BRIO 36 USER MANUAL V1.

Audio Production System with Optional Networking

calrec.com
 The established policy of Calrec Audio
Ltd. is to seek improvements to the design,
specifications and manufacture of all products.
It is not always possible to provide notice outside
the company of the alterations that take place
continually.
No part of this manual may be reproduced
or transmitted in any form or by any means, Despite considerable effort to produce up to
electronic or mechanical, including photocopying date information, no literature published by
and scanning, for any purpose, without the prior the company nor any other material that may
written consent of Calrec Audio Ltd. be provided should be regarded as an infallible
Calrec Audio Ltd guide to the specifications available nor does
Nutclough Mill Whilst the Company ensures that all details in this it constitute an offer for sale of any particular
Hebden Bridge document are correct at the time of publication, product.
West Yorkshire we reserve the right to alter specifications and
England UK equipment without notice. Any changes we make Apollo, Artemis, Summa, Brio, RP1, Hydra Audio
HX7 8EZ will be reflected in subsequent issues of this Networking and Bluefin High Density Signal
document. The latest version will be available Processing (HDSP) are trade marks of Calrec
Tel: +44 (0)1422 842159 upon request. This publication is for International Audio Ltd. Dolby®E is a registered trade mark
Fax: +44 (0)1422 845244 usage. of Dolby Laboratories, Inc. All other trade marks
Email: enquiries@calrec.com are acknowledged.
Calrec Audio Ltd reserve the right to change
calrec.com specifications without notice. E & O.E. © 2018 Calrec Audio Ltd. All Rights Reserved.
BRIO 36
CONTENTS
CONTENTS 3
PRODUCT INFORMATION 13
INFORMATION 14
Repairs 14
Standard of Service 14
Serial Numbers 15
After Sales Modifications 15
Installation 15
Service Personnel 15
Third Party Equipment 15
ESD (Static) Handling Procedures 16
RoHS Legislation 16
ISO 9001 and ANAB Registered 16

HEALTH AND SAFETY 17

Important Safety Instructions 17
Cleaning 17
Explanation of Warning Symbols 17
Earthing 18
Lithium Battery Replacement 18

PACKAGE CONTENTS 19

SYSTEM OVERVIEW 21
SURFACE OVERVIEW 22
CONTROL SURFACE SECTIONS 23
Fader Strip 23
Fader Display 24
Control Cell Display 25
Screen Area 26
Talkback Microphone 26
Context Based Rotary Controls 26
Console Monitors 26
Studio Monitors 27
Linking Paths 27
Surface Layers 27
Global User Buttons 27
 TOUCH INTERFACE 28
Touch Display Views 28

INPUTS, OUTPUTS AND BUSES 30

Identifying Paths 30
Inputs 30
Buses 31
Bus Outputs 32
Path Outputs 32
Console Outputs 32
Inserts 33

HYDRA2 PATCHBAYS 35
Console Specific or Shared 35
Remote Patching 35
Port Sharing 36
Unpatching 37
Hydra2 Patchbays at different sample rates 37

INTERFACING STYLES 38
Physical Controls 38
Touch Display 38

LAYERS 40
Layer Switching Options 40
Surface Layer Pop-up 41

96KHZ OVERVIEW FOR BRIO 36 42

SETTING UP 43
GENERAL 44
General Settings 44
Surround Leg Suffixes 44
Date and Time 44

ENERGY SAVER 45
Brightness 45
Surface Sleep 45

SYNCHRONISATION 46
Synchronisation at different sample rates: 46
Reset to First Source 48
Sources and Frame-Rates 49

HYDRA2 CONFIGURATION 50
System ID Change 50
H2O Change 51
Auto Promote 51

4 BRIO 36 Audio Production System with Optional Networking CONTENTS

 REQUIRED I/O BOXES 52
Viewing Resources 52
Adding and Removing Resources 53

SHOWS 54
Entering the Shows List 56
Active Show 56
Loading a Show 56
Setting up a New Show 56
Deleting a Show 56
Shows List for Different Sample Rates 57
Editing a Show 57
Duplicating a Show 57
Moving Shows between Systems 57
Show Templates—Admin Only 58
Setting Up and Editing Templates—Admin Only 58
Updating Templates—Admin Only 58
Backing Up Shows 58
Restoring Shows 59
Settings Stored within Shows 59

MEMORIES 60
Loading a User Memory 60
Creating a new User Memory 60
Updating a User Memory 60
Creating Multiple User Memories 61
Storage Capacity 61
Memory Isolation 61

GLOBAL USER BUTTONS 64

CUSTOM STRIP CONFIGURATION 65
Custom Strip Functions / Console Wide Functions Selection 66

GETTING SIGNALS IN AND OUT 67

FADER LAYOUT 68
Attaching a Path to a Fader 69
Settings 70
Editing Labels 71
Port Labels 71
Cloning Paths 71
Moving Paths to Different Faders 72
Deleting Paths from Faders 72
Lock a Fader to the Surface 72
Consoles at 96kHz 73
I/O and Hydra2 Patchbays at 96kHz 73

5
 INPUT AND OUTPUT PATCHING 74
The I/O Patching Screen 74
Selecting Sources and Destinations 74
Understanding Ports 75
Icons 76
Channel Settings 76
Layer View 76
Surface Interaction 76
Connected Destination 76
Information Display 76
Viewing and Sorting 77
Making a Patch 77
Moving a Destination 77
Protect a Patch from Memory Loads 78
Isolating a Patch 78
Removing a Patch 78
Inputs 1 and 2 78
Patching Outputs to Inputs 78

INPUT CONTROLS 79
I/O Box Input Port 79
The Channel Input 79
Mic/Gain 80
Providing Console Wide Strip User Controls 81
Group Input Controls 82
Linking Input 1 and Input 2 Trims 82
Replay 83
Stereo & 5.1 path spill leg access and independence for Input settings 84

SOURCE AND DESTINATION PROTECTION 86

Destination Protection 87
Source Protection 88
User Memory Load Protection 88

EXTERNAL INPUTS 89
Creating External Inputs 89
Removing External Inputs 90
Labelling External Inputs 90
Patching to External Inputs 90
Monitoring External Inputs 90
Metering External Inputs 91

DIRECT OUTPUTS 92
Assigning a Direct Output 92
Removing a Direct Output 92
Downmix/Spill 92
Direct Output Controls 92

6 BRIO 36 Audio Production System with Optional Networking CONTENTS

 MIX MINUS OUTPUTS 94
Assigning a Mix Minus Output 94
Removing a Mix Minus Output 94

BUS OUTPUTS 95
Mains 95
Auxes 95

TONE AND OSCILLATOR 96

Routing Tone to a Channel 96
Routing Tone to Buses 96
Routing Tone to Path Outputs 97
Oscillator Controls 98
Clearing Tone 98
Tone and Talkback Active Notification 98
Tone Idents 99

PROCESSING 101
EQUALISER 102
Touch Display EQ Controls 102
Bypass and Alternate EQ 103
EQ Settings 103
EQ Independence Controls for Stereo and 5.1 Paths 104
EQ displays of Non-independent Controls for Stereo and 5.1 Paths 105
Removing Independence from Spill Legs 105

DYNAMICS 106
Compressor/Limiter 1 & 2 106
Expander/Gate/Ducker 108
Global Module Controls 108
Dynamics Links 108
Compressor/Limiter Controls 108
Expander/Gate/Ducker Controls 109
Sidechain Source 111
Sidechain EQ 112
Multiband Compressor 113
Dynamics Independence Controls for Stereo and 5.1 Paths 114
Dynamics displays of Non-independent Controls for Stereo and 5.1 Paths 115
Removing Independence from Spill Legs 115
Compressor / Limiter 1 Module and AutoMixers 115

AUTOMIXERS 116
Applying AutoMixers to Paths 116
Setting Individual Path Weightings 116
AutoMixer Controls 116
AutoMixer Global Controls 117

7
 PAN CONTROLS 118
Surround Mains and Groups 118
Pan Controls 119
Pan to Auxes 119
Stereo & 5.1 path spill leg access and independence for Pan settings 120

DELAY 122
Accessing Delay Controls 122
Global Delay Controls 123

INSERTS 124
Path Inserts 124
Patching Inserts 124
In/Out 124
Insert and Width Tab Controls 125
Stereo & 5.1 path spill leg access and independence for Insert settings 126

VCA GROUPS 127

Creating and dissolving VCA Groups 127
VCA Group Status Indication 127
Secondary Master 128
Masters and Paths 129
Other VCA information 129
5.1 Surround Paths 130
VCA Group Protection 130
VCA Non-Moving Faders 130

THE FADER SCREEN 131

VCA Slave 132
VCA Master 133
VCA Slaves on Buses and Outputs Page 134
Surround Paths 134
Downmix Faders 134
CSCP control 135

AUTOFADERS 136
AutoFader Controls 136
Setting Up AutoFaders for use 137
Assigning GPI’s to AutoFaders 137
Assigning AutoFaders to faders 138
AutoFader levels 138
AutoFader parameter settings 138
Global AutoFader Bypass 138
Default Fader Interaction Mode 139

CONTROL LINKING 140

Identifying Linked Faders 140
Link Features 140
Access Follows Link 141

8 BRIO 36 Audio Production System with Optional Networking CONTENTS

 PRESETS 142
Creating a Preset 142
Loading a Preset 143
Updating a Preset 143
Backing Up and Restoring Presets 144
Editing a Preset 144
Pooled Resources 144

COPY AND PASTE 145

It’s quick and easy to copy properties from one path and paste them to another 145

MONITORING 147
CONNECTING MONITORS 148
MONITOR CONTROLS 150
THE MONITORING POP-UP 151
Favourite Monitor Sources 151
Monitoring External Inputs 151
Settings 151

