destination
Destination options when assigning
sources to input and monitor DSP channels from the Signals
display:
• Select the A INP or A MON subdirectory to assign a source to

an A input.
• Select the B INP or B MON subdirectory to assign a source to
a B input.
For more details on switching between A and B sources, see Page
92.
390/
390/ 474 V1.8/0 mc²66
The Signals Display
Routing to Multiple Destinations

To route a range of sources to a range of input channels, for
example, to route Microphones 1-24 to Input Channels 1-24, use
the ‘step forward’ mode as follows:
Signal display:

Mics)
Your selections are highlighted in black and the Name and Label
columns update to show all available sources.
3. Now select either the Name or Label for the first source
you wish to route (e.g. MIC_06.7
MIC_06.7).
4. Next, select the first destination channel in a similar
fashion. For example, select Inputs/Mon as your directory,
Inp 1-
1-24 as the sub-directory followed by INP7
INP7 from the
Name and Label list.
mc²66 V1.8/0 391/

391/ 474
The Signals Display
5. Now press the PAGE button, located above the trackball,
to access the second page of soft key functions.
The displays above the four soft keys update to show STER,
STER EDIT,
EDIT
STEP and SHAR functions.
6. Press the STEP key to activate the step mode.
7. Now deselect PAGE and press the CONN soft key.
Note how the source and destination selections on the Signals
display now automatically step down the list each time you press
the CONN button.
8. Continue pressing the CONN button until all of your
sources are connected to your destinations.
As you step down through the list, note the crosses which appear
showing that you now have routes made to the sources and
destinations.
If the list of sources is shorter than the list of destinations, then
when you reach the last source in the list, the step mode
automatically scrolls back up to the first source in the list. This
allows you to continue making routes from the sources to the
remaining destinations, for example, to route microphones 1-8 to
input channels 1-8, 9-16 and 17-24.
In addition, note that the step function can be used with an offset
between the starting source and destination. For example, to
route Microphones 1-8 to Input Channels 17-24, repeat the
above operation but set your first destination channel to be Inp
17 rather than Inp 1.
1
392/
392/ 474 V1.8/0 mc²66
The Signals Display
Creating Stereo Channels

While making routes from the Signals display, you may also want
to configure whether your destination channels are mono or
stereo. This operation duplicates the action of the STEREO button
located on the Central Control Section’s IMAGE control panel, see
To create the stereo channel from the Signals display:
1. Using the trackball or navigation buttons, select either the
Name or Label for the odd numbered Destination channel
(e.g. INP 1):
1
Your selection is highlighted in black.
2. Select the PAGE button to access the STER,
STER EDIT,
EDIT, STEP
and SHAR soft key functions.
3. Press STER to create the stereo link:
This links the selected channel to its adjacent DSP path. For
example, if you selected input channel 3 then the stereo channel
is created using input channels 3 and 4.
Two interlocking red and green circles appear beside the odd and
even sides of the stereo channel to indicate stereo operation.
Note that creating the stereo channel does not change your
source routing. This allows you to route non-consecutive sources
to the left and right sides of the stereo channel from the Signals
display.
mc²66 V1.8/0 393/

393/ 474
The Signals Display
Marking Stereo Sources

In addition to creating stereo destination channels, the Signals
display can also be used to mark stereo sources. For example, in a
list of microphone inputs, you can choose to mark two of the
sources as stereo to indicate the stereo pair of mic inputs.
Name or Label for the odd numbered Source which you
want to mark (e.g. MIC_06.1)
MIC_06.1
STER EDIT,
EDIT, STEP
3. Press STER soft key:
Two interlocking red and green circles appear beside the odd and
even sides of the stereo source to mark it as a stereo input.
Note that this function is for display purposes only and does not
change the functionality of the source in any way.
394/
394/ 474 V1.8/0 mc²66
The Signals Display
Names and Labels

Every individual source and destination is displayed with a fixed
system name and a user programmable label. Due to the way in
which you can view user labels on the control surface, it’s worth
taking a little time to understand the best way of using these
labels.
On every fader strip, you will find a 4-character alphanumeric
display which displays names for your fader strips. Note that each
name is shortened to 4 characters – for example, input channel 1
is displayed as INP1;
INP1 input channel 11 as IN11;
IN11 input channel 101
as I101.
I101
The display may be switched between three different names:
• System Name – this is the fixed system name for the DSP
channel assigned to the fader strip. For example, INP1 for
input channel 1, MON8 for monitor return channel 8 or GRP4
for group master channel 4.
This is the same name as the Destination NameName on the Signals
display, and the name shown in the two grey boxes on the
Channel display for layers 1 and 2 of each fader strip.
• Channel Label – this is a programmable user label given to the
DSP channel. For example, Guest 1,
1 Gr Mics,
Mics etc.
This is the same name as the Destination Label on the Signals
display, and the name shown in the two black boxes on the
Channel display for layers 1 and 2 of each fader strip.
• Source Label – this is a programmable user label given to the
Source which is routed to the DSP channel. For example, Mic
1, Mic 2,
2 etc.
This is the same name as the Source Label on the Signals display.
mc²66 V1.8/0 395/

395/ 474
The Signals Display
You may switch the label displays between any of the three
names from the STRIP CONTROL: LABEL buttons in the centre
section of the console:
1. Press DEFAULT to view the system name. For example,
INP 1.
1
Use this mode when you preparing a console configuration. This
enables you to easily view where you are assigning your input
channels, monitor returns, group masters, auxiliary masters, etc.
2. Press USER to view the user channel label. For example,
Guest 1.
1
3. Press INHERIT to view the source label of the source
assigned to the DSP channel. For example, Mic 1.
1
Remember that in the case of the fader strip label display, the
name will be shortened to 4 characters.
Note that if no source is assigned to a channel, the fader label
continues to display the channel label until a source is assigned.
For example, if you have used the names Guest1 Guest1, Guest2
Guest2 and
Guest3
Guest3 as channel labels, and Mic1,
Mic1 Mic2 and Mic3 as source
labels for microphone inputs, when you begin to route sources to
channels for the show, the fader labels will display Guest 1, Guest
2 and Guest 3 until a source is assigned. Therefore, if you look
across the console and see Mic1,
Mic1 Mic2 and then Guest 3 on your
fader labels you know that the Guest 3 channel is not yet in use
and available for a new guest microphone.
In addition, this provides an overview of the routes made from
the Signals display without viewing the display on the central
control screen. Or, for example, you can easily see if an external
controller is doing remote connects on the router to a VTR.
For an individual source, the inherit function may be inhibited.
This operation must be performed within the factory
configuration. Please consult your console specification for details.
396/
396/ 474 V1.8/0 mc²66
The Signals Display
Changing Source and Destination User Labels

1. Using either the trackball or navigation buttons, select
your source or destination from the Signals display:
2. Press the SCREEN CONTROL PAGE button to navigate to

the second level of soft key functions:
The four soft key functions update.
3. To rename the label, press EDIT
EDIT.
name.
down to the next label in the list.
button.
7. Remember to save your snapshot to save your user labels.
mc²66 V1.8/0 397/

397/ 474
The Signals Display
Disconnected Signals
If the name of a source or destination is shown in white on the
Signals display, then the signal is currently disconnected. This can
be useful for fault finding and reassurance.
For example, in an outside broadcast vehicle, you may have a
number of remote Stageboxes. During the setup for the
broadcast, you can make routes from microphone sources which
connect to these Stageboxes.
When the Stagebox is connected to the system, the Signals
display shows these source names in black:
If the Stagebox is disconnected from the system, then the names

change to white:
If you need further help diagnosing system connections, see the

System States display, Page 447, for details.
398/
398/ 474 V1.8/0 mc²66
The Signals Display
Networking I/O Resources

Two or more mc266 consoles may be networked to distribute I/O
resources. For example, to share the same microphone source
between two consoles:
Mic 1 &2
mc²66 A
Netlink
Shared Mic 1 &2
mc²66 B
In the above example, mics 1 and 2 are physically connected, via

a DALLIS I/O unit, to console A. Signals are transferred between
the two consoles via ‘Netlinks’, providing the ability to route mics
1 and 2 to console A and/or console B.
Each ‘Netlink’ is an audio connection which may be MADI, ATM,
AES or Analogue audio, and signals are dynamically allocated as
each operator makes routes from the Signals display.
Any number of sources may be distributed depending on the
physical limitations of your network. Please consult your technical
representative for further details on your installation’s
configuration.
mc²66 V1.8/0 399/

399/ 474
The Signals Display
On any console within the network, you can view which sources
are distributed from the Signals display:
• An S prefix indicates that a source is connected locally to this

console, and is ‘Shared’ (made available) to other consoles
within the network. In our example, the mic sources would be
shown as ‘Shared’ on console A.
• An I prefix indicates that a source is ‘Imported’. In other
words, it is not connected locally to this console. In our
example, the mic sources would be shows as ‘Imported’ on
console B.
400/
400/ 474 V1.8/0 mc²66
The Signals Display
On the console which is distributing the signals – in our example,
console A - you can select which sources are shared from the
Signals display:
Name or Label for the source you wish to share (e.g. Mic1):
Mic1
STER EDIT, STEP
3. Press SHAR to share the source:
An S prefix appears next to the source name to show that it is

now shared.
4. Press SHAR again to unshared the source.
The S prefix disappears.
Note that you cannot unshare a source if it has been routed as an
imported source within another console. For example, if console B
has made a route using the Mic 1 signal, then console A cannot
unshare the Mic 1 source until console B’s route is removed. This
protects one console from removing routes which are in use by
another within the network.
If you wish to share a number of sources, then you can use the
STEP function to step through and SHARe
SHARe a number of sources.
mc²66 V1.8/0 401/

401/ 474
The Signals Display
Once the source has been shared from console A, then other
consoles within the network may access this source (shown as
imported) from the Signals display.
Note that console B will only be able to access the source if its
I/O configuration has been programmed to do so – i.e. a location
for the imported source must have been created within an I/O
directory and subdirectory. Please consult your technical
representative for further details.
Once console B can ‘see’ the imported source, then making a
route or changing parameters is done in exactly the same way as
if the source were local to the console.
Note that all consoles within the network have access to the
source parameters, and the last console to make a change wins.
In our example, consoles A and B both have access to mic pre-
amp control for mics 1 and 2. Similarly for a shared digital
destination, both consoles may change parameters like SRC, etc.
This operation extends to snapshots. So if both console A and B
are using the Mic 1 signal, parameter settings like mic gain, etc.
can be reset from snapshots from either console. To control which
console resets the mic parameters, use the I/O snapshot filter to
prevent recall of I/O settings, see Page 265.
402/
402/ 474 V1.8/0 mc²66
The Signal Settings Display

The Settings display provides control of a variety of input and
output settings including reverse interrogation of routing, mix
minus configuration, digital input and output sample rate
conversion, word length and dither selection.
CONTROL panel, to switch to the Settings displays:
page 2 of 2.
The inner part of the display should look familiar, and shows
routes made from the source and/or to the destination last
selected on the Signals display.
One of the sources and one of the destinations are selected in
black and appear in the Selection box. The other areas running
down the left and right sides of the display now show the current
routes and settings for these selections.
Using the trackball or navigation buttons, you may focus the
display on any of the available areas. Note that throughout this
display, the first level of soft key functions provide access to
routing functions:
• CONN – press to connect the selected source to the selected
destination.
• DCON – press to disconnect the selected source from the
mc²66 V1.8/0 403/

403/ 474
Reverse Interrogation of Signal Routing

Reverse interrogation provides a quick way of viewing all the
sources feeding a particular destination, or all destinations routed
from a particular source.
For example, to view all the destinations fed from your first digital
input:
1. From the Settings display, select the source you wish to
interrogate. If the source does not appear in the current
Source Name/Label
Name Label list, then revert to the Signals
Signals display to
select a different Directory and Subdirectory.
Subdirectory
A list of all current destinations for the selected source appears in

the Destinations box.
2. Focus on the Source Name/Label
Name Label list and you may now
delete routes made from this source or create new routes
using the DCON and CONN soft keys located above the
trackball.
3. Press the PAGE button to access the EDIT,
EDIT STEP,
STEP STER
and SHAR source functions – see Pages 397, 391 and 393
for details.
4. Change the focus to the Destinations box to access the
LOC soft key. Pressing this button automatically updates the
Destination Name/Label
Name Label list on the right of the display to
show the selected destination’s subdirectory.
5. Use the same operations in reverse to view or edit all
sources feeding a particular destination.
404/
404/ 474 V1.8/0 mc²66
Snapshot Isolate
The Isolate function is used to isolate sources or destinations from
snapshot recall. For example, you may wish to protect important
signals, such as main sum distribution or monitor feeds, from
accidental reset. To isolate a source or destination:
1. Select the source or destination you wish to isolate from
the Signals display.
CONTROL panel, to switch to the Settings display:
3. Using the trackball or navigation buttons, focus on the

Isolate box on either the left or right side of the display
depending on whether you wish to isolate the selected
source or destination.
key functions and select or deselect the ON soft key.
The display updates to show Isolate on or off and changes colour
accordingly.
When a snapshot is loaded, any routes made to an isolated
destination or from an isolated source are not loaded.
Note that the Isolate function does not prevent routes from being
stored when a snapshot is saved or updated; Isolate only applies
when settings are loaded back from a snapshot.
mc²66 V1.8/0 405/

405/ 474
I/O DSP On/Off

DSP modules within the router provide the following options for
digital I/O:
• Router level control (input or output)
• Word length selection and dither (outputs only)
In some circumstances you may wish to bypass these DSP
modules for particular inputs and outputs. For example to make
the digital path suitable for Dolby E operation, you should disable
the I/O DSP for both the input and output, and disable any
sample rate conversion.
The current status of the I/O DSP module is shown on the
Settings display for the selected source and destination:
When the I/O DSP module is switched into circuit, the box is
highlighted in green; when it is out of circuit, the box is coloured
grey. To change the status of the module:
1. From the Settings display, select the source or destination
you wish to adjust.
I/O DSP box on the left or right side of the display
depending on whether you wish to adjust the selected
source or destination:
key functions and select or deselect the ON soft key.
The display updates to show I/O DSP on or off and changes
colour accordingly.
406/
406/ 474 V1.8/0 mc²66
Router Level Control

The Level boxes on either side of the Settings display allow you to
set an offset level within the router for any source or destination.
For example, you may wish to correct a 3dB offset between the
left and right sides of an incoming stereo source within the router
rather than on the input channels. Or, if you are providing feeds
to broadcast stations requiring different line-up levels, you may
apply this level compensation within the router rather than at the
main sum or group output.
To set the level for a particular input or output:
1. From the Settings display, select the source or destination
you wish to adjust.
Level box either on the left or right side of the display
depending on whether you wish to adjust the level for the
selected source or destination:
3. Use the rotary control, located on the SCREEN CONTROL

panel, to set the offset level.
Levels may be adjusted from -128dB to +15dB.
Note that I/O DSP must be switched on to use this function;
when enabled, I/O DSP and Level are highlighted in green.
mc²66 V1.8/0 407/

407/ 474
Routing
Input SRC (Sample Rate Conversion)

Conversion) On/Off
For digital inputs, sample rate conversion defaults to on unless
you select otherwise. The SRC on/off
on box on the left hand side of
the Settings display allows you to disable sample rate conversion
for the selected source. Note that the sample rate conversion for
digital outputs is automatically selected depending on your choice
of clock and word length; see the table in Appendix B, Page 454,
for details. Therefore, the destination SRC on/off
on box is for
display purposes only.
To disable SRC for a digital input:
1. From the Settings display, select the source you wish to
adjust.
SRC box on the left side of the display:
3. Select the PAGE button located between the soft key

buttons to access the second level of functions.
4. Deselect the SRC soft key.
Sample rate conversion is switched off and the display updates to
show SRC off in grey.
5. To enable the input SRC, switch on the SRC soft key.
Sample rate conversion is switched on and the display updates to
show SRC on in green.
408/
408/ 474 V1.8/0 mc²66
Output Sample Rate Selection

The default sample rate for digital outputs is referenced to the
console’s System clock. Please refer to the mc266 Technical
Manual for more details on available clock sources.
On digital outputs with sample rate conversion (SRC), you may
alter the clock selection of each output. For example, you may
wish to send a 44.1kHz feed to a CDR. Note that, depending on
your hardware specification, sample rate conversion may be
unavailable on some digital outputs.
Note that you don’t have to switch sample rate conversion on or
off for digital outputs; this is handled automatically depending on
your choice of clock source and word length; see the table in
Appendix B, Page 454, for details. The destination SRC on/offon off
box shows the status of the automatic selection and is provided
for display purposes only.
To change the sample rate for a digital output:
1. From the Settings display, select the destination you wish
to adjust.
Clock sel box:
mc²66 V1.8/0 409/

409/ 474
buttons to access the following options:
• SYSC – system clock. Please refer to the mc266 Technical
Manual for more details on available clock sources.
• 44.1 – 44.1kHz.
• 48 – 48kHz.
• INP – sets the output sample rate to follow the input sample
rate from which it is routed.
In each case, the Clock sel box updates to show your selection. In
addition, depending on your word length selection, the SRC
on/off
on status may also update.
4. Repeat the operation for each digital destination you wish
to modify.
410/
410/ 474 V1.8/0 mc²66
Word Length Selection

The word length for each digital output defaults to 24-bit unless
you select otherwise. For example, you may wish to truncate the
digital outputs feeding a 16-bit recorder.
Note that dither is automatically applied to signals reduced to 20-
or 16-bits. In addition, your word length selection may change
the status of output sample rate conversion; see the table in
Appendix B, Page 454, for details.
To set the word length:
1. From the Settings display, select the destination you wish
to adjust.
2. Using the trackball or navigation buttons, focus the
display on the Word length box:

buttons to access the following options:
• 24 – 24-bits.
• 20 - 20-bits.
• 16 – 16-bits.
Note that when 16 or 20-bit are selected, dither is automatically
applied as indicated by the Dither box. If 24-bit is selected then
the box shows Truncate to warn you that the digital signal will be
externally truncated by the receiving device.
4. Repeat the operation for each digital destination you wish
to modify.
mc²66 V1.8/0 411/

411/ 474
Tone Generator Control

Depending on the hardware specification of your system, the
console may have access to one or more internal tone generators.
Each tone generator is located on the DALLIS DSP card 947/42,
and in a system with multiple DALLIS cards, settings may be
adjusted independently for each generator.
1. Select the tone generator source you wish to adjust from
the Signals display. You will need to locate the correct
DALLIS directory and subdirectory in order to locate the tone
source.
CONTROL panel, to switch to the Settings display:
At the bottom left of the Settings display are shown the type,
frequency and level of signal from the selected tone generator.
To change the type of generator signal:
display on the TG box.
4. Press the SET soft key and now use the rotary control to
scroll through the available options:
• WHIT – white noise.
• PINK – pink noise.
• SINE – sine wave.
5. Deselect the SET soft key to confirm your selection.
The TG box updates to show the new type of signal.
412/
412/ 474 V1.8/0 mc²66
To adjust the level of the generator signal:
display on the Level box.
set the level.
The level of the tone generator may be adjusted from 0dB to -
128 dB.
To adjust the frequency of a sine wave generator signal:
display on the Freq box.
scroll through the available options:
• 20 – 20Hz
• 49.9
49.9 – 49.9Hz
• 100 – 100Hz
• 200 – 200Hz
• 400 – 400Hz
• 440 – 440Hz
• 1K – 1000Hz
• 2K – 2000Hz
• 2.9K – 2998Hz
• 3.9K – 3999Hz
• 4.9K – 4987Hz
• 6.9K – 6997Hz
• 10K – 10000Hz
• 15K – 15000Hz
• 20K – 20000Hz
mc²66 V1.8/0 413/

413/ 474
Chapter 8: System Configuration
Introduction
Chapter 8:
8: System Configuration
Introduction
This chapter is for experienced users and deals with the functions
and displays provided by the SYSTEM SYSTEM/STATES
/STATES SCREEN
CONTROL menu:
The System display (see Page 415) – contains a range of user
options including:
• Global options for snapshot isolate, channel mutes, track self
assign, console surround formats, software version display,
memory usage and backup snapshot settings.
• Console surface options for setting bulb brightness, testing
bulbs and displays, fader display options, fader calibration and
fader bay isolate options.
• Level options for setting analogue reference levels and
headroom, and the overload indicator threshold.
• Bar graph options for setting metering scale and response.
• Solo button options for latching or momentary operation.
• AFL, PFL and Solo-in place options.
• GUI options for displaying local time or timecode.
• Custom options.
• Wordclock sync and sample rate options.
• Timecode and frame rate options.
• Fader/Joystick options.
• X-Fade options.
The States display (see Page 440) – provides graphical feedback
on the status of system hardware and may be used to diagnose
system connections and hardware failures.
Finally, at the end of the chapter we cover system shutdown and
restart (see Page 449).
First let’s start with an overview of the system’s hardware and
redundancy features.
414/
414/ 474 V1.8/0 mc²66
Hardware Overview
Hardware Overview
The mc266 consists of three principal system components:
• Console control surface - including the integrated control
system.
• HD Core - DSP and routing matrix core.
• DALLIS I/O interfaces – offering a range of input and output
cards which may be connected remotely to the system (up to
2km from the core).
The exact hardware specification of your system will define how

many analogues and digital connections are available for external
equipment, and how much DSP processing is available for input
outputs) and auxiliary sends. For more details on the HD Core
and DALLIS I/O units, please refer to the relevant documentation.
Console Options
A range of system options are also available:
• Networking of I/O Resources - two or more mc266 consoles
may be networked to share I/O resources. For example, to
share the same microphone sources between two consoles.
• A second external GUI display, independent of the Central
Control Section may provide dedicated access to any one of
the following: Metering,
Metering Main or Sequence display. Note that
a configured DVI output must be always be connected for
proper operation.
• Please consult your Lawo representative for more details on
any of these options.
mc²66 V1.8/0 415/

415/ 474
Hardware Overview
Internal Sample Rate

Depending on the hardware specification of the system, the
mc266 may operate at a choice of internal sampling rates
including 96kHz, 88.2kHz, 48kHz and 44.1kHz. The option to
run at higher (96kHz or 88.2kHz) or lower (48kHz or 44.1kHz)
sample rates is made within the low level configuration data and
may not be modified by the user. Within each rate, the user may
then choose between the two sample rate options, for example
48kHz and 44.1kHz, from the System display, see Page 438.
Note that higher sample rates use twice as much DSP resource as
lower sample rates. Therefore when you select the DSP Config
display, you will see different numbers of channels available for
high and low sample rate productions. See Page 171 for more
details on DSP configurations.
System Clock
The HD Core offers a fully redundant clock source structure with
two independent clock inputs, an internal sync generator and the
ability to lock to sync from an incoming multi-channel signal. This
allows the console to be clocked from a variety of sync sources
and recover from loss of external sync.
External sync input 1 may be fed by Wordclock, Black & Burst
Video (PAL or NTSC), AES 3, ATM or MADI depending on the
configuration of the system.
External sync input 2 may be fed by Wordclock, Black & Burst
Video (PAL or NTSC) or AES 3.
Note that when running the system referenced to Wordclock, the
sync frequency must match the internal operating rate of the
system as selected from the System display, see Page 438.
Within the system you may define a main clock source (Source
Priority 1) and a redundant one (Source Priority 2).
If sync is lost or a signal of an incorrect frequency appears on
Source Priority 1, the system automatically switches to Source
Priority 2. Similarly, if sync is lost on Source 2, the system
automatically switches to internal sync.
In addition, you can activate a return mode so that the system
will switch back to Source Priority 1 sync when it returns. The
system even checks whether the return sync is valid and will not
switch until the sync source matches the chosen operating
frequency of the console.
The selection of sync source priority signals and return mode is
made from the Wordclock options covered later in this chapter.
416/
416/ 474 V1.8/0 mc²66
Hardware Overview
Redundancy
Redundancy may be added to each component of the system to
provide fault tolerance in the unlikely event of a hardware failure.
• Redundant DSP - Within the HD core, any number of DSP
boards may be reserved to provide redundant processing in
the unlikely event of a DSP board failure. For more details,
please refer to Page 177.
• Redundant Router - Within the HD core, a second router
board may be fitted to provide redundant signal routing for
all signals entering and exiting the core.
If fitted, you will see the redundant router board on the HD core
front panel. The spare board is shown in Standby.
In the unlikely event of a failure, the system automatically

switches all routes from the faulty board to the spare; the faulty
board may then be safely removed and replaced. The replaced
board will now act as a spare until further action is taken.
You can force a module takeover manually from the front panel
by pressing the Module Takeover depressed button.
Note that a brief interruption to audio will occur while routes are
reconfigured.
mc²66 V1.8/0 417/

417/ 474
The System Display
The System Display

1. Press the SYSTEM/STATES button, located on the
SCREEN CONTROL panel, to view this display now:
Note that each time you press the SYSTEM/STATES button you
toggle between two pages – System and States.
States The current page
is always highlighted at the top of the display – in our example,
page 1 of 2.
of Topics on the left hand side of the display.
3. Cursor or scroll up and down the list to select a topic.
For each topic, a different subset of Parameters appear.
4. Focus on the Parameter list in the middle of the display
and select a parameter either using the trackball, navigation
buttons or rotary control.
A Description of the available options for that parameter appears
on the right hand side of the display.
5. To select a different option, use the four soft keys located
above the trackball.
418/
418/ 474 V1.8/0 mc²66
Global Options
Global Options
Select the Global Topic to set the following console options:
Isolate
This option enables or disables all SNAP ISO (Snapshot Isolate)
buttons across the console.
1. Press the ENA soft key to toggle between the two states.
• Isolate enable – enables the SNAP ISO buttons.
• Isolate disable – disables the SNAP ISO buttons.
Mute
This option enables or disables all fader strip Mute buttons across
the console.
• Mute enable – enables the MUTE buttons.
• Mute disable – disables the MUTE buttons.
mc²66 V1.8/0 419/

419/ 474
Global Options
Options
Track Self Assign

This option allows a monitor channel to be assigned to its
associated track bus. Do not use this option when working with a
multitrack machine as assigning a monitor channel back onto its
track bus will create a feedback loop. The option is designed for
applications where monitor channels are not feeding a multitrack
machine.
• Track self assign enable – allows monitor channel n to be
assigned onto track bus n.
• Track self assign disable – prohibits monitor channel n to be
assigned onto track bus n. Use this option when working with
a multitrack machine to inhibit feedback.
Channel mute
The mute for all DSP channels may be set to work in one of two
different ways:
1. Press the ON soft key to toggle between the two states.
• Channel mute off – when a channel mute is selected, only the
post fader outputs of the channel are muted.
• Channel mute on – when a channel mute is selected, all
channel outputs including pre-fader sends are muted.
X/Y Mode
Reserved for future implementation.
Surround Mode
This option sets which surround format will be utilised for
surround panning and monitoring options within the console.
Please refer to Appendix A for more details on each of the
surround formats.
1. Press each of the following soft keys to make your
selection. Note that you may need to press the PAGE button
to access all options:
• 4.0 – LCRS output format for Dolby ProLogic applications.
• 5.1 – 5.1 output format for Dolby Digital and DTS
applications.
• 6.1 – 6.1 output format for Dolby Digital EX and DTS ES
applications.
• SDDS – 7.1 SDDS output format.
• 7.1 – Lawo’s own 7.1 panning format.
420/
420/ 474 V1.8/0 mc²66
Global Options
Software Version and Release Version
These two boxes are useful for service when you may need to
report the software version running on your system:
• Software Version – this is the generic application version.
• Release Version – this is the actual version of the release. It is
this version which you should report to a Lawo engineer if
requested to do so.
Data Memory
Memory Load
This box indicates the amount of space available on the user data
card.
Backup Snap Max.