PFL, AFL AND OUTPUT LISTEN 153

AFL 153
PFL 153
Output Listen (OPL) 153
PFL Position in Audio Chain 153
Access from Faders 154
Access from the Touch Display 154
Global Cancel 154
Sending PFL to the Console Monitor 154

METERING 155
METER DISPLAY LAYOUT WITH CUSTOMISATION 156
Customising Meter Layouts 156
Meter Layout Presets 157

METER TYPES 158

PPM or VU? 158
Fader Meters 158
External Input Meters 159
Bus and Output Meters 159
Loudness Meters 160
Loudness Meter Controls 160
User Meters 162
Meter Position in Audio Chain 162

9
 COMMUNICATIONS 163
TALKBACK 164
Touch Display Talkback Buttons 164
Surface Talkback Buttons 164
Patching to Talkback 164
On-Air / Rehearse Settings 165
Reverse Talkback 165
Talkback & Reverse Talkback Levels 166

MIX MINUS 167

Why remove a source’s own input from its foldback mix? 167
Mix Minus Output 167
Mix Minus using the Auto Minus bus 168
Mix Minus using Auxes 169
Setting up a Mix Minus output 169
Mix Minus Controls 169
Off Air Conference Bus 171
Surface Controls 171

ROUTING 173
BUSES AND OUTPUTS 174
Direct Outputs and Mix Minus 174
Unconfigured Buses 174
Configuring Buses 174

ROUTING A SIGNAL 176

Routing a signal in Brio 36 is quick and simple: 176
Partial Routing 177

CONTRIBUTION 178
DOWNMIXING 180
LoRo 180
Downmix Settings 180
Downmix Defaults 181
Offsets 181

10 BRIO 36 Audio Production System with Optional Networking CONTENTS

 EXTERNAL INTERFACING 183
GENERAL PURPOSE INPUTS AND OUTPUTS 184
GPI Functions 184
Assigning GPIs 185
Moving a GPI destination 185
Removing a Destination 185
GPO Functions 186
Assigning GPOs 186
Moving a GPO Function 186
Removing a Destination 186
GPO Actions & Invert 186
Pulse Time 187
Testing GPO Functioning 187

MIC OPEN SYSTEMS AND ON AIR PROTECTION CONFIGURATION 188

Assigning Inputs to Mic Open Systems 189
Assigning to CUT/DIM Loud Speakers for On Air Protection 189
Mic Open systems and multi-leg paths 189

CONTROL PROTOCOLS 190

CSCP 190
Setting Up CSCP 190

LAN CONFIGURATION 192

CONSOLE FACILITIES 193

ON AIR PROTECTION 194
Changing Modes 194
On Air Mode via GPI 194

SYSTEM STATUS MONITORING 196

Notifications 196

COLLECTING SYSTEM LOGS 197

TERMINOLOGY 199
FEATURES BY SOFTWARE VERSION 207
FEATURES 208
V1.0 208
V1.1 209

11
12 BRIO 36 Audio Production System with Optional Networking
BRIO 36
PRODUCT INFORMATION

calrec.com
INFORMATION
Should you require any technical assistance with your Calrec product please contact your regional Calrec
distributor. Customers within the UK or Ireland should contact Calrec directly.
For a complete list of worldwide distributors by region, go to www.calrec.com or contact us for more
information.

Telephone (9:00am–5.30pm): +44 (0) 142 284 2159

Email – Technical: support@calrec.com
Email – General: enquiries@calrec.com
Postal Address: Calrec Audio Ltd
Nutclough Mill
Hebden Bridge
West Yorkshire
HX7 8EZ
UK

Our UK Customer Support team work closely with our global distributor network to provide the highest level of after sales
support. Your distributor should be your first point of contact and will often be able to provide an instant solution, be it
technical advice, spares or a site visit by an engineer.

Product Warranty

A full list of our conditions and warranties relating to goods & services is contained in the Company’s standard Terms and
Conditions. A copy of this is available on request.

Repairs

If you need to return goods to Calrec, for whatever reason, please contact your regional distributor or Calrec customer
support beforehand for guidance, as well as to log the details of the problem and receive a reference number.
For customers outside the UK and Ireland, shipping via the distributor saves customers from dealing with exportation
paperwork. If there is a need to send direct to Calrec, contact us beforehand to log the incoming repair and for assistance
with exportation documents.

Standard of Service

We strive to ensure the highest possible standards. If you have any comments on the level of service, product quality or
documentation offered to you by Calrec, please contact the Calrec Customer Support team in the UK who will endeavour
to address the issues. Calrec welcomes all customer feedback.
For feedback specific to this document, please contact enquiries@calrec.com.

Whenever you contact Calrec Customer Support please have the following information to hand:

• Name
• Company
• Email address
• Full details of enquiry (e.g. fault report)
• Serial number of faulty hardware (if applicable)

Once this information has been provided, a service ticket will be created to log your enquiry. The service ticket reference
number will be given via email.

14 BRIO 36 Audio Production System with Optional Networking PRODUCT INFORMATION

Serial Numbers

All units produced by Calrec are given a serial number and are booked into a central record system at the time of
manufacture. These records are updated whenever a piece of hardware is dispatched to or received from a customer.
When contacting Calrec Customer Support with a hardware inquiry it is important that the correct Calrec serial number is
provided to enable the customer support team to provide a high level of service. Brio 36 serial numbers can be found on
the label on the rear of the chassis as shown in Figure 1.

FIGURE 1 - LABEL ON REAR OF CHASSIS

After Sales Modifications

Please be aware that any modifications other than those made or approved by Calrec Audio Limited or their agents, may
invalidate the consoles warranty. This includes changes to cabling provided by Calrec and variations to the recommended
installation as detailed in Calrec documentation.

Modifications to this equipment by any party other than Calrec Audio Limited may invalidate EMC and safety features
designed into this equipment. Calrec Audio Limited can not be liable for any legal proceedings or problems that may
arise relating to such modifications.

If in doubt, please contact Calrec Audio Limited for guidance prior to commencing any modification work.

Installation

In many installations the AC power connectors will not be readily accessible, effectively making the equipment
permanently connected. The installation should be carried out in accordance with all applicable installation rules and
regulations.

Service Personnel

The AC power disconnect devices are the 2 x IEC (IEC60320-1 C13/C14) couplers located at the rear of each unit.
WARNING: The apparatus has a dual power system. It is essential that BOTH AC power IEC couplers are disconnected
to prevent exposure to hazardous voltage within the unit.

Third Party Equipment

Integrating third party equipment into a Calrec system may compromise the product’s ability to comply with the Class B
radiated emission limits set in the latest EMC (Electro Magnetic Compatibility) standard.
Calrec Audio Limited can not be responsible for any non-conformities due to use of third party equipment. If in doubt,
please contact Calrec Audio Limited for guidance prior to integrating any third party equipment.

15
ESD (Static) Handling Procedures

In its completed form, this equipment has been designed to have a high level of immunity to static discharges. However,
when handling individual boards and modules, many highly static-sensitive parts are exposed. In order to protect these
devices from damage and to protect your warranty, please observe static handling procedures, for example, use an
appropriately grounded anti-static wrist band.

All modules and cards should be returned to Calrec Audio Limited in anti-static wrapping. Calrec Audio Limited can
supply these items upon request, should you require assistance. This applies particularly to digital products due to the
types of devices and very small geometries used in their fabrication, analogue parts can however still be affected.

RoHS Legislation

In order to comply with European RoHS (Reduction of Hazardous Substances) legislation, Calrec PCB and cable
assemblies are produced with lead-free (tin/copper/silver) solder instead of tin/lead solder.
In the unlikely event of a customer having to carry out any re-soldering on Apollo, Artemis, Summa, Brio 36 or Hydra2
hardware, it is imperative that lead-free solder is used; contaminating lead-free solder with leaded solder is likely to have
an adverse effect on the long-term reliability of the product. Circuit boards assembled with lead-free solder can be
identified (in accordance with IPC/JEDEC standards) by a small oval logo on the top-side of the circuit board near the
PCB reference number (8xx-xxx). The same logo is used on the connector hoods of soldered cable assemblies.

If in doubt, please check with a Calrec customer support engineer before carrying out any form of re-soldering.

ISO 9001 and ANAB Registered

Calrec Audio Ltd has been issued the ISO9001: 2008 standard by the Governing Board of ISOQAR.

The award, for both UKAS and ANAB registration, is the most comprehensive of the ISO9000 international standards.
Granted in recognition of excellence across design, development, manufacture and after- sales support, the certification
follows a rigorous and thorough review of Calrec’s internal and external communication and business procedures.

FIGURE 2 - LEAD FREE FIGURE 3 - LEAD FREE STICKER

FIGURE 4 - UKAS REGISTRATION FIGURE 5 - ANAB REGISTRATION

16 BRIO 36 Audio Production System with Optional Networking PRODUCT INFORMATION

HEALTH AND SAFETY
Important Safety Instructions

• Read these instructions.

• Keep these instructions.
• Heed all warnings.
• Follow all instructions.
• Do not use this apparatus near water.
• Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers)
that produce heat.
• Protect the power cord from being walked on or pinched particularly at the plugs, convenience receptacles, and the
point where they exit from the apparatus.
• Use only with the cart, stand, tripod, bracket, or table specified by the manufacturer, or sold with the apparatus
• When a cart is used, use caution when moving the cart/apparatus combination to avoid injury from tip-over.
• Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in any
way, such as power-supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus,
the apparatus has been exposed to rain or moisture, does not operate normally, or has been dropped.
• Warning: To reduce the risk of fire or electric shock, do not expose this apparatus to rain or moisture.
• Not intended for outdoor use.
• This equipment must be EARTHED.
• Before starting any servicing operation, equipment must be isolated from the AC power supply. The disconnect
devices are the 2 x IEC connectors (IEC 60320-1 C13/C14 couplers).
• Do not allow ventilation slots to be blocked. Do not leave the equipment powered up with the dust cover fitted.