This option sets the number of backup snapshots which will be
automatically stored by the system before the first backup
snapshot is overwritten.
set the number of backup snapshots.
The number may be adjusted from 0 (backup snapshots off) to
20.
2. Having made your selection, press SET again to confirm.
Backup Snap Interval

This option sets the time interval between backup snapshots.
set the time interval in seconds.
The interval may be adjusted from 1 to 1000.
2. Having made your selection, press SET again to confirm.
mc²66 V1.8/0 421/

421/ 474
Console Options
Console Options
Select the Console Topic to set the following options:
Bulb Dimmer
Sets the brightness of all LEDs, bulbs and text displays across the
front panel.
1. Select the SET soft key and then either turn the rotary
control or use the up/down navigation buttons to increase
or decrease the luminance.
The luminance may be set from 1(low) to 31 (high).
2. Deselect the SET soft key when you are happy with your
setting to return to navigating the menus.
Bulb Test
Lights all LEDs, bulbs and text displays to check for defects.
1. Press the TEST soft key to enter the test mode.
All LEDs, bulbs and displays will illuminate across the console.
Note that all dual coloured bulbs should be orange. If not, then
this indicates that either the red or green bulb is faulty.
2. Deselect the TEST soft key to exit the test mode.
The TEST key is the one located on the left hand side of the four
soft keys.
422/
422/ 474 V1.8/0 mc²66
Chapter
Console Options
Fader Display Mode

This option determines whether the 4-character fader strip display
fader values when faders are touched on the console.
1. Press the SENS soft key to set the fader sense mode.
The displays show the fader label unless a fader is touched; then
the fader value is show in the display.
2. Press the NAME soft key to deselect the fader sense
mode.
The displays will now always show the label name and not display
fader values when touched.
Fader Calibrate
This option is used to calibrate the faders on the console.
1. Press the CAL soft key to recalibrate the faders.
One fader after another in each 8-fader panel opens and closes to
calibrate.
Listen Latch Mode

This option defines whether LISTEN AFL functions are latching or
momentary (sensing):
1. Press the following soft keys to make your selection:
• LTCH – latching LISTEN.
• SENS – sensing (momentary) LISTEN.
Select Isolate
This option can be used to disable the fader strip SEL buttons
within all isolated fader bays. For example, to prevent the second
engineer updating the channel in access while a show is running
• ON – fader SEL buttons are isolated.
• OFF – fader SEL
SEL buttons are active.
mc²66 V1.8/0 423/

423/ 474
Console Options
ISO AFL2/PFL2
This option is used to route AFL and PFL selections made within
the isolated module onto a second AFL and PFL bus. For
example, to provide a second engineer with independent
monitoring in a multi-user situation.
• ON – The second AFL/PFL output is active..
• OFF – All AFL/PFL selections route onto the main AFL and
PFL bus.
Display Bus Count

The next four options enable you to change the number of
busses shown on the Channel Display. For example, you may
wish to display different number of Group, Aux, Track and Sum
assignments depending on your production.
1. Select the bus type you wish to adjust – for example, Disp
Group count.
count.
or decrease the number of Group busses shown on the
Channel Display.
3. Repeat for the other bus types.
424/
424/ 474 V1.8/0 mc²66
Level Options
Level Options
Select the Level Topic to make changes to the console’s reference
level, headroom or overload threshold.
These levels affect the maximum analogue from your system
according to the following equation:
Maximum Analogue Level = Reference Level + Headroom
For example, the normal settings for EBU operation are shown
above (Reference Level = +6dBu and Headroom = +9dB.
Therefore, the maximum analogue level is +15dBu.)
If your system is fitted with fixed level DALLIS analogue I/O
boards, then the headroom and reference level cannot be altered
independently. For example, with a +15dBu fixed analogue board
and +9dB headroom, the reference level must be +6dBu. In a
system with a mixture of fixed level and variable analogue I/O
boards, then the system headroom and reference levels operate
within the range of the analogue board with the lowest
maximum level.
The maximum analogue level which the system supports is
+24dBu.
Warning
Note that changing the reference level or headroom moves the
internal 0dB operating point for the system and therefore will
change the behaviour of any level dependent settings such as
dynamics processing and metering. Therefore, it is not advisable
to alter these levels once dynamics processing has been set.
mc²66 V1.8/0 425/

425/ 474
Level Options
If you intend to work with the dBFS digital meter scale option, or
an external AES meter, then you should set the Reference Level
equal to your maximum analogue level (e.g. +15dBu) and
Headroom to 0dB as shown below:
This ensures that the dBFS metering on the Channel Display

matches any external AES metering you may have.
Note that using this type of setup, the internal 0dB operating
level now equals 0dBFS. This means that you are responsible for
your own headroom! For example, if you still want a headroom
of +9dB, then you will need to set your limiter threshold points to
-9dB, etc.
See Page 429 for more details on using the dBFS meter scale
option.
426/
426/ 474 V1.8/0 mc²66
Level Options
Reference level
Sets the reference level of your analogue interfaces in dBu.
or decrease the level in dB.
The reference level may be set from -20dBu to +26dBu,
depending on the Headroom level. (Maximum analogue level =
+24dB and minimum analogue level = +12dBu).
Note that changing the reference level will change the behaviour
of level dependent settings such as dynamics processing. In
systems with fixed level analogue I/O boards, then adjusting the
reference level also adjusts the headroom.
2. Deselect the SET soft key to exit the set mode and return
to navigating the menus.
Headroom
Sets the operating headroom to the external world; this is the
difference between the analogue reference level and digital full
scale (0dBFS).
Note that the internal Headroom is more then 380dB which
means, if you route from input to group to group to sum, you
can overdrive the level more then 380dB before clipping!
The headroom may be set from 0dB to +20dB depending on the
Reference level. (Maximum analogue level = +24dB and
minimum analogue level = +12dBu).
Note that changing the headroom will change the behaviour of
level dependent settings such as dynamics processing. In systems
with fixed level analogue I/O boards, then adjusting the
headroom also adjusts the reference level.
mc²66 V1.8/0 427/

427/ 474
Level Options
Options
Overload Threshold
Sets the overload threshold of your system relative to digital full
scale. For example, with the overload threshold set to 0dB, then
the overload indicator OVR on the channel meter and fader strip
is activated when signal reaches 0dBFS. Set the threshold level to
say -3dB to reset this indicator such that it illuminates when
signals reach -3dBFS.
The threshold may be set in 0.5dB steps from -6dB to 0dB.
Note that OVR is only indicated if you meter a pickup point from
the router to the DSP or from the DSP to the router such as Input,
DIROUT, SEND, RETURN. Internally, the system headroom
exceeds 380dB!
428/
428/ 474 V1.8/0 mc²66
Bar graph Options
Bar graph Options

Bargraph
Select the Bar graphs
graphs Topic to set the following meter options:
Full Channel mode

This option defines the characteristics for all meters across the
console:
selection:
• PPM – Peak metering, 10ms attack time and 1.5s release.
• SMPL – Sample accurate peak metering, 0ms attack time and
1.5s release.
• FAST – Fast response peak metering, 1ms attack time and
1.5s release.
• VU – RMS metering, 300ms attack and 300ms release.
All bargraph meters across the console, including the Main
display, update to reflect the new settings.
Scale mode
This option defines the scale for all meters across the console:
selection:
• DIN – DIN PPM scale, conforming to IEC 268-10.
• UK – UK PPM scale, conforming to IEC 268-10 IIA.
• NORD – NORDIC PPM scale, conforming to IEC 268-10 I.
• dBFS – dB Full Scale – digital meter scale.
All bargraph meters across the console, including the Main
display, update to reflect the new settings.
mc²66 V1.8/0 429/

429/ 474
Bar graph Options
dBFS Meter Scale Options

When using the dBFS meter scale, it is recommended that you
return to the Level options and set the Reference Level to your
maximum Analogue Reference Level (e.g. +15dBu) and the
Headroom to 0dB. This ensures that the dBFS metering on the
Channel Display matches any external AES metering you may
have:
Note that using this type of setup, the internal 0dB operating
level now equals 0dBFS. This means that you are responsible for
your own headroom!
To help manage this headroom, you can adjust three bargraph
options which will change the colour coding of meters on the
Channel Display:
• Safe Area - this option sets the point where the meters
change from red to orange. For example, you could set this to
9dB to mark your 9dB’s of headroom.
• Operation Range
Range - this option sets the point where the
meters change from orange to yellow. For example, you
might set the orange area so that you can easily set your
levels for a good operation range for your type of
programme.
• Line Up Level - this option sets the position of the green ‘Line
up level’ mark.
To set the options:
1. Select the parameter.
The levels are adjusted relative to the 0dB meter point.
430/
430/ 474 V1.8/0 mc²66
Bar graph Options
Peak Hold Mode

Mode
This option defines the behaviour of the peak hold indicator,
which monitors and marks the peak level reached on each meter
across the console:
selection:
• AUTO – the peak hold indicator will clear automatically after
a certain time period set below.
• MANUAL – the peak hold indicator remains set until you
manually select CLEAR.
CLEAR
• OFF – the peak hold indicator is disabled.
• CLEAR – press this soft key to clear the peak hold indicator
and reset the peak level monitoring.
Peak Hold Time

This option sets the peak hold time used in the AUTO peak hold
mode above:
1. Select the SET soft key and then turn the rotary control to
increase or decrease the time in seconds.
setting to return to navigating the menus.
Peak Hold Colour

This option sets the colour of the peak hold indicator:
1. Select the SET soft key and then turn the rotary control to
select a colour.
The colour may be selected from Grey, Cyan, Blue, Red, Yellow,
Green, White or Black.
setting.
mc²66 V1.8/0 431/

431/ 474
Solo Button Options
Solo Button Options

Select the Solo Topic to set the following AFL and PFL solo
options:
Key Mode
This option defines whether AFL and PFL buttons are latching or
momentary (sensing):
• LTCH – latching AFL and PFL buttons.
• SENS – sensing (momentary) AFL and PFL buttons.
432/
432/ 474 V1.8/0 mc²66
AFL Options
AFL Options
Select the AFL Topic to set the following AFL options:
AFL Add
This option defines whether AFL selections are additive or
exclusive:
• EXCL – only one AFL may be active at any time; selecting a
new AFL cancels the previous selection.
• ADD – allows multiple AFL buttons to be selected, thereby
enabling a group of channels to be monitored in context.
AFL follows access

access
If this option is enabled (ON
ON), then when you press a fader strip
ON
SEL button to put a fader ‘in access’, AFL for the fader is
automatically enabled.
Access
Access Follows AFL
ON), then when you AFL a fader strip,
ON
the SEL button to put a fader ‘in access’ is automatically enabled.
Clear AFL1
AFL1 and 2
This function clears all current Solo-in-Place/AFL selections. If the
ISO AFL/PFL2 option is active, then the second AFL bus can be
cleared separately.
Note that AFL and PFL selections may also be cleared by the front
panel button within the Control Room Monitoring panel.
1. Press the CLR soft key to clear all AFL buttons.
mc²66 V1.8/0 433/

433/ 474
PFL Options
PFL Options
Select the PFL Topic to set the following PFL options:
PFL Fader Mode

This option sets PFL to be cancelled by a fader open and/or
activated by a fader closed.
• OFF – fader position does not act on PFL selections.
• ON – choose this option when you wish a PFL to be cancelled
when the fader opens.
• RET – choose this option when you wish to activate PFL on
closed faders.
PFL Add
This option defines whether PFL selections are additive or
exclusive:
• EXCL – only one PFL may be active at any time; selecting a
new AFL cancels the previous selection.
• ADD – allows multiple PFL buttons to be selected, thereby
enabling a group of channels to be monitored in context.
PFL follows access

ON),
ON then when you press a fader strip
SEL button to put a fader ‘in access’, PFL for the fader is
automatically enabled.
434/
434/ 474 V1.8/0 mc²66
PFL Options
Access Follows PFL

PFL
ON), then when you PFL a fader strip,
ON
the SEL button to put a fader ‘in access’ is automatically enabled.
Clear PFL1
PFL1 and 2
This function clears all current PFL selections. If the ISO AFL/PFL2
option is active, then the second PFL bus can be cleared
separately.
Note that AFL and PFL selections may also be cleared by the front
panel button within the Control Room Monitoring panel.
1. Press the CLR soft key to clear all PFLs.
mc²66 V1.8/0 435/

435/ 474
Configuration
Solo-
Solo-in-
in-Place Options
Solo-
Solo-in-
in-Place Options
Select the SIP Topic to set the following Solo-in-Place options:
SIP Mode
This option determines whether AFLs across the console act as
non-destructive AFL or destructive Solo-in-Place buttons.
• OFF – all AFLs act as non-destructive AFL buttons.
• MON – all AFLs act as non-destructive AFL except on monitor
channels where the AFL button provides Solo-in-Place for
multitrack returns.
• ALL – all AFLs act as destructive Solo-in-Place buttons.
Clear SIP
This function clears all current Solo-in-Place/AFL selections.
1. Press the CLR soft key to clear all AFL buttons.
Note that all AFL and PFL selections may also be cleared by the
front panel button within the Control Room Monitoring panel.
436/
436/ 474 V1.8/0 mc²66
GUI Options
GUI Options
Select the GUI Topic to set the following Graphical User Interface
options:
Time Display
At the top of every page on the Central Control Screen a time is
displayed. This may be the local time, in 24 hour clock, or
timecode from your selected reference:
1. Press the LOC soft key to select local time.
2. Press the TC soft key to select timecode. This is the
incoming SMPTE timecode.
3. Press the OFF soft key to select the offset timecode. This
shows the offset the timecode as set within the Pass Tree
display, see Page 380.
Custom Options
The Custom topic provides access to custom console features
which may have been implemented on your system. Please
consult your technical representative for further details.
mc²66 V1.8/0 437/