Cleaning

For cleaning the front panels of the equipment we recommend using a soft anti-static cloth, lightly dampened with water
if required.

Explanation of Warning Symbols

Triangular warning symbols contain a black symbol on a yellow background, surrounded by a black border.

The lightning flash with arrow head symbol within an equilateral triangle, as shown in Figure 1, is intended to alert the
user to the presence of dangerous voltages and energy levels within the product’s enclosure that may be of sufficient
magnitude to constitute a risk of electric shock or injury.
The exclamation mark within an equilateral triangle, as shown below, is intended to prompt the user to refer to important
operating or maintenance instructions in the documentation supplied with the product.

FIGURE 1 - DANGEROUS VOLTAGES

17
FIGURE 2 - IMPORTANT INFORMATION

Earthing

This is a Class I product. An Earth connection MUST be provided in each AC power cord.

The Earth Bolt connection at the rear of the console should be connected to Earth using Earth cable at least 6mm2
in cross section (10 AWG), this connection is optional and is NOT a requirement to comply with safety standards.

Lithium Battery Replacement

Caution: Danger of explosion if battery is incorrectly replaced. Replace only with the same or equivalent type.
Batteries must not be exposed to excessive heat such as sunshine, fire or the like.

This device complies with part 15 of the FCC Rules. Operation is subject to the following two conditions:

1. This device may not cause harmful interference.

2. This device must accept any interference received, including interference that may cause undesired operation.

Other Symbols in Use

For apparatus intended to be used at altitude not exceeding 2000m, a warning label containing the following symbol
shown in Figure 3, shall fixed to the equipment at readily visible place.

FIGURE 3 - ALTITUDE WARNING SYMBOL

Lifting and Carrying Brio 36

Brio has two lifting handles on the rear of the unit. These should be used when lifting the unit into place. Note: this unit
weighs approximately 30kG and requires at least 2 persons to lift or carry the unit.

Levelling or Fixing Brio 36 on a surface for table mount.

Brio has four adjustable feet on its base which can be used to level the console on a surface. Alternatively these can be
removed and four M6 screws fitted to fix the console in place. Note: the screws should not screw in further than 20mm into
the body of the unit.

18 BRIO 36 Audio Production System with Optional Networking PRODUCT INFORMATION

PACKAGE CONTENTS
There are a number of options when ordering Brio 36 systems: connectivity type and I/O options.

Every system includes a control surface which contains the processing core. Small format pluggable transceivers
(SFPs) are required for Hydra2 I/O box connections with the optional Hydra 2 module and can be provided by Calrec.
I/O packages are optional. The following table shows all Brio 36 options:-

Surface and Core Packs

Brio is supplied with 36 physical faders, arranged as 3 sets of 12 fader panels and a TFT screen with
its associated controls.

Each fader has a dedicated fader meter display, 2 user definable local Switches S1 and S2 and a user
rotary control cell above, as well as the usual AFL/PFL and Access switches. Brio is supplied with
Brio 36 Surface
On/Cut button caps fitted for each fader and a software option determines if this acts as a CUT or
ON switch. The top right hand area contains the Access display area complete with touchscreen TFT,
8 context based rotary controls, 12 Global user switches G1 to G12, A/B layer selection, Link Switch,
Monitor Controls, PFL level, Reset switch and a USB port used for data transfers.
In the front of the console is provided a further USB connector and a 1/4” stereo headphone socket.

Power, Router, Control Processor, and DSP are all self contained within the unit which has 2 x IEC
connectors to provide PSU redundancy. The core operates at 44.1, 48, 88.2 & 96 kHz and supports:
64 legs as mono, stereo and 5.1 Input channels
36 legs as mono, stereo and 5.1 Mains & Groups, (Max of 4 Mains and 8 Groups)
Brio 36 Core
24 legs as mono or stereo Auxes
64 legs as Direct or Mix-minus outputs
64 legs as Insert sends & 64 legs as Insert returns
Automatic Mix-Minus and an Off-Air Conference bus for Mix-minus.

Cabling One Y-Split IEC cable for supplying power to the surface.

I/O packs

Brio comes fitted with the following I/O:

24 x Analogue Mic/Line Input (XLR)
Fixed I/O 16 x Analogue Line Output (XLR)
8 x AES Digital Inputs with SRC (BNC)
8 x AES Digital Outputs (BNC)
4 x GPIO 9-Pin (D-SUB) connectors each with either 4 GPI or GPO giving a total of 8 in and 8 out.

The unit also has 3x double sized expansion slots in which any of the modules from the Modular I/O
range can be fitted.
Optional I/O
In addition there is an optional Hydra 2 module to allow either further I/O to be connected or to
network audio with other consoles.

SFP Packs

One of the following options may be selected: LX SFP Pack; SX SFP Pack; Bi-Directional SFP Pack;
SFPs
Copper SFP Pack or none if no Hydra 2 module fitted.

LX SFP Pack 4 x Single Mode SFPs

SX SFP Pack 4 x Multimode SFPs

Bi-Directional SFP Pack 2 x Bi-Directional SFPs (type A) and two Bi-Directional SFPs (type B)

Copper SFP Pack 4 x copper SFPs

19
20 BRIO 36 Audio Production System with Optional Networking
BRIO 36
SYSTEM OVERVIEW

calrec.com
SURFACE OVERVIEW
Brio 36 is supplied with 36 physical faders, arranged as 3 sets of 12 fader panels and a TFT screen with its
associated controls.

Each fader strip has a dedicated 5.1 capable meter display, 2 user definable local switches S1 and S2 and a user rotary
control cell, as well as the usual AFL/PFL and Path Access switches. Brio is supplied with a Path Enable button labelled
‘On/Cut’ that can be configured to act as a Cut, or and ON button. The top right hand area contains the touchscreen UI area
complete with touchscreen TFT, 8 context based rotary controls, 12 Global user switches G1 to G12, A/B layer selection,
Link Switch, Monitor Controls, PFL level, Reset switch and a USB port used for data transfers.
In the front of the console is provided a further USB connector and a 1/4” stereo headphone socket. All surface sections of
the Brio are described in detail in the following pages.

FIGURE 1 - BRIO 36 SURFACE

12 Fader Section Touchscreen Panel

Fader Displays
Rotary Controls
Access Buttons
& User Buttons

Fader Controls Access, User and

AFL, PFL & Cut Monitor Controls,
Reset & USB Port

12 Fader Section 12 Fader Section

22 BRIO 36 Audio Production System with Optional Networking SYSTEM OVERVIEW

CONTROL SURFACE SECTIONS
Fader Strip

Each Brio 12 fader section is made up of 12 fader strips, each containing a motorised fader, several push buttons, a rotary
control knob with built-in switch and a small TFT fader display. The image below explains the operation of each button.

FIGURE 1 - FADER STRIP

23
Fader Display

Each fader strip includes a small TFT display. Figure 2 shows highlights each icon which can appear on the display.

FIGURE 2 - FADER DISPLAY

If any of the meter legs go into overload The DYN symbol shows that The A1 or A2 shows that an AutoMixer is in
the background of the meter display there is a dynamics element operation on this path. The brightness of the
turns RED until the level is back in range. in circuit and active. coloured bar indicates the input ‘strength’ .

The AF symbol shows that there is an

The link symbol is displayed in the
AutoFader in circuit and active.
same space as the lock symbol if this
path is control linked with another.

The ISO symbol is displayed if the path The lock symbol is displayed for a
has been isolated from changes made short period on faders that are locked
by memory loads. The ISO icon will be to the surface when changing layers.
green if the path is partially isolated.

The VCA group status indicators show The input meter is a small bar graph
whether a fader or path is a:- which displays the path’s signal level
in Mono, Stereo or 5.1 Surround as
Master shown here Note when the signal
is off the bottom a label shows the
SubMaster
name of the leg. The position of the
or Slave scale markers and colour change
points, as well as PPM or VU ballistics
is selectable from System-Settings
General, under meter style.
If this area of the display is labelled The meter can be selected to display
then it means that Path’s rotary control input or post fader audio, per path
has also been set up as a control cell. from the Meter and PFL button in the
See next page for examples. The Path label is either the native Access view’s sub-header.
label, or the H2O user label
The control label is always visible generated within H2O or the
if assigned and the control value is User label which can be edited
displayed when the control is adjusted. from the Brio surface.

24 BRIO 36 Audio Production System with Optional Networking SYSTEM OVERVIEW

Control Cell Display

The Fader Display changes mode when its rotary control is altered and the bottom of the fader display shows a bargraph
with control values for the selected user function. The combination of the Fader display and the rotary control is defined
as the control cell situated at the top of each fader strip. The function of these control cells varies depending on which
control mode you have selected.

In normal mode, all control cells on the surface show the same control if valid for that path, e.g all input trim.
In custom mode, each of the control cells can be set to a different function, e.g. fader 1 Aux 1 send, fader 2 Mic Gain etc.
See Figure 3.

FIGURE 3 - CONTROL CELL

25
Screen Area

The top right hand area contains the Access display area with Touchscreen Interface TFT, Talkback Microphone,
8 context based rotary controls, 12 Global User buttons G1 to G12, A/B layer selection, Link Switch, Monitor Controls,
PFL level, Reset switch and a USB port used for data transfers. The Touch Interface is described later see “TOUCH
INTERFACE” on page 28.

FIGURE 4 - ACCESS DISPLAY AREA

Talkback Microphone

Brio has a built-in Talkback microphone which is situated above the G1 Global User Button in the rotary controls area.

Context Based Rotary Controls

Brio has 8 rotary controls that change function in context with the display shown on the touchscreen TFT above it.