437/ 474
Wordclock Options
Wordclock Options
The Wordclock topic covers a range of options for selecting the
internal operating frequency of the console and source priorities
for incoming sync signals. For background information on sample
rate and sync options, see Page 416.
Select the Word clock topic to set the following options:
Max Sample Rate

This box indicates the maximum internal sample rate for the
production (e.g. 48kHz, 96kHz, etc.). The maximum rate may not
be changed by the user.
Sample Rate
This option sets the current internal sample rate of the system.
When running at lower sample rates, you may select either 48kHz
or 44.1kHz operation; when running at higher sample rates, you
may select either 96kHz or 88.2kHz operation. For example, at
lower sample rates:
1. Focus on the Sample Rate parameter:
2. Press the 48 or 44.1 soft key.
Note that the option to run at higher (96kHz or 88.2kHz) or
lower (48kHz or 44.1kHz) sample rates is made within the low
level configuration data and may not be modified by the user.
438/
438/ 474 V1.8/0 mc²66
Wordclock Options
Sync Source Priority 1 and 2

These two options allow you to select the main and redundant
clock source for the system. If sync is lost or a signal of an
incorrect frequency appears on Source Priority 1, the system
automatically switches to Source Priority 2. Similarly, if sync is lost
on Source 2, the system automatically switches to internal sync.
1. Focus on the Source priority 1 or Source priority 2
parameter:
2. Press the SET soft key.
3. Turn the rotary control to select one of the three options:
• Input 1
• Input 2
• Multichannel Sync (this option depends on you hardware
configuration)
Active Source
This option displays the active sync source for the system:
• Src Prio 1 – the input selected as Source Priority 1 above
• Src Prio 2 – the input selected as Source Priority 2 above
• Internal – automatically becomes active if the signals present
at Source Priority 1 and 2 are lost or invalid.
Note, to force the system to run on internal sync, deactivate the
return mode described below and disconnect the sync signals to
Source Priorities 1 and 2.
Return Mode
This option activates a return mode so that the system will switch
back to Source Priority 1 sync when it returns. The system even
checks whether the return sync is valid and will not switch until
the sync source matches the chosen operating frequency of the
console.
1. Focus on the Return Mode parameter:
2. Press the On soft key to activate the return mode.
3. Press the Off soft key to deactivate the return mode.
mc²66 V1.8/0 439/

439/ 474
Wordclock Options
Internal Sync Alarm

This option activates an alarm when the system is running on
internal sync.
1. Focus on the Alarm when internal parameter:
2. Press the On soft key to activate the alarm mode.
3. Press the Off soft key to deactivate the alarm mode.
The alarm triggers a red on screen Warning flag and illuminates
the red LED on the front panel of the HD core router card.
External Sync Input Status

The next five options are for display purposes only and show the
status of the external and multi-channel sync signals.
For example, the display above shows that there is no sync

connected to external input 1, and external input 2 is receiving a
valid PAL Black & Burst Video signal. Therefore the Active source
is Source Priority 2 = Input 2.
440/
440/ 474 V1.8/0 mc²66
Configuration
Timecode/Frame Rate Options
Timecode/Frame Rate Options

The Timecode topic allows you to select the timecode source and
frame rate when running timecode automation.
Note that the frame rate also sets the delay time for channel
delay when adjusting delay in frames. For example, if you select
25 fps, then your delay time for one frame will be 40ms (1/25s).
Select the Timecode topic to set the following options:
Timecode Source
The console’s dynamic automation may run as a master using its
own internal timecode generator, or slave to external Midi
timecode. To set this option:
1. Focus on the Source parameter and:
• Press the INT soft key to select internal timecode.
• Press the EXT soft key to switch to external timecode.
Selecting EXT switches the reference for the console’s automation
to the external Midi timecode (MTC) Input.
Timecode Format
When running on internal timecode, this option sets the frame
rate; the frame rate defines the delay time for channel delay
when adjusting in frames. Note that you cannot modify the frame
rate when locked to external timecode.
1. Focus on the Format parameter and:
• Press the 24 soft key to select 24 frames per second.
• Press the 30 D soft key to select 30 drop frame.
mc²66 V1.8/0 441/

441/ 474
Fader/Joystick Options
The Fader/Joystick Topic allows you to customise the feel of your
faders and surround panning joystick to suit your workflow. For
example, you may wish to work with a 0dB level fader notch,
increase or decrease the brake resistance of the faders and/or
work with a PFL Overpress. You can also create notches and
brake resistance for the surround joystick to allow you to feel
specific room positions as you pan.
Note that these options apply globally to all console faders and/or
joysticks.
Select the Fader/Joystick topic to set the following options:
Fader Notch and Brake Resistance

The first six parameters set notches and brake resistance
parameters for all the console’s faders:
1. Focus on the Fader mode parameter to turn on or off the
following options:
• Press the BRKE soft key to activate the fader brake force.
• Press the NTCH soft key to activate the fader notch.
• Press the RUBB soft key to activate fader brake force if the
fader moves away from the notch.
You may select multiple options, for example, to activate a fader
notch and brake resistance.
2. Now focus on Fader brake force,
force press the SET soft key
and use the rotary control to set the amount of fader
resistance when the BRKE option is active.
The resistance may be set from 1 (smooth) to 3 (stiff).
442/
442/ 474 V1.8/0 mc²66
Options
3. Focus on Fader notch width,
width press the SET soft key and
use the rotary control to set the width of the fader notch
when the NTCH
NTCH option is active.
The width may be set from 1 (narrow) to 20 (wide).
4. Focus on Fader notch depth,
depth press the SET soft key and
use the rotary control to set the depth of the fader notch
when the NTCH option is active.
The depth may be set from 1 (flat) to 5 (deep).
5. Focus on Fader notch pos,
pos press the SET soft key and use
the rotary control to set the position of the fader notch
The position of the fader notch may be set from -128dB (fader
closed) to +15dB.
+15dB
Fader Overpress
The fader overpress switch can be used, for example, to select
PFL monitoring when a fader is pulled back against its endstop.
Or, to trigger an external event such as a fader start.
1. Focus on the Fader overpress parameter to turn on or off
the fader overpress switch:
• Press the OFF soft key to disable the overpress.
• Press the ON soft key to enable the overpress. For example,
use this option if you wish to trigger a fader start from pulling
back on a fader.
• Press the OPFL soft key to enable PFL monitoring from the
overpress, otherwise known as backstop PFL monitoring.
mc²66 V1.8/0 443/

443/ 474
Joystick Notch and Brake Resistance

The next seven parameters set notches and brake resistance
parameters for the console’s joystick panner:
1. Focus on the Jstick mode parameter to turn on or off the
following options:
• Press the BRKE soft key to activate the joystick brake force.
• Press the NTCH soft key to activate the joystick notch.
• Press the RUBB soft key to activate joystick brake force if the
joystick moves away from the notch.
You may select multiple options, for example, to activate a
joystick notch and rubber resistance simultaneously.
2. Now focus on Jstick brake force,
force press the SET soft key
and use the rotary control to set the amount of joystick
resistance when the BRKE option is active.
The resistance may be set from 1 (smooth) to 3 (stiff).
3. Focus on Jstick notch width,
width press the SET soft key and
use the rotary control to set the width of the joystick notch
The width may be set from 1 (narrow) to 20 (wide).
4. Focus on Jstick notch depth,
depth press the SET soft key and
use the rotary control to set the depth of the joystick notch
The depth may be set from 1 (flat) to 5 (deep).
5. Focus on Jstick notch x pos,
pos press the SET soft key and
use the rotary control to set the x-axis position of the
joystick notch when the NTCH option is active.
The x-axis position may be set from -20 to +20.
+20
6. Focus on Jstick notch y pos,
pos press the SET soft key and
use the rotary control to set the y-axis position of the
joystick notch when the NTCH option is active.
The y-axis position may be set from -20 to +20.
+20
444/
444/ 474 V1.8/0 mc²66
7. The Jstick notch set pos parameter allows you to set the
joystick notch position from the current position of the
control. Place the joystick control at the desired position,
focus on this parameter and then press the SET soft key.
The joystick notch is now set the position of the joystick control.
Deselect the SET soft key to exit the notch set mode.
Fader Speed
The last option adjusts the speed of all console faders when they
respond to automated control, for example snapshot reset or
timecode automation:
1. Focus on the Speed parameter and:
• Press the SLOW soft key to set a slow fader speed.
• Press the NRM soft key to set a normal fader speed.
• Press the FAST soft key to set a fast fader speed.
mc²66 V1.8/0 445/

445/ 474
X-Fade Options
X-Fade Options
The X-Fade Topic allows you to set the default cross fade
parameters which are saved with a snapshot when it is saved or
updated. These parameters are applied when snapshots are
played out from a Sequence, see Page 311 for details.
Select the X-Fade topic to set the following options:
Default Switch Mode

This parameter sets whether switched functions, such as mutes,
will change state at the start or at the end of the cross fade.
1. Focus on the Default
Default Switch Mode parameter and use the
soft keys to select one of the following options:
• STRT
STRT – switched functions change state at the start of the
cross fade.
• END – switched functions change state at the end of the cross
fade.
Default X-
X-Fade Time
This parameter sets the cross fade time.
1. Focus on the Default X
X--Fade Time parameter, press the
SET soft key and use the rotary control to set the cross fad
time.
The cross fade time is set in 100ms steps.
446/
446/ 474 V1.8/0 mc²66
The States Display
The States Display

The States display provides a graphical overview of the hardware
contained within your system, and serves to provide a diagnostics
tool in the unlikely event of a component failure.
1. Press the SYSTEM/STATES button, located on the
SCREEN CONTROL panel, to view this display now:
Note that each time you press the SYSTEM/STATES button you
toggle between two pages – System and States.
States The current page
is always highlighted at the top of the display – in our example,
page 2 of 2.
On the left hand side of the display, you will see the names of all
Cores contained within your system network. Note that if this is a
stand alone system, only one core will be visible.
The main area of the display is divided into two halves with a
graphical representation of the HD core in the upper half. Within
the HD core you will see the current slot allocations for DSP, I/O,
MADI and ancillary processing boards. In addition, you can also
see the core’s main and backup power supply units (PSU 1 and
PSU 2).
If the system contains external I/O units (DALLIS), then these are
shown in the lower half of the display. Again, you can see the
configuration of the DALLIS and its PSUs.
In systems with more than one DALLIS, you may use the
navigation buttons to focus on the HD core Slot list and scroll
through the relevant MADI cards to view each connected DALLIS
in turn.
mc²66 V1.8/0 447/

447/ 474
The States Display
Diagnosing System Errors

The primary purpose of the States display is to provide hardware
diagnostics for the system.
In the unlikely event of a component failure, then a red hazard
warning indicator appears at the top of the current centre screen
display.
1. Select the SYSTEM/STATES button to view the States

display and diagnose the error.
Failed components are highlighted in red on the display.

Any slot shown in dark grey indicates that a component should
be present but is not connected, for example in the case of a
disconnected DALLIS unit.
Finally, light grey indicates that all components are connected and
working correctly. When this is the case, any red error indicators
disappear from other centre screen displays.
If the failure has occurred within a component not currently
visible, for example the third DALLIS unit, then the paths leading
to the failed component are highlighted in red – in our example,
the red Core, Slot and Dallis lines lead the path to the failure.
From here, select the DALLIS unit on the lower half of the display
to interrogate the failure.
448/
448/ 474 V1.8/0 mc²66
System Shutdown and Restart
Shutting down the System

The console and control system should only be shut down by
powering down the main PSU unit.
TFT displays and front panels are switched off immediately, but
the unit provides power to the control system for a further 18
seconds in order to save all current settings to flash memory. This
is called the console’s warm start data. You will hear three tones
signalling that the shutdown operation has been successfully
completed. The system is shutdown when the blue LED of the
trackball is off.
You may switch off the power to other system components at
any time.
Warning
Do not shutdown the system by disconnecting the console front
panel from the control system as current console settings will not
be saved. You may disconnect the front panel once the shutdown
process described above has been completed.
Starting the system

To start the system, turn on the main PSU power. Note that you
may power the console and control system before other
interfaces if desired. This enables you to begin setting up the
console before remote I/O interfaces have received power.
During the restart, the Central Control Screen displays the status
during boot-up. All of your previous settings (the warm start
data) are recalled from the system’s flash memory ensuring that
the console comes back as it was last used. This procedure is
called a warm start and ensures fast recovery from a loss of
power.
mc²66 V1.8/0 449/

449/ 474
Restart
Forcing a Restart
You can force a system restart from the control surface without
having to switch off and on the power using the following
procedure.
Note that this method does not save your latest settings in the
warm start memory, therefore save a snapshot before using this
procedure.
1. On the console keyboard, simultaneously press the CTRL,
CTRL
ALT and F2 buttons.
This exits the console’s operating displays and accesses the
system login screen.
2. Now simultaneously press the CTRL