Console Monitors

The large rotary control bottom centre adjusts the console (main) monitor level, the level indication is shown at the bottom
of the touchscreen. To the left of the monitor level control are 2 buttons labelled ‘Mono’ and ‘Stereo’ pressing either of
these will replace the normal 5.1 surround output with a Mono or Stereo Downmix. To the right of the monitor level control
are 2 buttons labelled ‘Dim’ and ‘Cut’ which reduce the level of the monitor output by a set amount or mute it altogether.
Just to the right of the Dim & Cut buttons is the ‘PFL’ level control the level of which is also displayed at the bottom of
the touchscreen. There is also provision for separate loudspeakers for monitoring the console’s 5.1 PFL feed /Return
Talkback LS and 5.1 AFL LS. The level controls for these appear on the context based rotary controls together with the
Dim level and Dim, Cut and ‘PFL to Mon’ buttons when the Console Monitor Page is accessed.

26 BRIO 36 Audio Production System with Optional Networking SYSTEM OVERVIEW

Studio Monitors

Brio has two dedicated monitor feeds for relaying signals back to the studio floor or anywhere you need a monitor feed
such as the picture gallery or for headphone feeds. Studio 1 monitor is 5.1 wide, whilst Studio 2 monitor is Stereo.
The level controls for these appear on the context based rotary controls together with the Dim, Cut and Talkback buttons
when either Studio Monitor Page is accessed.

Linking Paths

When paths are linked, adjustments to the parameters of one linked path are also made for all other linked paths.
Adjustments are made relatively across all paths, preserving any offsets. The Link (Set/Clear) button, as shown in
Figure 4, bottom left (next to the Fader Layer buttons) provides a quick way to set/clear all path linking on the surface.
See “CONTROL LINKING” on page 140 for more information.

Surface Layers

The Brio surface has two layers, allowing fader-control of twice as many paths as there are faders on the surface, i.e.
72 fader paths. You can switch between layers using the Fader Layer selection buttons A & B on the surface. When
selecting a layer, all fader positions, button states and control cell states change immediately to reflect faders on the
newly selected layer. It is important to note that paths on the layer that is not visible are still active and will pass audio if
left faded up.

Surface Reset

The surface reset button is recessed to avoid it being pressed accidentally. If a reset is required a pen or similarly pointed
implement should be used to push it.

USB Ports

Brio’s USB ports can be used to connect a QWERTY keyboard or a mouse, or a keyboard/mouse combo to the system
and for data backup and restore to USB memory.

Global User Buttons

Brio’s 12 Global User Buttons can be configured to perform a whole range of functions which are described in the
”GLOBAL USER BUTTONS” on page 64 section of this manual.

27
TOUCH INTERFACE
The touch display interface is simple and intuitive. The touchscreen active show image on the following page
should help you get familiar with the names used to describe various sections of Brio 36’s touch interface.

Touch Display Views

There are three main views within the Brio 36 Touch Display interface. The Active Show view is the main page and
provides access to operation screens and settings for the currently loaded Show. The Shows List button on the top
left in the header provides access to the list of Shows stored on the Brio console, shows can be loaded, edited, saved
and backed up here. The System Settings button on the top right in the header provides access to Brio’s settings that
are stored outside the Show. These settings are still recalled in the event of a surface reset as they are stored within
Brio’s continuous memory. See ”SHOWS” on page 54 and “MEMORIES” on page 60 for more information.

28 BRIO 36 Audio Production System with Optional Networking SYSTEM OVERVIEW


FIGURE 1 -BRIO 36 USER INTERFACE DISPLAY

29
INPUTS, OUTPUTS AND BUSES
Path is a term used to represent an audio signals route through a DSP process within the Brio 36 system, which
carries audio and enables it to be processed. Paths include channels, groups, mains and auxes.

All paths can be controlled by faders and channel paths must be attached to faders to exist.

Identifying Paths

Paths can be identified easily on the surface; they are colour-coded as follows:

Channels - black background - white label, Groups - blue background - white label,
Mains - red background - white label and Auxes - green background - white label.

Inputs

Input Channels

Input channels take audio signals into the mixing console for processing, mixing and onward routing.
Input signals can be patched directly to channels from built-in or expansion slot I/O, or from external I/O boxes connected
via the optional Hydra2 module, Hydra patchbay outputs or directly from Brio’s own output buses.
Any signal present at an input port must be connected to a channel path before it can be processed and routed.

FIGURE 1 - INPUT SIGNAL FLOW – MONO CHANNEL

30 BRIO 36 Audio Production System with Optional Networking SYSTEM OVERVIEW

FIGURE 2 - INPUT SIGNAL FLOW – STEREO CHANNEL

External Inputs

• External inputs take signals into Brio 36 from it’s own Input ports, other I/O box input ports, Hydra patchbay outputs
or Brio’s own output ports, and make them available for monitoring and metering.

External Tone Input

• Patching a third party tone generator to the external tone input allows the external tone to be used as the tone source
across the console, rather than the internal oscillator.

Talkback Input

• Patching to the talkback input allows any microphone connected to any of its own Input ports or other I/O box input
ports to be used as the talkback source. The built-in talkback microphone connects to Brio’s internal I/O and may
then patched to the talkback input in order to be used.

Buses

Groups

• Multiple channel Inputs can be sub-mixed by routing them to groups.

• Groups can be processed.
• Groups can be routed to any other output or bus.
• Groups are not available for patching, but can have direct outputs and mix-minus outputs made available to them.

AFL

• When paths are AFL’d the console monitor feed is replaced by the AFL bus, providing a non-destructive solo.
• The after fader level signals from multiple paths can be sub-mixed by routing them to the AFL bus.

PFL

• When paths are PFL’d the PFL bus outputs a pre-fader version of the incoming signal and is used to check the
presence of the incoming signal prior to opening the fader.
• Pre fader level signals from multiple paths can be sub-mixed together by routing them to the PFL bus.
• Settings are available to output the PFL bus to its own dedicated loudspeaker or the console monitors.

31
Output Listen

• The output listen bus uses the same bus as AFL although signals are routed post any output delay.
• Bus outputs including Mains, Auxes & Direct Outputs can have their post output delay listened to.

See “PFL, AFL AND OUTPUT LISTEN” on page 153 for more information.

Bus Outputs

Main Outputs

• Mains are primarily used to feed transmission and/or recording devices.

• Multiple paths can be routed to mains. Mains can be routed to other mains.
• Mains are available for patching and can have Equaliser, Dynamics and Delay processing applied.

Aux Outputs

• Multiple mixes can be created by routing paths to auxes.

• Each channel has individual send level and position controls for each of the 24 Aux outputs.
• Auxes can be used in conjunction with mix minus outputs to create Interruptable Foldback feeds (IFBs).
• Auxes can be controlled by logic functions to cut the pre fader send to each individual Aux, for controlling foldback
feeds in on/off air situations.
• Auxes cannot be routed to any other bus/output.
• Auxes are available for patching and can have Equaliser, Dynamics and Delay processing applied.

Path Outputs

Mix Minus Outputs

• Each channel can have one mix minus output assigned to it, from a pool of 64 mono legs (shared with direct
outputs), providing an easy way to create a mix for a contributor using any aux, or the dedicated auto minus bus.
See “MIX MINUS” on page 167 for more information.

Direct Outputs

• Each channel can have one direct output assigned to it from a pool of 64 mono legs (shared with mix minus outputs)
to make signals available for patching. Direct outputs can be pre EQ, pre fader or post fader.

Console Outputs

Monitor Outputs

• Each monitor output is available for patching to any I/O output port which can, in turn, be connected to a loudspeaker.
• Monitor source controls are available from the touch display footer when in ‘active Show’ view allowing you to quickly
change monitor sources and the global user buttons can also be assigned as monitor source selectors.
• Brio 36 has several monitor outputs available. For more detailed information see “MONITOR CONTROLS” on page 150.

Meter Outputs

• In addition to the Console Monitor Prefade, PFL,AFL & APFL Meter outputs, there are four user meter outputs
available for patching directly to I/O box output ports to feed external, third party meters.

32 BRIO 36 Audio Production System with Optional Networking SYSTEM OVERVIEW

Talkback Output

• The talkback output feed is provided to allow you to patch the talkback feed from the console operator to a specific
location, e.g. a comms system.

Tone Output

• As well as being routed to paths, tone can be hard-patched to an I/O box or Hydra patchbay output using the tone
output.

Inserts

• Inserts provide a quick way to insert third-party signal processing equipment into a path.
• Each Insert can be placed pre EQ, pre fader or post fader. When switched in, an insert breaks the signal path,
providing a send out and a return back in, allowing devices like external effects processors to be placed within the
signal flow of a path.
• Insert sends and returns appear in the I/O patching screen from where they can be patched to I/O box ports for
connection to external devices.
• Inserts are available for faders, mains, groups and the console monitor.
• 2 fader inserts are available for each path. If the path is moved to a different fader, the insert will move along with it.
• Each insert has an individual ‘IN/OUT’ switch.
• Monitor inserts are used to insert processing into monitor feeds, such as surround processors and renderers.

See “INSERTS” on page 124 for more information.

FIGURE 3 - INSERTS—GENERAL OPERATION

33
 FIGURE 4 -BRIO 36 AUDIO SCHEMATIC

34 BRIO 36 Audio Production System with Optional Networking SYSTEM OVERVIEW

HYDRA2 PATCHBAYS
Hydra2 patchbays (HPBs) allow console users to make selected DSP audio outputs available across the Hydra2
network, allowing other Hydra2 users to access them, as well as allowing console input sources and output feeds
to be changed remotely. Hydra2 patchbays are created from the H2O user interface. See the H2O user guide for
more information.

HPBs are virtual patchbays which exist within the Hydra2 domain. Like physical patchbays, HPBs have a number of input
ports which are ‘hard wired’ to their corresponding output ports. For port patching purposes, Hydra2 patchbay inputs are
destinations and Hydra2 patchbay outputs are sources.