CTRL, ALT and DEL
buttons to restart the system.
The Central Control Screen displays the status during boot-up.
At the end of the restart the console will load the last valid warm
start data; this is the data stored after the last proper shutdown
(i.e. not necessarily the settings you had when you forced the
restart from the console keyboard!) Therefore, to load back the
correct settings for your production, load a snapshot.
450/
450/ 474 V1.8/0 mc²66
Recovering from Software Errors

To increase the fault tolerance of the system, the console includes
the ability to recover from corrupted data. Note that providing
the system is shut down properly, it is extremely unlikely that you
will ever need to use these procedures.
Firstly, the console’s application software is stored separately from
the user data on two different flashcards:
This allows you to boot the system without loading user data if
there seems to be an error with the stored data.
Secondly, two sets of application software are stored on separate
partitions of the System Flashcard. These are called Primary and
Fallback. If the two sets of data are identical then the system may
recover from an error in one set of data.
Normally the primary and fallback application data are identical.
However, sometimes you may use the two sets of data to store
different versions of software allowing you to boot the console
from different versions of code. Check with your technical
representative for details on your configuration.
mc²66 V1.8/0 451/

451/ 474
To change to the fallback application data, or boot the console
without loading any user data, follow this procedure:
1. Force a restart using the procedure described on the
previous page.
2. Part way through the start-up, the following display
appears on the Central Control Screen:
This screen shows the two partitions called MC2 Primary and
MC2 Fallback.
Fallback If you do nothing at this point, the system
continues, boots from the primary data and loads the warm start
user data.
3. To boot from the fallback data, or boot from the primary
data without loading user settings, as soon as the screen
appears, press either the up or down keyboard arrows to
holt the restart process.
4. Now follow the on screen instructions and select either
the MC2 Primary or MC2 Fallback data option using the up
and down arrows on the keyboard.
5. Press the Enter button and the console will now boot from
the selected partition.
At the end of the restart, the console is in its default state – i.e. no
user data has been loaded. This procedure is known as a cold
start.
To load back the settings for a show, load one of your
productions.
452/
452/ 474 V1.8/0 mc²66
Restarting from the Main PSU

The system’s main power supply unit provides the following
indicators:
In addition, a recessed switch on the front panel provides the

ability to restart the power supply:
• Press the switch quickly to force a warm restart – identical to
using the CTRL + ALT + DEL method of forcing a restart.
Warning
• Press the switch for more than 4 seconds to cut all power to
the system.
This operation should only be performed if the system is not
responding to any other method of restart as shutting down in
this way does not allow data files to close and save properly and
could result in data corruption.
mc²66 V1.8/0 453/

453/ 474
Appendices
Appendix A: Surround Levels
Appendices
Appendix A: Surround Levels

The following diagrams show the power output to each speaker,
when panning is off, for each of the console’s surround formats:
Surround-Level for PAN OFF

(corresponding to PAN center, except LFE)
Schick 17.06.2005
References: 10*log(0.5/3)= -7.78dB; 10*log(0.5)= -3.01dB; 10*log(0.25)= -6.02dB
Level Power
L R C S Σ
4.0 0dB P=100%
Dolby Prologic L C R
-3dB P=50%
-6dB P=25%
-7.8dB P=16.6% =50%/3
S
Power: 3 * 16,6% + 50% = 100% = 50% front + 50% back
L R C LFE Ls Rs Σ
5.1 0dB P=100%
DTS, L C R
LFE -3dB P=50%
Dolby Digital
-6dB P=25%
-7.8dB P=16.6% =50%/3
Ls Rs
Power: 3 * 16,6% + 2 * 25% = 100% = 50% front + 50% back
L R C LFE Ls Rs Cs (Cs) Σ
6.1 0dB P=100%
DTS ES, L C R
LFE -3dB P=50%
Dolby EX
-6dB P=25%
-7.8dB P=16.6% =50%/3
Ls Cs Rs
−∞ −∞
Power: 3 * 16,6% + 50% = 100% = 50% front + 50% back
L R Lc Rc C LFE Ls Rs Σ
7.1 0dB P=100%
SDDS L Lc C Rc R
LFE -3dB P=50%
-6dB P=25%
-7.8dB P=16.6% =50%/3
Ls Rs
−∞ −∞ −∞ −∞
Power: 50% + 2 * 25% = 100% = 50% front + 50% back
L R C LFE Lm Rm Ls Rs Σ
7.1 0dB P=100%
Lawo L C R
LFE -3dB P=50%
Lm Rm
-6dB P=25%
-7.8dB P=16.6% =50%/3
Ls Rs
−∞ −∞ −∞ −∞ −∞
Power: 2 * 50% = 100% (mittig)
454/
454/ 474 V1.8/0 mc²66
Appendices
Appendices
Appendix B: Digital Output Settings
Appendix B: Digital Output Settings

For each digital output, sample rate conversion and dither are
applied automatically depending on your choice of clock source
and word length.
The destination SRC on/off
on off box shows the status of the SRC; The
destination Dither box shows the status of dither::
The following table explains the results of each clock selection

and word length combination:
Clock Selection Word Length Selection SRC on/off Dither Status
System 24-bit SRC off Off (Truncate)
System 20-bit SRC on Dither on
System 16-bit SRC on Dither on
44.1kHz 24-bit SRC on Off (Truncate)
44.1kHz 20-bit SRC on Dither on
44.1kHz 16-bit SRC on Dither on
48kHz 24-bit SRC on Off (Truncate)
48kHz 20-bit SRC on Dither on
48kHz 16-bit SRC on Dither on
Follow Input 24-bit SRC on Off (Truncate)
Follow Input 20-bit SRC on Dither on
Follow Input 16-bit SRC on Dither on
mc²66 V1.8/0 455/

455/ 474
Technical Data
Technical Data
Control Panel
• Frames from 16 +8 faders to 48+8 faders.
• 6 banks each with 2 layers.
• 100 mm faders + 5 rotary controls per fader strip.
Signal processing
• Up to 512 signal paths - 384 channels and 144 summing buses, 40bit floating point.
• Delay up to 1800 ms, units in frm, ms and m.
• Surround formats: DTS/Dolby Digital 5.1, Dolby Prologic 4.0, DTS ES/Dolby EX 6.1, SDDS
7.1, Lawo 7.1, diverse panning characteristics.
• 8-wide AFL bus.
• Stereo PFL bus.
• 32 AUX sends.
• Audio follows video with up to 128 events.
• Solo in place.
• Permanent Input measuring point in the fader; adjustable measuring points INPUT, PF, AF
DIROUT in the channel display.
• Modules: INMIX, DIGITAL AMP, 2-band fully parametric FILTER, 4-band fully parametric
EQ, INSERT, DELAY up to 1800ms, EXPANDER, GATE, COMPRESSOR, LIMITER, IMAGE,
METER, DIRECT OUT.
Routing Matrix
• Up to 8192 cross points.
• 96kHz.
• 24 bit.
Interfaces
• Mic/Line, Line Out, AES, SDI, Madi, ATM, GPIO, serial (for further information see the
DALLIS manual).
• Monitoring systems - stereo and surround.
Synchronisation
• Black & Burst, Wordclock, AES3, MADI with automatic switching.
456/
456/ 474 V1.8/0 mc²66
Technical Data
Redundancies
Redundancies
Redundancies
• PSUs, DSP boards, Router board, DALLIS boards.
• PSU for control system and control panel.
Control
• Mix-minus control with two conference systems.
• Diverse tally- fader start modes.
• Program switch.
• Audio follows video.
• Manifold T/B integration.
External control systems

• External matrix controller VSM, BFE, Jupiter.
• Lawo TCL.
Remote Maintenance
• Link via ISDN or VPN.
• Software updates, error diagnostics, remote.
documentation.
For further information concerning the system data see mc²66 documentation
mc²66 V1.8/0 457/

457/ 474
Index Directory
Index Directory
0dBFS- meter scale ..........................429 ALL button
16-bit ..............................................411 Parameter Assign ........................ 139
20-bit ..............................................411 Parameter Reset .......................... 157
20dB PAD..................................91, 132 alphanumeric displays .See Free Controls
24-bit ..............................................411 ALT button ..................................... 212
2-CH soft key ..................................170 Alternate speakers ......... See Monitoring
2nd button – second layer access.....181 Archiving Files..... See File Import/Export
44.1kHz - internal sample rate .........416 ASSIGN button ......................... 81, 193
44.1kHz – output sample rate..........409 Assigning Channels across All Banks and
48kHz - internal sample rate ............416 Both Layers ................................. 197
48kHz – output sample rate.............409 Assigning Channels to Fader Strips.. 192
48V phantom power .................91, 132 ATT/RLS control ......101, 102, 103, 104
5.1 operation.................... See Surround Attack Time
88.2kHz - internal sample rate .........416 Compressor................................. 103
96kHz – internal sample rate............416 Expander..................................... 102
A/B Input Switch .......................92, 133 Gate............................................ 101
ACCESS CHANNEL/ASSIGN17, 81, 89, Limiter......................................... 104
182, 200 Audio Follows Video
ACT soft key....................................290 event assign ................................ 119
Active Configuration - DSP Config...173 events ......................................... 119
Active Mix .................... See Automation fall time....................................... 121
Active Source - System Display ........439 off level....................................... 120
ACTV soft key .................................175 on level ....................................... 120
ADD soft key...........................306, 309 on time ....................................... 120
AES 3 sync.......................................416 release time................................. 120
AF button – METER PICK UP ...........160 Auditioning EQ, Dynamics, etc........ 123
AFL monitoring AUT LED ........................................ 148
access AFL ...........................433, 435 AUTO button ................................... 22
AFL add .......................................433 Auto Join ........................................ 358
AFL button...........................110, 147 Automation
clear AFL..............................215, 433 active mix.................................... 322
LISTEN controls............................123 arm/disarm ................................. 365
monitoring options.......................214 cancel ......................................... 330
solo button options ......................432 Cluster ........................................ 356
solo-in-place ................................436 combining passes ........................ 378
System Display options.................433 deleting a mix ............................. 373
tutorial ...........................................40 deleting a pass ............................ 377
AFL2 ...............................................185 dynamic/static mode................... 345
After Fader Listen .. See AFL monitoring finish a pass................................. 328
AFV................. See Audio Follows Video Join ............................................. 358
AFV button......................................119 loading a mix ...................... 368, 369
AFV graph – Main display................119 memo information ...................... 371
AFV ON button ...............................227 Mixes Display.............................. 322
ALL 1ST button ...............................180 new mix...................................... 323
ALL BANK button ............................197 On .............................................. 326
mc²66 V1.8/0 458/

458/ 474
Index Directory
Overview .....................................320 Backup Productions ........................ 247

Pass Tree..............................327, 374 Backup Snap Internal - System Display
protecting a mix...........................372 ................................................... 421
protection ....................................362 Backup Snap Max - System Display. 421
Punch In/Punch Out ....................360 Backup Snapshots ........................... 262
renaming a mix ............................370 BAL (balance) control................ 92, 128
renaming a pass ...........................376 BANK buttons......................... 179, 217
revert ...........................................331 Banks and Layers
saving your data ..................332, 368 Bank switching ............................ 179
selecting parameters ............324, 336 invert (flip) layers ........................ 180
Start and Stop Write ....................355 isolating fader strips .................... 182
step in/step out............................334 Layer switching ........................... 180
Step Out modes...........................348 overview ..................................... 178
touch ...........................................335 tutorial .......................................... 12
updating fader moves ..................333 Bargraph Options - System Display . 429
what is automated .................15, 320 Black & Burst Video sync................. 416
writing control automation...........342 BNK1 button
writing switch automation............340 local bank switching .................... 142
AUX 1..8, AUX 9..16, etc buttons ....111 BOTH LAYERS button..................... 197
AUX BUS button................................78 BRD button..................................... 226
AUX button .....................................227 BRKE soft key
AUX button– ACCESS fader resistance ........................... 442
CHANNEL/ASSIGN control ............18 joystick resistance........................ 444
Auxiliary Masters Broadcast Soft Keys ........................ 143
ACCESS CHANNEL/ASSIGN control Bulb Dimmer - System Display ........ 422
panel ..........................................18 Bulb Test - System Display .............. 422
assigning to fader strips................192 Bus Assign Display ............................ 84
DSP configuration ........................174 Bus Assignment
fader strip control.........................112 assigniments to surround outputs .. 82
signal processing ..........................163 assigniments to/from ‘hidden’
Auxiliary Sends channels .................................... 81
Aux 17-32 – monitor channel cue forward bus assignments ............... 77
sends........................................204 locking bus assignments .............. 200
Central Control Section ................111 re-assigning bus masters................ 83
conference aux sends ...................118 reverse bus assignments ................ 79
controlling send levels from faders227 tutorial .......................................... 38
cue sends .....................................204 viewing assignments ........75, 84, 424
level control .................................111 BUS ASSIGNMENT ........................... 76
mix minus (N-1) sends .................114 BUS button ....................................... 21
On/Off control ............................111 BUS button– Parameter Copy ......... 153
post fader, pre fader or pre EQ.....111 Bus Re-assign.................................... 83
stereo auxiliary sends ...................113 Bus Routing ............ See Bus Assignment
tutorial ...........................................57 Bypass ............................................ 363
AUXILIARY/ AUDIO FOLLOWS VIDEO C mute ........................................... 211
............................................111, 119 C/L LED.......................................... 148
BACK button ...................................301 CANCEL button .............................. 330
BACK soft key .................................301 Central Control Screen
Backstop PFL ...........................434, 443 displaying local time .................... 437
mc²66 V1.8/0 459/

459/ 474
Index Directory
displaying timecode .....................437 a tour of...................................... 131