When a source is patched to a Hydra2 patchbay input, it immediately becomes available at the corresponding Hydra2
patchbay output. For example, if a console user patches a direct output to a Hydra2 patchbay input, the direct output is
available to all Hydra2 users (who have been granted access), in the form of the corresponding Hydra2 patchbay output.

Console Specific or Shared

There are two types of HPB: ‘console specific’ and ‘shared’. Console specific HPBs are available to H2O, 3rd party
controllers (via SW-P-08) as well as the console that they have been created for. Shared HPBs are available to all Hydra2
users who have been granted access as well as H2O and 3rd party controllers (via SW-P-08). You can patch signals to
your own, or shared Hydra2 patchbay inputs, in the same way as patching to physical output ports.

Remote Patching

HPBs allow network administrators (via H2O) to patch console inputs and outputs that have been patched to HPB ports
to physical I/O ports. H2O users can choose physical input ports to connect to console HPB inputs, and physical output
ports to connect to console HPB outputs, allowing them to choose and change console feeds and output destinations.

External routers, supporting the SW-P-08 protocol, can also access HPBs, enabling 3rd party control over console
patching. Once created, HPBs can be made available for patching. They appear ‘online’ and can be added to the
console’s ‘required list’. See “REQUIRED I/O BOXES” on page 52 for more information.

35
FIGURE 1 - HYDRA PATCHBAY OPERATION

Port Sharing

Source and destination protection works as normal when dealing with HPBs for both console and H2O users.
In situations when two or more consoles are using the same feed from a HPB it is possible for one console to change the
patching of the other by changing the I/O box port which is feeding the shared Hydra2 patchbay input, either through a
memory load, or through changing the individual patch. In these circumstances it is important that you understand the
contents of the source and destination protection pop-up before accepting any changes, as these changes directly affect
other network users.

To create a fully flexible system, you can change the source feeding a HPB, which is also feeding other consoles.
However, we advise that all I/O box port to Hydra2 patchbay input patching is controlled from H2O or a third party
controller to avoid unwanted changes to other consoles’ source feeds.

FIGURE 2 - HYDRA PATCHBAY PATCH CHANGE

36 BRIO 36 Audio Production System with Optional Networking SYSTEM OVERVIEW

Unpatching

Under normal circumstances, when I/O box ports are unpatched, their input settings (Mic Gain, SRC, 48 V) are reset to
their default values. However, when using HPBs, it is possible to un-patch a port at two points in the signal chain, as
shown in Figure 3 below. If the port is first unpatched at point 2, the I/O box port’s input settings will be retained, even
when the port is also unpatched at point 1.

FIGURE 3 - HYDRA PATCHBAY UN-PATCH

Hydra2 Patchbays at different sample rates

Note: now different sample rates are available, Hydra2 patchbays can be created to operate at a different sample rate (as
shown in Figure 4) to that of the current show which is at 48kHz. HPBs and I/O Ports at a different sample rate to the
console appear with a Sample Rate kHz warning icon to indicate it cannot be used unless the sample rate of the Hydra2
patchbay is changed in H2O or a different show is loaded into the console, using the correct sample rate.

FIGURE 4 - HYDRA PATCHBAY AT A DIFFERENT SAMPLE RATE

37
INTERFACING STYLES
Interfacing with Brio 36 is simple and the touch display will be familiar from using consumer technologies such as
smartphones and tablet PCs.

Aspects of the interface will be referred to throughout this manual but this section should give you a good starting point
from where you can start exploring Brio’s intuitive interface for yourself.

Physical Controls

Faders

• Faders are used to control signal levels, either by having paths attached for direct control or as VCA master faders for
controlling the overall level of a range of paths.

Buttons

• All buttons on the Brio surface are labelled and LED back-lit to indicate their ‘on’ statuses. Buttons can either be
momentary (they trigger the function until you release them), latching (switch on or off each time they are pressed) or
auto (they latch if you tap them or act as momentary buttons if you hold them).

Rotary controls

• All physical rotary controls on the Brio surface are continuous—they have no stopping point at either extreme.
This allows the surface to be fully flexible, as all physical controls are able to control a wide range of functions within
one project.
• When a rotary control is attached to a function or parameter, the function name and options are displayed,either on
the touch display, or in the smaller fader displays.
• Once a function’s extreme—either lower or higher—is reached its value will stop updating when the rotary is turned.
When a rotary is controlling a level value or a value which has a default setting, press and hold the rotary control for a
short time to return to the default value.

Touch Display

Brio’s touch display uses the same general interfacing styles as a smartphone or tablet computer.
Below is a run down or the main gestures that you will use:

Tap

• Buttons, switches, selection fields and table column labels (for ordering purposes) can all be accessed with a short
light tap.

Two Finger Tap

• Tapping with two fingers can reset settings to their default level. For example, within the fader processing tab,
the fader can be set to zero by tapping on the fader space with two fingers.

Drag

• To turn a rotary control up or down, simply drag it vertically up/right to turn it up, or down/left to turn it down.

38 BRIO 36 Audio Production System with Optional Networking SYSTEM OVERVIEW

Touch and Drag

• To select more than one item in a table or list, touch your first selection, hold your finger in place for a short time then
drag in any direction to extend your selection. Selections are always in order, usually numeric, so if you drag to the left
or right in a vertically arranged grid, such as the external inputs screen, you will select all cells between your first and
last selection. Touch and drag can also be used to move a selection around, for example in the fader layout screen,
make a selection then hold and drag to move paths to a different set of faders.

Scrolling

• Whenever a screen is too large to be fully displayed on the touch display, drag the screen to scroll in any direction.
Scrolling and ‘flinging’ will allow the screen to scroll quickly, then decelerate to a stop.

Drag Handles

• A multiple selection can be made by dragging the selection handles once an initial selection has been made, as
shown in Figure 1.

FIGURE 1 - DRAG HANDLES TO SELECT MULTIPLE ITEMS

Buttons

Switches

Keyboard

• There are several Brio 36 functions which require the use of a Qwerty keyboard.
• Whenever the keyboard function is needed the software keyboard will appear from the bottom of the touch display.
• If there are several text fields to complete, NEXT and PREVIOUS buttons are provided to move between text fields in
order, alternatively, just tap the text fields on the touch display to move between them.
• SAVE and CANCEL buttons are provided to exit the text input mode, either saving or discarding any changes.
Alternatively tap the touch display outside the text fields to exit.
• Standard CUT, COPY and PASTE functions are available using the keyboard.
• If preferred an external keyboard or keyboard/trackpad combo can be attached to one of Brio 36’s USB ports.
• When an external keyboard is connected the software keyboard does not appear.

39
LAYERS
The Brio 36 surface has two layers allowing fader-control of twice as many paths as there are faders on the surface.
You can switch between layers using the fader layer selection buttons A or B on the surface. The A/B buttons
switch layer globally across the whole console, or can be set to switch chosen banks of faders. The Fader Layer
button in the footer also allows layer switching. Setting a bank to be “linked” in this menu sets them to follow the
A/B hardware buttons on the surface.

Layer linking options are set from the Surface Layer pop-up which is accessible from the Monitor bar along the bottom of
the Touch Display. This should be used along with Layer Switching Options which are located within Show settings.

As well as switching layer globally, or in banks, the layer can be toggled on individual faders by setting the S1 or S2
Strip User buttons to act as a B layer toggle switch.

When changing layer, all fader positions, button states and control cell states change immediately to reflect faders on the
newly selected layer. Paths are active and can pass audio on both layers, regardless of whether they are currently in view

Layer Switching Options

To access layer switching options, tap SHOW SETTINGS in the Show menu and select ‘General’. One of these two
options can be chosen:

• Change the layer of all linked fader sections

• Change only the layer of the fader section containing the Accessed fader (any linked fader sections will also
change too)

The first option can be used if you wish to prevent a section of the desk from ever switching layers. For example, on a Brio
linking sections 1 and 3 and selecting the first layer switching option means that all surface sections, other than section 2,
will switch layers when surface layer buttons or pop-up layer buttons are pressed. Fader section 2 will stay on which ever
layer you select for it within the Surface Layer pop-up.

The second layer switching option should be chosen if you always want the section containing the currently accessed
fader to switch layers (along with any linked surface sections) regardless of whether you have set some fader sections to
lock to a specific layer.

40 BRIO 36 Audio Production System with Optional Networking SYSTEM OVERVIEW

FIGURE 1 - LAYER SETTINGS

Surface Layer Pop-up

Each surface section is represented along the top of the pop-up. Link layer switches along the bottom of the pop-up can
be set to ‘on’ or ‘off’ to enable or disable layer linking. Linked layers will always be on the same surface layer.

FIGURE 2 - SURFACE LAYER POP-UP

41
96KHZ OVERVIEW FOR BRIO 36

From version v1.1, Brio 36 can now also work at 96kHz sampling frequency (sample rate), over a Hydra2 Network.