Central Control Section AFL and PFL................................ 147
a tour of.........................................86 assigning free controls ......... 135, 137
AFL and PFL.................................110 Channel display........................... 131
assigning channels .........................89 CORD, CONF and TALK buttons 143
audio follows video ......................119 EQ, Pan, Delay, Com on/off........ 142
auxiliary sends..............................111 Fader .......................................... 147
channel delay.................................94 Free Controls............................... 134
digital amplifier (DAMP).................93 input control ............................... 131
direct output (DIROUT) .................96 meter and status indicators.......... 148
dynamics processing ......................99 metering ..................................... 158
EQ and filters .................................97 monitor channel input control ..... 143
fader and mute ............................110 mute ........................................... 147
image control.........................93, 129 scribble strip ................................ 146
input control ..........................90, 128 SEL button .................................. 145
insert send and return ....................95 snapshot isolate (SNAP ISO)........ 256
listen (AFL) control.......................123 Channel mute - System Display option
locking the assigned channel ..........89 ................................................... 420
Main Display..................................88 Channel type selection...................... 18
meter pickup points .....................160 CLEAR AFL/PFL .............................. 215
mix minus controls .......................122 CLEAR BANK button....................... 198
monitor channel controls..............122 CLEAR button................................. 198
panning ...............................106, 130 Clear channel settingsSee Resetting
SEL button(s) .................................87 channel parameters
tutorial ...........................................64 CLEAR ISO button .......................... 183
Centre channel panning...................107 Clearing a bank of fader strips......... 198
Centre Control ScreenSee Screen Clearing individual fader strips ........ 198
displays CLIPBOARD
Centre Section .................................205 Fader Level Control ..................... 227
CH button– Parameter Copy............153 Parameter Assign ........................ 137
CHAN/CONFIG button .....................21 Parameter Copy .......................... 151
Channel Clock sel - Signal Settings display .... 409
bus routing ....................................76 clock source .................................... 409
Central Control Section ..................86 Combining Mix Passes .................... 378
copy ............................................150 Communications............................. 226
fader strip controlSee Channel Fader Communications – mix minus ......... 114
Strips COMP graph – Main display........... 100
metering ......................................158 COMP/LIM .......................99, 103, 104
reset ............................................156 Compressor
signal flow ...................................163 2nd button.................................. 103
source routing..............................388 Attack Time................................. 103
stereo channels ............................126 dynamics processing.................... 103
CHANNEL buttons...........................122 Knee ........................................... 103
Channel Config Display ...................165 LIM button.................................. 103
Channel Display.................................74 Look Ahead Delay....................... 103
CHANNEL DISPLAY buttons ............226 on/off ......................................... 103
Channel Fader Strips on/off fader strip control ............. 142
2nd layer access ...........................149 output gain ................................. 103
460/
460/ 474 V1.8/0 mc²66
Index Directory
Ratio ............................................103 Default Switch Mode – Snapshot XFade

Release Time................................103 ................................................... 446
signal processing order.................163 Default X-Fade Time – Snapshot XFade
Threshold Level............................103 ................................................... 446
tutorial ...........................................68 DEL
CONF button ..........................114, 122 delete a folder ............................. 252
Conference aux sends......................118 delete a production ..................... 245
CONN soft key................................403 delete a sequence........................ 288
Console Keyboard delete a snapshot ........................ 264
operation of ...................................25 delete a snapshot from a sequence
Console Layout............. See Fader Strips ............................................... 308
Console Options - System Display ...422 DEL soft key ................................... 310
Console Reset..................................232 Delay
Control groups .........See VCA Grouping channel delay ................................ 94
Control Room Monitoring................ See delay time ..................................... 94
Monitoring delay units..................................... 94
CONTROL ROOM MONITORING..206 on/off fader strip control ............. 142
Control Surface signal processing order ................ 163
assigning channels to fader strips .192 tutorial .......................................... 69
Banks and Layers .........................178 DELAY - Main display ....................... 94
centre section overview................205 Delay Time – Main display ................ 94
configuration ...............................178 Deleting a Mix ................................ 373
front panel overview ........................9 Deleting a Pass ............................... 377
locking your configuration............200 Deleting a Snapshot........................ 264
systems overview .........................415 Desk layout................... See Fader Strips
Controls................... See Rotary controls Diagnosing System Errors................ 448
COPY BANK button ........................199 DIG AMP button ............................ 227
COPY button...................................150 DIG button ..................................... 226
Copying Banks of Fader Strips..........199 Digital Amplifier
Copying channel parameters............150 controlling levels from faders....... 227
Copying Files ...... See File Import/Export DAMP gain control ....................... 93
CORD button ..........................114, 122 signal processing order ................ 163
CRM 1 control.................................208 Digital gain control . See Digital amplifier
Cross Fading Snapshots ...................311 Digital input control ........ See Input Gain
CURR soft key .................................304 DIM button .................................... 208
DALLIS I/O DIN - meter scale............................ 429
controlling input settings ........90, 131 DIR button – METER PICK UP......... 160
systems overview .........................415 DIR IN ............................................ 364
DAMP ................... See Digital Amplifier DIR OUTP button ........................... 227
DAMP button....................................93 Direct Output
DAMP/DELAY/INS/DIROUT .............93 controlling levels from faders....... 227
Data Memory Load - System Display send level ...................................... 96
....................................................421 signal processing order ................ 163
Data Storage Structure ....................233 DIROUT button ................................ 96
Date - Snapshots display..................254 DIROUT– Main display ..................... 96
DCON soft key................................403 discrete centre - panning ................ 107
DEC/Left button................................23 DISP AUX ....................................... 186
Disp Bus Count - System Display..... 424
mc²66 V1.8/0 461/

461/ 474
Index Directory
DISP DYN........................................186 Encoders .................. See Rotary controls

DISP EQ ..........................................186 END soft key
DISP MISC.......................................186 X-Fade parameters ...................... 446
Displays ................... See Screen displays Enter button ............................... 18, 26
Dither ..............................................411 EQ
DLY button........................................94 Central Control Section ................. 97
Dolby Digital .................... See Surround constant Q .................................... 67
Dolby E operation............................406 DISP button .................................. 66
Dolby ProLogic ................. See Surround Frequency range ........................... 66
Down arrow button...........................23 Gain .............................................. 66
DSP Channels notch filter .................................... 67
full processing ......................163, 174 OFF buttons.................................. 67
reduced processing (tiny) .....164, 174 ON ............................................... 66
DSP CONFIG button .........................21 on/off fader strip control ............. 142
DSP Config Display..........................173 Q/SLP control ............................... 66
DSP Configurations shelving......................................... 67
changing......................................175 signal processing order ................ 163
overview ......................................173 tutorial .......................................... 66
redundant DSP.............................177 types ............................................. 67
saving ..........................................176 EQ Graph – Main display .................. 98
upgrading your DSP.....................177 Esc button......................................... 26
DSP Core ESC button ....................................... 18
systems overview .........................415 Event (EVNT) control ...................... 119
upgrading your DSP.....................177 EXP button ............................. 101, 102
DSP-Boards - DSP Config display.....173 Expander
DTS .................................. See Surround 2nd button.................................. 102
DUPL soft key .........................307, 310 Attack Time................................. 102
Dynamics dynamics processing.................... 102
Central Control Section ..................99 Hold Time ................................... 102
Compressor section......................103 Look Ahead Delay....................... 102
Expander section..........................102 ON button .................................. 102
filtering the sidechain ...................105 output gain ................................. 102
GAIN control........................103, 104 Ratio ........................................... 102
Gate section.................................101 Release Time ............................... 102
graphs – Main display ..................100 signal processing order ................ 163
Hard/Soft Knee............................167 Threshold Level ........................... 102
Limiter section..............................104 EXPANDER graph – Main display ... 100,
Look Ahead Delay (LAHD) ...........100 102
signal processing order.................163 Exporting Files ................................ 266
EDIT soft key External Display ........................ 10, 415
rename a folder............................251 External Sync Input Status- System
rename a sequence ......................287 Display ........................................ 440
rename a snapshot.......259, 294, 309 EXTK button ..................................... 99
rename a source/destination label 397 Fader
EFF control ......................................106 Central Control Section ............... 110
Effect – Main display .......................106 fader strip control........................ 147
EFFECT button.................................227 signal processing order ................ 163
ENABLE button................................135 FADER button............................. 78, 80
462/
462/ 474 V1.8/0 mc²66
Index Directory
Fader Calibrate - System Display......423 File Display ..................................... 266

FADER CONTROL...........................227 File Import/Export
Fader control of levels......................227 applications ................................. 266
Fader Display - System Display options copying files ................................ 278
....................................................423 deleting files................................ 281
Fader grouping .........See VCA Grouping exporting a file ............................ 274
Fader labels ........ See Names and Labels importing a file............................ 277
Fader meter .....................................148 network drive.............................. 276
fader notch......................................442 new directory .............................. 280
Fader Notch and Brake Resistance - sort by name or date ................... 272
System Display.............................442 FILL END ........................................ 348
Fader Overpress- System Display .....443 FILL START ..................................... 348
Fader Speed- System Display ...........445 FILTER graph – Main display ............. 98
Fader Start.......................................443 FILTER MODE buttons.................... 257
Fader status indicators .....................148 Filtering Snapshot Recalls ................ 257
Fader Strips Filtering the dynamics sidechain ...... 105
assigning channels .......................192 Filters
assigning multiple channels ..........194 2-band filter section ................ 67, 97
assigning to banks and layers .......197 DISP button .................................. 67
channel fader strip controls .......... See frequency...................................... 67
Channel Fader Strips OFF buttons.................................. 67
clearing a bank.............................198 on/off control ............................... 67
clearing individual assignments.....198 Q/SLP control ............................... 67
copying banks..............................199 Sidechain Filters (SCF) ................. 105
inserting channels ........................195 signal processing order ................ 163
interrogating assignments ..............30 subsonic filter prior to ADC90, 91,
locking assignments .....................200 132
main fader strip controlsSee Main tutorial .......................................... 67
Fader Strips types ............................................. 67
tutorial ...........................................34 using as a 2-band equaliser ........... 67
FAST – fast response metering .........429 FINISH button................................. 328
F-B control.......................................106 FIRST LAST button.......................... 194
FC CTRL button...............................230 FLAT button ................................... 107
FC PRES button ...............................226 FLIP button..................................... 180
FC PRESET.......................................135 local layer switching .................... 142
FC PRESETs Floor Level - Gate ........................... 101
AFV button ..................................136 FLOOR/GAIN control ............. 101, 102
AUX1..4, AUX5..8, etc. buttons ...136 Focus outline – screen displays .......... 22
CF1..4, CF5..8 buttons .................136 Foldback sends ........ See Auxiliary Sends
EQ 1/ FI 1 button ........................135 Folders.....................249, See Snapshots
EQ 2/ SCF 1 button .....................136 Forward Bus Assignment................... 77
EQ 3/SCF 2 button ......................136 frame rate....................................... 441
EQ 4/F I2 button .........................136 frames (frms) .................................... 94
GATE, EXP, COM, LIM buttons....136 Free Controls
MISC button ................................136 alpha display views...................... 230
PAGE 2 button.............................135 alpha displays.............................. 134
PAN button..................................136 assigning free controls ................. 135
FC VALUE button ............................230 FC Presets ................................... 135
mc²66 V1.8/0 463/

463/ 474
Index Directory
fine/coarse adjustment.................134 main fader strip control ............... 219