The following list is a quick overview of the impact of running Brio36 consoles at 96kHz

• The consoles can switch between 48kHz & 96kHz working as required.
• Consoles switch sampling frequency by loading a show at the required sample rate built from a template at that rate.
• The numbers of channels and buses are the same on Brio 36 at 96kHz as at 48kHz, i.e. the same as before.
• There is no reduction in the numbers of monitor inputs and outputs at 96kHz.
• I/O boxes can be set to 48kHz or 96kHz, or to follow the sample rate of a specific console, via H2O.
• The Hydra2 network supports 48kHz and 96kHz consoles and I/O boxes simultaneously.
• Hydra2 runs at 48kHz irrespective of whether the consoles and I/O boxes are running at 96kHz or not. It simply uses
2 samples per 96kHz signal.
• Because Hydra2 always runs at 48kHz, the system will still require a 48kHz sync (if using its AES3 & Wordclock
inputs) even if all consoles and I/O are at 96kHz.
• The console patching screens and required list indicate which ports, HPB, aliases, or boxes are at a different sample
rate to the desk. These ports etc. can be patched (except for System level patches) but will not work until the sample
rates are matched.
• The H2O patching screens filter the ports visible by sample rate, as it can make patches at either rate.
• Consoles cannot successfully make port to port patches (including via aliases) for I/O that is at a different sample rate
to the desk. Note: these patches can be made in H2O and by SW-P-08 and will work if patched there.
• System Status messages are produced for I/O boxes & HPB that are in the required list but are not set to the same
sample rate as the desk.
• An I/O box can run at 48kHz or 96kHz irrespective of which rack it is plugged into. If a console is running at 48kHz,
an I/O box plugged into that rack could be running at 96kHz with another console.
• Fixed format 1U MADI boxes do not support 96kHz. They are shown offline when the box is at 96kHz.
• SDI de-embedder modules do not support 96kHz on the SDI stream. They are shown offline if the box is at 96kHz.
• SDI embedder modules do not support 96kHz on the SDI stream. They are shown offline if the box is at 96kHz.

42 BRIO 36 Audio Production System with Optional Networking SYSTEM OVERVIEW

BRIO 36
SETTING UP

calrec.com
GENERAL
To access Brio 36’s general settings, from the ‘active Show’ view, tap SYSTEM SETTINGS in the top right of the screen
and then select ‘General’’ from the menu on the left hand side. To edit these settings you must be logged in as an
administrator.

General Settings

The following general settings are available:

• The analogue level at 0 dBFS can be calibrated to 15, 18, 20, 22, 24 or 28 dBu.
• The reference level (dBFS) can be set to an integer value between -6 and -32 dBFS. The reference level sets default
level values for the dynamics and oscillator modules.
• The point at which the input impedance changes between mic and line level can be set to 18, 20, 22 or 24dBu.
• The mic input headroom for the system can be chosen. Options range from 20 dB to 36 dB.
• The default meter style can be set for all meters on the meter displays. PPM or VU scales can be chosen along with
various colour split points, controlling the level ranges of the green, yellow and red elements of the meter bar graphs.
• Cut/On button functionality can be set: With cut selected, paths are cut when cut/on buttons are active; with on
selected, paths are switched on when the cut/on buttons are active, and so paths are cut when cut/on buttons are not
active.
• When faders are under CSCP control, this can be overridden when the fader is touched; Brio 36’s faders are touch
sensitive. This feature can also be disabled.

FIGURE 1 - GENERAL SETTINGS

Surround Leg Suffixes

You can enter suffixes to be automatically displayed at the end of the individual legs of surround path port labels within the
I/O patching screen. Suggested suffixes are L, R, C, LFE, Ls, Rs. These suffixes help to keep the surround legs together
and in the correct order when sorting tables within the I/O patching screen.

Date and Time

The current date & time are displayed at the bottom of the General settings page and can be modified in Admin mode.

44 BRIO 36 Audio Production System with Optional Networking SETTING UP

ENERGY SAVER
Brightness

Brio 36’s energy saver settings allow you to control the brightness of all surface buttons and displays. There are three
rotary controls to independently set the brightness of LED’s, small displays, and Touchscreen display. Adjust these rotary
controls to see the relevant brightnesses change.

Surface Sleep

Putting Brio into surface sleep turns off all lights across the surface it has no effect on audio or operation.
Surface sleep can be set to activate after a specified duration of inactivity, ranging from one minute, to an hour.
Alternatively you can select NEVER.

FIGURE 1 - ENERGY SAVER SETTINGS

45
SYNCHRONISATION
General rules of good practise require that all equipment connected to the audio console’s digital inputs and
outputs are locked to the same referenced sync source as the console to ensure clean audio.

In systems with multiple Calrec processing cores connected together, it is of paramount importance that all connected
processing cores are locked to the same referenced sync source.

The Brio 36 processing engine has six synchronisation inputs and six levels of synchronisation source priority. The sixth
priority is always set to ‘internal reference’, so that, as a last resort, if all other sync sources fail, Brio can always run off its
own internal clock. If a clock source does fail, Brio will automatically jump down to the next sync source in the priority list.
One is the highest priority, six is the lowest.

In ‘active Show’ view, the current sync source is always displayed

within the notifications area at the top right of the touch display.

Setting Synchronisation Source Priorities:

• Tap SYSTEM SETTINGS in the top right of the touch display and select ‘synchronisation’ from the menu.
• Tap the selection cell for the sync priority level that you wish to alter. A pop-up appears with a scrolling menu of
possible sync sources. (The following figure shows the pop-up when selecting sync source priority 1).
• Tap to make your selection, scrolling down if necessary.
• The pop-up closes and Brio refreshes and syncs to the highest priority viable source.

Synchronisation at different sample rates:

Hydra2 runs at 48kHz irrespective of whether the consoles and I/O boxes are running at 96kHz or not. It simply uses 2
samples per 96kHz signal.

Hydra2 always runs at 48kHz, the system will still require a 48kHz sync if using its AES3 or Wordclock inputs even, if all
consoles and I/O are operating at 96kHz.

46 BRIO 36 Audio Production System with Optional Networking SETTING UP

FIGURE 1 - SYNCHRONISATION OPTIONS

47
Reset to First Source

It may sometimes be necessary to reset Brio’s synchronisation. To start the synchronisation reset process tap
RESET TO 1ST SOURCE. Brio will attempt to synchronise to each source in priority order, starting at priority one.
Once a viable synchronisation source is found the process will stop and the new sync source will display the ‘locked to’
tab as shown here.

It is important that the required sync source is available before the console boots up otherwise it won’t be locked to the
correct sync, if this occurs press the ‘Reset to first’ button after the sync generator is running.

FIGURE 2 - RESET TO FIRST SOURCE

48 BRIO 36 Audio Production System with Optional Networking SETTING UP

Sources and Frame-Rates

Brio has 7 sync source options:

• Video 1
• Video 2
• AES3 1 (48 kHz)
• AES3 2 (48kHz)
• TTL Wordclock 1 (48 kHz)
• TTL Wordclock 2 (48kHz)
• Internal Reference

Brio supports the following video formats:

• PAL
• NTSC
• 720p/30
• 720p/29.97
• 720p/25
• 720p/24
• 720p/23.98
• 1080i/30
• 1080i/29.97
• 1080i/25
• 1080p/30
• 1080p/29.97
• 1080p/25
• 1080p/24
• 1080p/23.98
• 1080p/50
• 1080p/59.94
• 1080p/60

49
HYDRA2 CONFIGURATION
System ID Change

From version 1.1 Brio 36’s can be used as part of a Hydra2 Network and have access to the resources of that network.

In order to facilitate this the System ID has to be altered so that it is no longer set to 192.1 which is the default for a
Standalone console as shown in Figure 1. In order to do this the user has to enter Administrator Mode. Note: a Brio
cannot be the master of the network and requires a 4U or 8U core system to connect to which acts as the network master.

This is usually a separate core, but could equally be an Apollo, Artemis or Summa Console core. Figure 2 shows the
Brio now set to a new System ID of 192.150, it has been connected to a master core and now the Brio appears as a
Networked Console. Note: it’s AutoPromote value has been increased to 70 seconds to cope with any reset of the
master core before AutoPromote takes effect otherwise the Brio might self promote when it needs to stay on the network.

FIGURE 1 - SYSTEM ID STANDALONE

FIGURE 2 - SYSTEM ID NETWORKED

50 BRIO 36 Audio Production System with Optional Networking SETTING UP

H2O Change

In addition to changing the Brio’s System ID, the Brio needs to be added as a Client on the Hydra2 network .
This needs to be setup in H2O as shown in Figure 3, before it can be seen as part of a Hydra2 Network and have access
to Hydra2 I/O resources.
FIGURE 3 - BRIO ADDED AS CLIENT IN A MASTER CORE VIA H2O

Auto Promote

A Hydra2 network needs one master router to function correctly. If anything causes the master router to go off-line,
another router on the network must be promoted to be the master to keep the system running.
Auto Promote allows this to happen automatically.
To avoid losing valuable data the Hydra database is copied from the master router to any routers in the network which
may auto promote themselves. The Hydra database stores the following information:

Details of I/O connected on network.

Patches made via H2O.
Patches made via SW-P-08.
Port labels.

A system of levels and time delays is used to control which routers can take over the master router status and in which
order. Auto Promote is setup by Calrec engineers and so should be planned with your Calrec project engineer during the
ordering process.

51
REQUIRED I/O BOXES
BRIO 36 has its own built-in I/O but this and all other I/O resources on a Hydra2 network can be used by
all consoles as long as they have been granted access from the network administration tool, H2O, and the
resources have been added to the consoles ‘required list’.

If connected to a network, and due to the scalable nature of Hydra2 the user may have access to a large amount of I/O
resources, some of which they won’t always need. The ‘required list’ provides a way to narrow the scope for individual
consoles, speeding up work-flow and making port identification easier.

Only I/O resources in the ‘required list’ will be available for patching to and from the console. If not connected to the
network only the Built-in I/O box will be shown in the required list. Brio’s internal I/O is identifiable as a console image.
The ID for internal I/O is automatically generated, based on the consoles ID in order to prevent conflict with other I/O on
the network

Viewing Resources

Tap SYSTEM SETTINGS in the top right of the touch display, then select ‘Required I/O Boxes’. The user will see a split
screen with all online resources on the left and the ‘required list’ on the right.

Both lists are held in tables with 3 columns: Hardware ID, label and type. It may help to sort these tables by tapping on
column headers. Multiple taps will switch sorting to be either ascending or descending.

Hardware IDs for physical I/O boxes are set from the dip switches on the back of the units (See “Audio I/O Connections”
in the Installation manual for more information). Hydra patchbay IDs are taken from H2O and are related to folder names.
Labels are explained in detail, here: ”INPUT AND OUTPUT PATCHING” on page 74.