one-shot free control assignment signal processing ......................... 163
(Parameter assign)....................137 tutorial .......................................... 50
tutorial ...........................................72 Groups, VCA ........... See VCA Grouping
FREE soft key...................................304 GTE LED ......................................... 148
FREEZE button.................................109 GUI ................................................ 437
Front/Back panning .........................106 Hardware componentsSee System
FTME control...................................121 Components
Full channel mode - System Display .429 HD Core
Fully Featured DSP Channels ...163, 174 redundant DSP............................ 177
Gain control redundant router......................... 417
digital amplifier ..............................93 systems overview ........................ 415
dynamics output gain101, 102, 103, Headroom ...................................... 425
104 Headroom - System Display ............ 427
input gain ................... See Input Gain Height control - panning................. 107
Gate High Pass Filter ...................... See Filters
2nd button...................................101 H-L control ..................................... 107
Attack Time .................................101 Hold Time
dynamics processing ....................101 Expander..................................... 102
EXP button...........................101, 102 Gate............................................ 101
Floor Level ...................................101 Limiter......................................... 104
Hold Time ....................................101 How to...
Look Ahead Delay........................101 AFL or PFL a channel..................... 40
ON button ...................................101 apply signal processing.................. 64
output gain ..................................101 assign a channel onto a bus output 38
Release Time................................101 assign channels to fader strips ....... 34
signal processing order.................163 assign fader strip free controls ....... 72
Threshold Level............................101 change the channel in access......... 17
GATE graph – Main display......100, 101 configure audio sub group masters 50
GATE/EXPANDER..............99, 101, 102 control microphone pre-amplifier
General Purpose Channels – ACCESS settings...................................... 43
CHANNEL/ASSIGN control panel ...18 create a mix minus ........................ 58
General Purpose Channels (GPCs) ...201 create stereo channels or masters .. 54
GLIDE..............................................351 enter names using the keyboard.... 25
Global Options - System Display......419 interrogate the channel fader strips 30
GPC button– ACCESS load a setup production................. 28
CHANNEL/ASSIGN control ............18 monitor audio on the main speakers
GPCs ...... See General Purpose Channels ................................................. 39
GROUP BUS button ..........................78 route a source to a channel ........... 36
GROUP button..................................80 route masters to output destinations
GROUP button– ACCESS ................................................. 55
CHANNEL/ASSIGN control ............18 route sources to multiple channels. 41
Grouping ..... See VCA Grouping or Links save your settings.......................... 44
Groups, Audio switch between banks and layers... 31
ACCESS CHANNEL/ASSIGN control use auxiliary sends......................... 57
panel ..........................................18 use the console's rotary encoders .. 64
assigning to fader strips................192 use the SCREEN CONTROL panel . 20
DSP configuration ........................174
464/
464/ 474 V1.8/0 mc²66
Index Directory
use the trackball and navigation INSERT SEND button ...................... 227
buttons.......................................23 Inserting channels in-between fader
use VCA grouping..........................62 strips ........................................... 195
IDP button.......................................122 Internal data card............................ 267
IMAGE ..............................93, 128, 129 Internal Sample Rate....................... 416
Image control Internal Sync Alarm - System Display
image position .............................129 ................................................... 440
image width.................................129 ISO AFL2/PFL2 - System Display .... 424
new and old styles .......................129 ISO Bay Access ............................... 186
signal processing order.................163 ISO button
IMAGE graph – Main display ...........129 fader bay isolate.................. 142, 184
IMAGE panel ...................................126 Isolate - System Display .................. 419
Importing Files.................................266 Isolating fader bays......................... 184
INC/Right button ..............................23 Isolating fader strips from
Independent AFL and PFL................185 banking/layering ......................... 182
INFO window – Channel display......226 Isolating fader strips from snapshot
Inheriting source labels ....................231 recall ........................................... 256
In-Line Console Configuration .202, 203 Isolating settings from Snapshots .... 257
INP - Signal Settings Display ............410 Isolating signal routing from snapshot
INP button – METER PICK UP..........160 recall ........................................... 256
Input B button ...........................92, 133 Join................................................. 358
INPUT button ....................................80 Joystick Notch and Brake Resistance -
INPUT button – ACCESS System Display ............................ 444
CHANNEL/ASSIGN control ............18 Joystick Panning ............................. 108
Input channels KEY button ............................. 123, 124
ACCESS CHANNEL/ASSIGN control Key mode - System Display............. 432
panel ..........................................18 Keyboard
assigning to fader strips................192 operation of .................................. 25
DSP configuration ........................174 Knee - Compressor ......................... 103
signal processing ..........................163 Knee - Limiter ................................. 104
Input Gain L mute............................................ 211
channel signal flow ......................163 L/R control ..................................... 106
digital sources ........................92, 133 L>B button ............................... 92, 128
line level analogue sources .....90, 132 LAHD ................. See Look Ahead Delay
microphone preamplifier sources ...43, Last Snap - Snapshots display.......... 254
91, 132 Layers ................... See Banks and Layers
INPUT MIXER............................90, 128 LCR button ..................................... 107
Input routing ........... See Source Routing LED status indicators....................... 148
Inputs.......................See Input channels LEFT button ...................................... 19
INS button.........................................95 Left/Centre/Right panning.............. 107
INS MOVE button ...................195, 196 Left/Right panning ......................... 106
Insert Left/Right reverse button.......... 92, 128
Central Control Section ..................95 Level - Signal Settings display.......... 407
controlling send levels from faders227 Level Options - System Display ....... 425
send and return switching ..............95 LFE control...................................... 106
send level.......................................95 LFE mute ........................................ 211
signal processing order.................163 LIM button ............................. 103, 104
tutorial ...........................................69 Limiter
mc²66 V1.8/0 465/

465/ 474
Index Directory
2nd button...................................104 MAIN FADER button– ACCESS

Attack Time .................................104 CHANNEL/ASSIGN control............ 18
dynamics processing ....................104 Main Fader Strips
Hold Time ....................................104 a tour of...................................... 216
Knee ............................................104 Banking and layering................... 217
LIM button ..................................104 creating group and sum masters.. 219
Look Ahead Delay........................104 VCA group masters ..................... 220
ON button ...................................104 MAIN ISO button ........................... 182
output gain ..................................104 Main mix ................................ See Sums
Release Time................................104 Main mix outputs ................... See Sums
signal processing order.................163 Main monitoring............ See Monitoring
Threshold Level............................104 Main output ........................... See Sums
LIMITER graph – Main display .........100 Master faders....... See Main Fader Strips
LINE button .........................90, 91, 132 MATRIX button ................................ 21
Line level input control ... See Input Gain Max Sample Rate - System Display . 438
Line Up Level - System Display ........430 Memo - Snapshots display .............. 254
LINK................................................224 METER button .................................. 21
Links Metering
clearing links ................................225 Channel Config display ....... 163, 168
fader status indicator....................225 channel direct output .................. 160
linking fader strips........................224 Channel display........................... 158
module link status indicator..........225 channel input .............................. 160
LISTEN buttons................................123 fader meter ......................... 148, 158
Listen Latch Mode - System Display.423 Main display................................ 158
LNK LED..................................148, 225 meter pick up points.................... 160
LOAD soft key.................255, 263, 369 monitor channels......................... 160
Loading a Snapshot .........................255 post fader.................................... 160
LOC soft key ...................................404 pre-fader..................................... 160
Locating a source or destination.......404 Metering Display ............................ 159
LOCK ACC button.............................89 Metering Options - System Display. 429
LOCK ASN button ...........................200 meters (m). ....................................... 94
Locking the ACCESS CHANNEL/ASSIGN Mic/Line input control .... See Input Gain
control panel..................................89 Microphone Preamplifier Settings..... See
Locking the BUS and STRIP Input Gain
ASSIGNMENT Panels ...................200 MIDI
Look Ahead Delay Fader strip control of MIDI
Compressor..................................103 parameters .............................. 201
Expander......................................102 Midnight ........................................ 380
Gate ............................................101 milliseconds (ms)............................... 94
Limiter .........................................104 Mini speakers................. See Monitoring
Loudspeakers................. See Monitoring MIX button..................................... 122
LtoB button .............................210, 213 Mix Minus
M button.................................209, 213 AFL or PFL .................................. 117
M/S button .....................................128 CONF button .............................. 118
M/S decoding..................................128 Conference (Pre-Talk) sends........ 118
Machine Control Panel ....................320 configuring mix minus sends ....... 115
MAIN 2ND button...........................180 controlling output levels .............. 117
Main Display .....................................88 CORD button.............................. 117
466/
466/ 474 V1.8/0 mc²66
Index Directory
metering ......................................117 MONITORING 2 ............................ 213

N-1 sends ....................................117 Monitors.............. See Monitor channels
N-many sends..............................117 MONO button ......................... 92, 128
overview ......................................114 MOVE soft key ....................... 296, 310
tutorial ...........................................58 MULITPLE MODE buttons .............. 197
Mixes Display ..................................322 Multichannel operation..... See Surround
Mix-minus – Main display................116 Multi-channel panning........See Panning
MLT button Multiple user operation................... 184
Parameter Assign .........................138 Multitrack Recording ...................... 202
Parameter Copy ...........................154 Mute - System Display option ......... 419
Parameter Reset...........................156 MUTE button
MODE button ...................................94 Central Control Section ............... 110
MODL LINK button.........................224 fader mute or channel mute options
MON button – BUS ASSIGN ..............80 ....................................... 110, 147
MON button– ACCESS fader strip control........................ 147
CHANNEL/ASSIGN control ............18 N-1.................................See Mix Minus
Monitor channels Names and Labels
ACCESS CHANNEL/ASSIGN control channel labels.............................. 395
panel ..........................................18 fader scribble strip labels.............. 146
assigning to fader strips................192 inheriting source labels ........ 231, 396
auxes 17 to 32 (cue feeds) ...........204 programming user labels ............. 397
configuring for multitrack recording saving user labels ........................ 397
................................................202 source labels................................ 395
direct output/track send...............204 system names.............................. 395
DSP configuration ........................174 viewing names and labels on the
send and return switching122, 143, Channel Display......................... 75
203 Navigation buttons ........................... 23
signal processing ..........................163 Netlink............................................ 399
Monitoring Network drive................................. 267
AFL and PFL monitoring...............214 Networking I/O Resources.............. 399
alternate speaker switching ..........212 NEW soft key.......................... 250, 287
CRM 1 monitor controls...............206 create a new mix......................... 323
external source selection ......208, 213 NEXT button............................. 19, 299
left/right balance .........................210 NEXT CHANGE............................... 353
left/right phase reverse ................210 NEXT soft key ..................299, 304, 309
left/right to both..................210, 213 N-many ..........................See Mix Minus
LISTEN buttons ............................123 NORDIC PPM - meter scale ............ 429
monitor 2 level control .................213 NTCH soft key
monitor 2 mute............................213 fader notch ................................. 442
monitor DIM................................208 joystick notch .............................. 444
monitor level................................208 Numeric keypad................................ 18
mono compatibility checking 209, 213 OFF button..................................... 213
options for mains and minis..........206 OFFL control................................... 120
secondary (CRM 2) monitor control Offset Timecode ............................. 380
................................................213 ONE button
speaker mute buttons ..................211 Parameter Assign ........................ 137
speaker solo buttons ....................211 Parameter Copy .......................... 150
trim speaker levels........................212 Parameter Reset .......................... 156
mc²66 V1.8/0 467/

467/ 474
Index Directory
ONLV control ..................................120 monitoring options...................... 214

Operation Range - System Display...430 PFL add....................................... 434
Oscillator ................ See Tone Generator PFL button .......................... 110, 147
OTME control..................................120 PFL Fader mode .......................... 434
OUT IF CROSS ................................353 System Display options................ 434
Output follows Input SR ..................410 tutorial .......................................... 40
Output Sample Rate Selection .........409 PFL Overpress................................. 443
Overdub recording ..........................204 PFL2 ............................................... 185
Overload Threshold - System Display PH L button .................................... 210
....................................................428 PH R button.................................... 210
OVR LED.........................................148 phantom centre - panning .............. 107
P - Productions display ....................246 Phantom power ........................ 91, 132
P - Snapshots display ...............254, 265 Phase reverse button ................ 92, 128
PAD ..........................................91, 132 pink noise ....................................... 412
PAGE button .....................................24 Play Pass......................................... 328
Panning Play Safe......................................... 363
2nd button...................................106 Powering on the Console.................. 27
Central Control Section ................106 PPM - metering .............................. 429
centre channel control..................107 Pre-Talk aux sends.......................... 118
FLAT button.................................107 PREV button ..................................... 19
from stereo channels....................130 PROD FILE button ............................ 21
Front/Back panning .....................106 Production Soft Keys
High-Low control.........................107 SND, RET and REC ...................... 143
joystick control.............................108 Productions
LCR button ..................................107 backup productions..................... 247
Left/Right panning control ...........106 deleting....................................... 245
LFE (Low Frequency Effect) ..........106 load ............................................ 238
ON button ...................................106 new production........................... 243
on/off fader strip control..............142 Overview .................................... 232
Slope control................................107 protecting a production ............... 246
surround formats .........................106 reminder ..................................... 241
PANNING graph – Main display......106, renaming..................................... 240
108 Sample Rate – 48kHz, 96kHz ...... 416
PARAMETER COPY/ASSIGN saving a new production ............. 239
channel copy................................150 updating a production................. 241
channel reset................................156 what’s stored in a production ...... 234
free control assignment ................137 Productions Display ........................ 236
Pass Tree display..............................327 Programme output ................. See Sums
Peak Hold Colour - System Display ..431 PROT
Peak Hold Mode - System Display ...431 protect a production.................... 246
Peak Hold Time - System Display.....431 PROT soft key ................................ 265
PEQ button .............................111, 204 Protecting a Mix ............................. 372
PERM ISO button ............................182 Protecting a Production .................. 246
PF button ................................111, 204 Protecting a Snapshot ..................... 265
PF button – METER PICK UP ...........160 Protecting fader strip settings from
PFL monitoring snapshot recall ............................ 256
access PFL....................................434 Protecting fader strips from
clear PFL ..............................215, 435 banking/layering ......................... 182
468/
468/ 474 V1.8/0 mc²66
Index Directory
Protecting signal routing from snapshot adjusting controls .......................... 87

recall ............................................256 fine and coarse adjustment............ 87
Protecting the channel in access....... See Router Level Control....................... 407
Locking the ACCESS Router Redundancy ........................ 417
CHANNEL/ASSIGN control panel Routing
Punch In/Punch Out........................360 Bus Routing......... See Bus Assignment
R mute ............................................211 Channel Routing ..See Source Routing
R/W button.....................149, 326, 334 Input routing......... See Signal Routing
R>B button................................92, 128 Output routing...... See Signal Routing
Ratio RTME control.................................. 120
Compressor..................................103 RtoB button ............................ 210, 213
Expander......................................102 RUBB soft key
RATIO/HOLD control..............101, 102 fader resistance ........................... 442
RATIO/HOLD/KNEE control....103, 104 joystick resistance........................ 444
Re-assigning bus masters ...................83 S1L mute ........................................ 211
RebootSee System Shutdown and S1R mute........................................ 211
Restart S2L mute ........................................ 211
REC button..............................122, 226 S2R mute........................................ 211
Record arming .................................143 Safe Area - System Display.............. 430
Record Pass .....................................328 Sample Rate - internal..................... 416
Recording ........................................202 Sample Rate - System Display ......... 438
Recovering from Software Errors......451 Sample Rate Conversion ................. 408
Reduced processing channels...164, 174 SAVE soft key ..................258, 293, 310
Redundant DSP ...............................177 Saving a Snapshot........................... 258
Reference Level - System Display.....427 Scale mode - System Display........... 429
Reference Levels..............................425 SCF – sidechain filters ..................... 105
Release Time SCF button ..................................... 105
Compressor..................................103 SCF graph – Main display ......... 98, 105
Expander......................................102 SCF/FILTER/EQUALIZER ............ 66, 97
Gate ............................................101 SCREEN CONTROL .......................... 20
Limiter .........................................104 Screen displays
Release Version - System Display .....421 black and white (focus) outline...... 22
RELOAD button ..............................303 Bus Assign Display......................... 84
Reminder to update production .......241 Channel Config Display............... 165
Remote microphone preamplifier Channel Display ............................ 74
settings ..................................91, 132 common elements......................... 20
Renaming a Snapshot ......................259 DSP Config Display ..................... 173
Reset ...............................................232 Edit Sequence Display ................. 305
RESET button...................................156 File Display.................................. 266
Resetting channel parameters ..........156 Main Display ................................. 88
RestartSee System Shutdown and Metering Display......................... 159
Restart Mixes Display.............................. 322
RET button ..............................122, 143 Productions Display..................... 236
RET button – METER PICK UP .........160 Sequence Display ........................ 284
Return Mode - System Display.........439 Signal Settings Display................. 403
Reverse Bus Assignment ....................79 Signals Display ............................ 386
RIGHT button....................................19 Snapshots Display ....................... 253
Rotary controls States Display.............................. 447
mc²66 V1.8/0 469/