FIGURE 1 - ACCESSING SYSTEM SETTINGS

52 BRIO 36 Audio Production System with Optional Networking SETTING UP

 Tap to select a single online resource on the left (hold and drag or drag handles to select multiple resources) then tap
ADD TO REQUIRED LIST at the bottom left of the online resources screen. The resources will then appear in the
Required List on the right. Note: they are shaded green, with a green ‘required’ tag attached.

This is mirrored in the online list on the left so the user can quickly see which resources they have already added.
If any of the resources in the Required List go offline, they will be shaded red with an ‘offline’ tag attached.

The ‘require’ tag can be seen in the image below.

Adding and Removing Resources

To remove a resource from the list, select it, then tap REMOVE FROM REQUIRED LIST.
Note: the built-in Brio I/O is always present and is shown in Figure 2 at the top of the list.

Boxes at Different Sample Rates

The show in Figure 2 is a 96kHz show, the sample rate field shows that although the Brio is set to the correct sample rate
the AoIP box isn’t, this is because AoIP boxes do not currently operate at 96kHz

FIGURE 2 - THE ‘REQUIRED LIST’

53
SHOWS
Brio 36 uses a system of Shows, user memories and continuous memory to store settings for later recall.
Shows are used to organise user memories into sub-categories making them easier to manage, rather than having
to search through a long list of varied memories each time, you can select a Show and view the user memories
associated with that Show.

A possible use for this would be to create Shows for each type of production, e.g. ‘Morning News’, ‘Football’, ‘Chat Show’
etc.. and then create multiple user memories within each Show for different users and situations. Before saving multiple
memories into a Show, it is good practice to create one default user memory, test it, and use it as a template to create
multiple user memories. This avoids the repetitive and time consuming task of having to make the same changes to
multiple memories.

During operation, Brio constantly updates its continuous memory, which is also saved within the currently active Show
and that the user is actually saving memories within shows. When a Show is recalled, it is this continuous memory that is
recalled, not a user memory.

Note: loading a Show recalls the last-used settings, not the last-saved settings. So in order to get to a particular user
memory this will need to be loaded once the show is loaded.

FIGURE 1 - SHOWS AND MEMORIES

54 BRIO 36 Audio Production System with Optional Networking SETTING UP

FIGURE 2 - WHERE THINGS ARE SAVED

Continuous
Show User Memory
Memory

Output bus configuration X X

Path to fader assignments X X

I/O patching (from Summa) X X

Input settings X X

Path routing X X

Path processing X X

Active downmix settings X X

Layer locks X X

VCA grouping X X

User labels X X

Required list X

GPI and GPO X

Monitor, talkback, meter patching X

Synchronisation settings X

Default downmix values X

Energy saver settings X

External control enable X

Inserts setup X

External inputs X

General System Settings X

Active control mode X X

Active fader layer X X

Monitor settings X X

Memory isolates X X

Oscillator settings X X

Talkback levels X X

55
Entering the Shows List

Tap SHOWS LIST to the top left of the touch display. All available Shows are presented within a sortable table.
To return to ‘active Show’ view, tap ACTIVE SHOW in the top right of the touch display.

FIGURE 3 - ACCESSING THE SHOWS LIST

Active Show

The Show that is currently active is identified by the ‘active’ tab. See Figure 4 on the next page.

Loading a Show

Locate and select the Show, then tap LOAD in the control screen footer, then LOAD again to confirm the choice.

Setting up a New Show

All new Shows are based on pre-configured Show templates. To set up a new Show:
1. Tap NEW in the control screen footer.
2. Pick a template within the ‘new Show’ pop-up.
3. Enter a label and some details for the Show and tap CREATE SHOW.

The client and series text fields will already be populated as they are taken from the template.

Deleting a Show

1. Tap to select one or more Shows within the list.

2. Tap DELETE in the control screen footer.
3. Tap DELETE SELECTED, or CANCEL.

56 BRIO 36 Audio Production System with Optional Networking SETTING UP

FIGURE 4 - THE SHOWS LIST

Shows List for Different Sample Rates

The Shows List in Figure 4, is displaying a variety of shows including the 4 default shows at 44.1kHz, 48kHz, 88.2 kHz
and 96kHz. These shows were subsequently used to provide a show template for each operating frequency..

Note: there are 2 separate processes required for a show, loading a show sets up the DSP resources to run at the
required sampling rate is one. The other is to set the sampling frequency of each I/O box and Hydra Patchbay in H2O.
See “I/O Boxes & Hydra Patchbays Sample Rate Selection in H2O” on page 73.

Editing a Show

Once a Show has been created it is possible to edit its label and description:

1. Select the Show to edit and tap EDIT in the control screen footer.
2. Make changes to the label and description in the pop-up.
3. Tap SAVE or CANCEL .

Duplicating a Show

Duplicating Shows can save time when several very similar Shows are needed:

1. Select a Show and tap DUPLICATE in control screen footer.

2. Enter a new label.
3. Tap DUPLICATE or CANCEL.

Moving Shows between Systems

Shows can be transferred between Brio 36s but cannot be transferred to Apollo, Artemis or Summa consoles.

57
Show Templates—Admin Only

Whenever the user creates a new Show it must be based on a template. The generic Calrec template is always available.
Additional templates can be created by Brio 36 administrators. Show templates hold the same data as Shows but they
cannot be opened, edited or deleted without logging in as an administrator.

Setting Up and Editing Templates—Admin Only

Enter the shows list screen and tap SHOW TEMPLATES to the left of the screen header. The user is required to enter
the admin username and password for the system, then tap LOG IN and the user will have access to the available Show
templates.

From here the user can create a new template by tapping NEW and entering client, series and label information. They
can delete a template (other than the Calrec default template) by selecting it and tapping DELETE . They can edit a
template’s details by selecting it and tapping EDIT .

Updating Templates—Admin Only

The user can update Show templates to reflect the current System Settings by tapping UPDATE. The user will then be
asked to confirm or cancel the update.

Backing Up Shows

Shows & their user memories can be backed up to a USB drive connected to Brio 36’s USB ports. To back up a Show:
1. Select the Show to backup from the Shows list.
2. Tap BACKUP toward the bottom right of the display. To select multiple Shows, select them all now.
3. Tap SELECT BACKUP LOCATION and select a destination for back up, making a new folder if necessary.
4. Tap BACKUP HERE or CANCEL. If there is a previously saved version of the same Show a pop-up will appear
to ask if the user wants to OVERWRITE the show or CANCEL the backup.

FIGURE 5 - BACKING UP SHOWS

58 BRIO 36 Audio Production System with Optional Networking SETTING UP

Restoring Shows

1. Tap RESTORE in the footer of the Shows List and navigate to select the Show to restore.
2. Tap RESTORE.
Settings Stored within Shows

Tap Show Settings within the Show menu on Brio 36’s touch display and the user will see four options: General, Delay
Controls, Downmix and External Inputs.
General Settings:

• Access Follows Link defaults to on, but when turned off allows the access path to stay where it is when creating a link
using the Access buttons.
• For AutoFaders touching a fader whilst fading has two options, by default the Fader adjusts the fade-in level or
alternatively it overrides AutoFader Control.
• By default, a notch can be felt at the ‘0’ point on the fader scale. This can be switched off if required.
• The surface layer buttons can be set to operate in one of two ways. They either change all linked fader sections or
only the sections which contains the accessed fader, plus any sections which are linked to that section.
• By default, PFL can be activated momentarily by pulling the fader down below its lowest point, and deactivated once
released. This feature can be switched off for the whole surface.
• By default, if a fader is closed and it’s PFL is activated, it will be automatically deactivated once the fader is opened.
This feature can be switched off for the whole surface. (See ”PFL, AFL AND OUTPUT LISTEN” on page 153 .
• VCA groups are generally made and dissolved by pressing fader access buttons but this process can be disabled to
protect all VCA assignments or to stop VCA groups being made accidentally.
• By default, VCA slave faders move automatically when their levels are changed by their masters. If you would rather,
this functionality can be switched off and instead slaves will remain stationary. Combined master/slave levels will still
be indicated by the nulling indicators in the fader displays. (See ”VCA GROUPS” on page 127)

Other settings are explained in the relevant sections: “DELAY” on page 122, ”DOWNMIXING” on page 180 and
”EXTERNAL INPUTS” on page 89.

FIGURE 6 - SHOW SETTINGS

59
MEMORIES
User memories are files which store processing, routing and patching information which can be recalled at any
time.

Loading a User Memory

1. Tap MEMORIES in the Show menu and a list of all user memories will appear that are available within the
current Show.
2. Tap to select the user memory that to use and tap LOAD .
3. The footer changes to ask for confirmation, tap LOAD SELECTED or CANCEL.

Creating a new User Memory

To create a new user memory with current surface settings:

1. Tap NEW in the memories screen footer.

2. Enter a name and a short description for the new user memory.
3. Tap CREATE or CANCEL .

Updating a User Memory

To update a previously saved user memory with the current surface settings:

1. Select the user memory to update and tap UPDATE in the memories screen footer.
2. The user will be prompted to confirm by tapping either UPDATE SELECTED, or CANCEL.

FIGURE 1 - MEMORY PAGE

60 BRIO 36 Audio Production System with Optional Networking SETTING UP

Creating Multiple User Memories

Best practice is to create one ‘default’ user memory, test it, make any necessary changes, and then use this as the basis
for all other user memories within the Show. This speeds up the process by reducing the need to make the same changes
to many different user memories.

To do this, create, test and update what is to be the ‘default’ user memory as described above, then, with the this user
memory still loaded on the surface, tap NEW, and the information will be saved into a new user memory, effectively
duplicating it.