469/ 474
Index Directory
System Display.............................418 memo information ...................... 295

Screen Displays naming snapshots ....................... 294
Pass Tree......................................327 navigating to the active sequence 290
SDDS................................ See Surround Next snapshot ............................. 284
SEL ALL button - Central Control overview ..................................... 282
Section play out....................................... 298
channel copy................................153 renaming a folder........................ 251
channel reset................................156 renaming a sequence .................. 287
SEL ARM button..............................365 resetting the sequence ................ 302
SEL AUTO button............................324 running a sequence ..................... 298
SEL buttons - Central Control Section saving snapshots ......................... 292
AFL individual processing sections 124 selecting a folder ......................... 285
automation modes .......................338 Sequence Display ........................ 284
channel copy................................152 skipping a snapshot..................... 303
channel reset................................156 the Selection Mode box............... 304
SEL buttons - Fader strip ..................145 updating snapshots ..................... 297
SEL DYN button ..............................345 SET button
SEL ISO button ................................183 monitor parameters............. 209, 210
SEL XFADE button ...........................314 SET soft key .................................... 289
Select Isolate - System Display .........423 SETN soft key ................................. 302
Selected Configuration - DSP Config174 Setup Productions............................. 28
Selection Mode box.........................304 SHAR soft key................................. 401
Sends Sharing I/O Resources .................... 399
auxiliary .......................................111 ShutdownSee System Shutdown and
cue feeds .....................................204 Restart
direct output ..................................96 Sidechain – filtering the dynamics ... 105
insert..............................................95 Sidechain Filters
mix minus (n-1) ...........................114 Central Control Section ................. 97
SEQ ON button ...............................299 SIGNAL button ................................. 21
Sequences Signal Flow
active sequence............................289 changing signal processing order . 165
adding snapshots .........................306 changing your DSP configuration 175
Back snapshot ..............................284 concepts...................................... 162
changing the order.......................296 DSP configurations...................... 173
changing to a different sequence .286 fully featured DSP channels . 163, 174
creating a new folder ...................250 saving your DSP configuration..... 176
creating a new sequence ..............287 Tiny DSP channels............... 164, 174
Cross Fading Snapshots................311 tutorial .......................................... 11
Current snapshot .........................284 Signal Processing Order .................. 165
deleting a folder...........................252 Signal Routing
deleting a sequence .....................288 Directories................................... 386
deleting snapshots .......................308 isolating from snapshot reset ....... 405
duplicating snapshots ...................307 names and labels......................... 395
Edit Sequence Display ..................305 overview ..................................... 385
folders..........................................249 reverse interrogation of routing ... 404
loading the back snapshot............301 Subdirectories.............................. 386
loading the current snapshot ........303 tutorial .......................................... 13
loading the next snapshot ............299 Signal Settings
470/
470/ 474 V1.8/0 mc²66
Index Directory
dither ...........................................411 SND button ............................ 122, 143

I/O DSP .......................................406 SND button – METER PICK UP ....... 160
input sample rate conversion........408 SNS button ..................................... 124
output sample rate selection.........409 Soft keys – SCREEN CONTROL......... 24
overview ......................................385 Software Errors ............................... 451
router level control.......................407 Software Version - System Display .. 421
setting the wordlength for a digital Solo Button Options - System Display
output ......................................411 ................................................... 432
Signal Settings display ..................403 Solo-in-Place
tone generator .............................412 clear SIP ...................................... 436
Signal Settings Display .....................403 SIP mode..................................... 436
Signals Display using SIP ..................................... 436
I prefix .........................................400 Source Priority - System Display ...... 439
overview ......................................386 Source Routing
S prefix ........................................400 A/B input sources........................ 390
source routing..............................388 disconnected signals.................... 398
stereo channels ............................393 routing to a single channel .......... 388
stereo sources ..............................394 routing to multiple channels ........ 391
sine wave ........................................412 Signals display ............................. 388
SIP.............................. See Solo-in-Place tutorial .......................................... 36
SKIP button .....................................303 Speakers ........................ See Monitoring
SKIP soft key ...................................303 SRC ........... See Sample Rate Conversion
SLOPE control .................................107 SRC - Signal Settings display408, 409,
SMPL – sample accurate metering ...429 455
SNAP ISO - System Display option...419 START soft key
SNAP LOAD button.........................303 X-Fade parameters ...................... 446
SNAP/SEQUENCE button ..................21 START WRITE................................. 355
SNAPSHOT/SEQUENCE ..................299 States Display ................................. 447
Snapshots Status indicators.............................. 148
backup snapshots.........................262 STE button...................................... 126
creating a new folder ...................250 STE LED.................................. 126, 148
deleting a folder...........................252 STEP OUT....................................... 350
deleting a snapshot ......................264 STER soft key.......................... 393, 394
filtering a snapshot recall..............257 Stereo Auxiliary Sends..................... 113
folders..........................................249 Stereo channels
isolating fader strips .....................256 changing from mono to stereo ... 126,
isolating signal routing .................256 393
loading a snapshot .......................255 DSP Configuration ...................... 174
memo information .......................260 image control .............................. 129
overview ......................................232 image position............................. 129
protecting a snapshot...................265 image width ................................ 129
renaming a folder.........................251 input balance .............................. 128
renaming a snapshot....................259 Left to Both................................. 128
saving a snapshot.........................258 left/right reverse ......................... 128
tutorial ...........................................44 M/S decoding ............................. 128
updating a snapshot.....................261 mono button............................... 128
what's stored in a snapshot ..........235 panning....................................... 130
Snapshots Display............................253 phase reverse .............................. 128
mc²66 V1.8/0 471/

471/ 474
Index Directory
Right to Both ...............................128 System Display

STE LED .......................................126 AFL monitoring options............... 433
the Signals display........................393 bargraph options......................... 429
tutorial ...........................................54 console options ........................... 422
Stereo image control.. See Image control Custom options........................... 437
Stereo panning ................... See Panning Fader/Joystick options................. 442
STOP WRITE ...................................355 global options ............................. 419
STRIP ASSIGNMENT........................192 GUI options................................. 437
STRIP ASSIGNMENT – locking access level options................................ 425
....................................................200 overview ..................................... 418
STRIP button– ACCESS PFL monitoring options ............... 434
CHANNEL/ASSIGN control ............18 solo button options ..................... 432
STRIP CONTROL.............................230 solo-in-place options ................... 436
STRP 2ND button ............................180 Timecode/Frame Rate options..... 441
STRP button– Parameter Copy.........153 Wordclock options ...................... 438
STY button ......................................129 X-Fade options............................ 446
STYLE– Main display........................129 System Errors .................................. 448
Subsonic Filter ....................... See Filters system log files ............................... 266
Subsonic filter button...........90, 91, 132 System Names .... See Names and Labels
Subwoofer control ...........................106 System Shutdown and Restart......... 449
SUM BUS button ...............................78 SYSTEM/STATES button ................... 21
SUM button– ACCESS TALK button ................................... 122
CHANNEL/ASSIGN control ............18 Talkback to mix minus sends........... 114
Sums Threshold Level
ACCESS CHANNEL/ASSIGN control Compressor................................. 103
panel ..........................................18 Expander..................................... 102
assigning to fader strips................192 Gate............................................ 101
DSP configuration ........................174 Limiter......................................... 104
main mix outputs ...........................11 THRS/LAHD control 101, 102, 103, 104
signal processing ..........................163 Time Display - System Display......... 437
using main fader strips as sum Time- Snapshots display.................. 254
masters.....................................219 timecode ........................................ 321
SURR button ...................................226 Timecode........................................ 441
SURR soft key..................................170 Timecode Automation .. See Automation
Surround Timecode Format - System Display . 441
bus assignments.............................82 Timecode Source - System Display .. 441
configuring surround inputs .........171 Tiny channels.......................... 164, 174
configuring surround outputs .......169 Tone Generator .............................. 412
surround mode - System Display ..420 Track arming................................... 143
Surround busses - DSP configuration174 TRACK BUS button........................... 78
Surround formats.............106, 454, 455 Track busses
Surround Monitoring ..... See Monitoring ACCESS CHANNEL/ASSIGN control
Surround panning............... See Panning panel ......................................... 18
Switching on the Power.....................27 and monitor channels............ 78, 202
SYSC - Signal Settings Display..........410 routing to...................................... 78
System Clock ...................................416 Track Self Assign - System Display
System components.........................415 option ......................................... 420
System diagnostics...........................447
472/
472/ 474 V1.8/0 mc²66
Index Directory
TRACK SWITCH – Channel Config VCA Grouping

display .........................................163 assigning fader strips ................... 221
Trackball............................................23 group assignment display ............ 149
Trackball buttons ...............................23 main fader strips.......................... 220
TRK button– ACCESS tutorial .......................................... 62
CHANNEL/ASSIGN control ............18 VIEW FC......................................... 230
Truncate ..........................................411 VU - metering................................. 429
Turning on the console ......................27 Warm start ..................................... 449
UK PPM - meter scale......................429 Warm Start Data............................. 449
Up arrow button................................23 white noise ..................................... 412
Updating an Existing Snapshot.........261 Word Length .................................. 411
UPDT Wordclock sync .............................. 416
update a snapshot from a sequence Write protecting a Production ......... 246
................................................297 Write protecting a Snapshot............ 265
UPDT soft key .................261, 297, 310 WRITE R/W button ........................ 334
Upgrading Your DSP configuration ..177 X axis - Main display....................... 106
USB device ......................................267 X button ......................................... 109
USE SNS button.......................226, 230 XFADE ON button .......................... 316
USE TYPE button .............................228 X-Fading Snapshots ........................ 311
User Labels ......... See Names and Labels X-Z button...................................... 108
User Panel .......................................226 Y axis - Main display....................... 106
VCA .........................See VCA Grouping Y/Z button...................................... 109
VCA button – group assign........78, 221 Z axis - Main display ....................... 107
VCA button– ACCESS zipped files...................................... 268
CHANNEL/ASSIGN control ............18
mc²66 V1.8/0 473/

473/ 474
Lawo AG
Rastatt/Germany
Tel. +49 222 1002-0
www.lawo.de
mc²66 V1.8/0 474/

474/ 474

MC2-66 User Manual v1 - 8

Enviado por

Dados do documento

Título original

Direitos autorais

Formatos disponíveis

Compartilhar este documento

Compartilhar ou incorporar documento

Opções de compartilhamento

Você considera este documento útil?

Este conteúdo é inapropriado?

Direitos autorais:

Formatos disponíveis

MC2-66 User Manual v1 - 8

Enviado por

Direitos autorais:

Formatos disponíveis

mc²66

© Lawo AG, 2005

The Channel Display 74

4/ 474 V1.8/0 mc²66

CHAPTER 5: CONSOLE RESET

Console Options 422

6/ 474 V1.8/0 mc²66

About This Manual

How to Use This Manual

mc²66 V1.8/0 7/ 474

Notes - useful points or cross references which apply to an

8/ 474 V1.8/0 mc²66

Control Surface Overview

mc²66 V1.8/0 9/ 474

The exact hardware specification of your system will define how

mc²66 V1.8/0 11/

The Power of Layering

Integrated Digital Routing Matrix

mc²66 V1.8/0 13/

Snapshots provide the ability to store different mixes/setups for

mc²66 V1.8/0 15/

• The ACCESS CHANNEL/ASSIGN control panel is used for a

The ACCESS CHANNEL/ASSIGN control panel

The panel consists of:

• The Enter button –

mc²66 V1.8/0 17/

• Alternatively, press the LEFT or RIGHT buttons to assign the

mc²66 V1.8/0 19/

• The name and label of the channel in access (e.g. IN13).

mc²66 V1.8/0 21/

• The area of the display outlined by the dotted black and

The display entry, for example AES3_001

mc²66 V1.8/0 23/

The Console Keyboard

mc²66 V1.8/0 25/

2. Select the PAGE button, located in the middle of the

Switching on the Power

The components may be powered in any order, including the

mc²66 V1.8/0 27/

Loading a Setup Production

mc²66 V1.8/0 29/

Interrogating the Channel Fader Strips

Switching Banks and Layers

One of these buttons will be illuminated; this is your active fader

mc²66 V1.8/0 31/

Creating Your Own Configuration

mc²66 V1.8/0 33/

Assigning Channels to Fader Strips

3. Press the fader SEL button on main fader strip 8 to

3. Press the fader SEL button on channel fader strip 1

mc²66 V1.8/0 35/

mc²66 V1.8/0 37/

3. Press the fader SEL buttons on the fader strips controlling

1. Press one of the 24 pre-programmed buttons to select

mc²66 V1.8/0 39/

AFL & PFL Monitoring

40/ 478 V1.8/0 mc²66

Routing Sources to Multiple Channels

2. Using the trackball or navigation buttons, select the

mc²66 V1.8/0 41/

Controlling Microphone Pre-

mc²66 V1.8/0 43/

Saving Your Settings