Storage Capacity

There is a capacity indicator at the top of the memories screen which shows how much storage space is available.
If more space is required, delete any old Shows and user memories which are no longer needed. The capacity indicator
shows the amount of space available on the controller card for storing Shows and Memories, however, the controller card
memory is also used for other files and folders and so the capacity may vary.

FIGURE 2 - MEMORY CAPACITY

Memory Isolation

Memory Isolation is a system whereby paths or individual path parameters can be protected from being updated when
a user memory is loaded. When in ‘active Show’ view, memory isolation options are available per-path from the ISO
drop-down menu in the right hand side of the access bar: use the drop-down menu to select which parameters to isolate
for the currently accessed path. ISOLATE ALL or ISOLATE NONE options are also available.
Isolate can also be assigned as a function to be switched by the S1 or S2 Strip User Buttons on the surface

Note: Paths that have been isolated from memory loads can be moved around the surface.

61
FIGURE 3 - LOCATION OF ISOLATION CONTROLS

The Isolation status of each path is indicated on its fader display—a blue ISO icon indicates a fully isolated path and a
green ISO icon indicates partial isolation is in operation for that path.

FIGURE 4 - ISO ICONS

62 BRIO 36 Audio Production System with Optional Networking SETTING UP

The following settings can be isolated:

• Input 1 ports
• Input 1 parameters
• Input 2 ports
• Input 2 parameters
• EQ Settings
• Expander /Gate /Ducker + Compressor 1
• Compressor 2
• Insert
• Fader position
• The VCA master status of the fader
• The VCA slave status of the fader
• Downmix settings
• Path width settings
• Main/Group routing
• Main/Group pan
• Aux routing sends and pan
• Auto Minus routing
• Direct Output parameters
• Direct Output ports
• Mix Minus Output parameters
• Mix Minus Output ports
• Path delay

63
GLOBAL USER BUTTONS
The 12 Global User Buttons in Brio 36’s touchscreen section each have RGB LED indicators in them.
They can be assigned to directly control a range of functions through the touchscreen UI.

FIGURE 1 - GLOBAL USER BUTTONS

These buttons can be set up to change General Functions such as clearing Tone or Talkback or APFL, change monitor
source sources including External Inputs, change Console and Studio Monitor functions, select Talkback destinations,
Control Group and Aux Cuts that are not on the surface, start and stop loudness meters, bypass AutoMixers, select
contribution buses and interact with the On-Air protection system. If switching a console function, that function’s state
lights the button. If no console function being controlled, the buttons can be lit by GPI tally as described below.

Global User buttons controlling any of these functions can also be connected to GPOs to simultaneously trigger external
equipment. For example a Global User button that is set up to switch a monitor source, could also connect to a GPO to
trigger a vision switcher to switch to an appropriate video feed. The indicators within the Global User buttons can be used
as Tallies to indicate that a corresponding GPI has been activated.

This can also be used as a method for checking the correct operation of a GPIO circuit. In addition they can be used to
change the functions of the Strip Rotary Mode and the S1 and S2 Strip User Button Modes.

FIGURE 2 - GLOBAL USER BUTTONS SET UP

Global User Buttons are setup by dragging and dropping the function onto the required button.
Note: at the bottom of the page there are links to GPI and GPO patching, GPIs can be connected to the Global User But-
ton indicators to show that a particular GPI has been activated and GPOs can be triggered from the Global User Button
switches to control external or internal functions. Buttons default to lighting red for the on state, regardless of function.
The colour can be changed, and a colour for the off-state selected by tapping the button in the touch UI .

64 BRIO 36 Audio Production System with Optional Networking SETTING UP

CUSTOM STRIP CONFIGURATION
Each Fader strip has a Rotary control and 2 Strip User Buttons each of which have RGB LED indicators in them.
They can be assigned to directly control a range of functions console wide, using the button in the left side of the
touch UI’s footer. The ‘Custom’ option allocates functions defined by the Custom Strip Configuration screen which
allows for different functions on each strip as well as connecting with GPIO.

FIGURE 1 - FADER STRIP ROTARIES & USER BUTTONS

To create or change a Custom Strip Configuration, select the desired fader/s on screen, then choose to apply functions
using the Rotary, S1 or S2 buttons below.

GPIO can be assigned to the buttons as well as console functions. If a console function is assigned, the state of that
function will determine whether the button is lit. If no console function being controlled, the button can be lit by GPI tally,
and the illumination colour for both on and off state can be chosen. GPIO is connected to buttons via triggers. Select
a GPIO trigger to work with the S1 or S2 buttons from the footer. Go to the GPI and GPO patching screens in System
Settings to connect the specific GPI and or GPO to the user button triggers.

A separate Custom Strip Configuration is available to each user memory. The custom configuration is only active on
the surface when Custom is selected from the button in the bottom left of the UI footer. Users can choose to apply the
custom configuration to the rotary and/or each of the buttons independently.

FIGURE 2 - CUSTOM STRIP CONFIGURATION-ROTARY FUNCTIONS 

65
FIGURE 3 - CUSTOM STRIP CONFIGURATION-S1 AND S2 USER BUTTON FUNCTIONS

FIGURE 4 - CUSTOM STRIP CONFIGURATION-S1 AND S2 USER BUTTON GPIO

Custom Strip Functions / Console Wide Functions Selection

Each rotary, S1 & S2 buttons “Custom” function is stored separately so that after selecting any other console
wide function from the Strip User Controls pop-up menu (shown in the bottom left of the UI footer), the
individual “Custom” function can be returned to by reselecting “Custom” from the Strip User Controls pop-up.
See “Providing Console Wide Strip User Controls” on page 81 .

66 BRIO 36 Audio Production System with Optional Networking SETTING UP

BRIO 36
GETTING SIGNALS IN AND OUT

calrec.com
FADER LAYOUT
The first stage of passing audio into the Brio 36 system is to attach a channel to a fader. Audio feeds to input ports
must then be attached to channels in order to be processed and routed; channels must be attached to faders to
exist. Faders can be used to control input channels, mains, groups and aux outputs.

Tap FADER LAYOUT in the Show menu. The user will see a visual representation of all faders on both layers.

Figure 1 shows examples of all path types as viewed in the fader layout screen.

FIGURE 1 - THE FADER LAYOUT SCREEN

68 BRIO 36 Audio Production System with Optional Networking GETTING SIGNALS IN AND OUT
Attaching a Path to a Fader

To attach a path to a single fader:

1. Tap an empty fader space to select it.

2. Tap NEW in the control screen footer.
3. A pop-up opens to show all path options, ranging from different widths of channel to mains, groups and auxes.
Tap to select the desired width/type and the pop-up closes, or tap CANCEL to return to the fader layout screen
without making any changes.

To attach paths to multiple faders:

1. Either hold and drag or tap and drag selection handles to select the desired range of faders.
2. Tap NEW and select a path/width choice from the pop-up. All selected faders will then be populated with the
chosen path type/width. If a main, group, aux is chosen, the selected faders will be populated with buses in
consecutive order. For example, if the user selects four faders, and then choose aux master 4, the faders will be
populated with aux masters 4, 5, 6 and 7.

FIGURE 2 - FADER LAYOUT — NEW PATH POP-UP

Note: when viewing the access screen, if a fader with no path allocated is accessed, the screen provides a short cut to
assign a path and will work in conjunction with linked faders to allocate multiple path at a time.

69
Settings

Tap SETTINGS in the bottom right of the fader layout screen and a pop-up appears containing settings for controlling
how information is displayed. The top half allows the user to set how fader/port labels are displayed. Tap to select which
of the three label types the user would prefer to view. The choice of label type will then be displayed if possible, if not,
the next type in the priority order will be displayed, and so on.

The bottom half of the pop-up, ‘surface interaction’, provides a check box option:

• SCREEN SELECTION FOLLOWS FADER ACCESS allows the screen to scroll to bring the currently
accessed fader into focus.

FIGURE 3 - FADER LAYOUT SETTINGS

70 BRIO 36 Audio Production System with Optional Networking GETTING SIGNALS IN AND OUT
Editing Labels

To edit a user label:

1. Select one or more faders and tap USER LABEL . The footer changes to display a text entry field and four
buttons, PREVIOUS, NEXT , DONE, CANCEL .
2. Enter fader labels using either the software keyboard or an external keyboard connected via one of the two
surface USB ports.
3. Scroll through the fader label fields by tapping them, or by tapping PREVIOUS and NEXT .
4. Once happy with the changes, tap DONE .

Port Labels

User Label:

A label given to a fader or bus from the Brio 36 interface, if labelling a channel, it just labels that fader, if labelling a bus,
that label is applied everywhere you see the same bus. This is only viewable on the console that it was made on.

Port User Label:

A label given to a port by the network administrator via H2O. This label is viewable across the Hydra2 network.

System Label:

A port label generated within an I/O box and viewable across the Hydra2 network.

Cloning Paths

To clone a path:

1. Select one or more faders, at least one of which must have a path attached.
2. Tap CLONE in the control screen footer.
3. Tap the fader(s) that are required to clone the selected path(s).
4. Tap CLONE again to confirm the choice.

As the user taps possible destinations, previews of the potential placements appear to help with their decision. A colour
indication system is used to indicate the possible outcome of their choice: green when the destination is empty, orange
when a path other than a channel is assigned to the fader, and red when a channel path is assigned to the fader.
Red is used to indicate channel paths because if a channel is removed from a fader it no longer exists.

Once the user has selected the destination they are presented with two options, CANCEL or CLONE & OVERWRITE
which replaces the destination path with a clone of the original selection and removes the original path(s) from the
surface. As channels don’t exist once they are removed from faders, a pop-up appears if an attempt to overwrite a
channel occurs, requiring a confirmation of choice.

71
Moving Paths to Different Faders

1. Select one or more faders, at least one of which must contain a path.
2. Tap MOVE in the control screen footer and tap the fader that is to be used to move the selected paths to.
3. Tap MOVE again to confirm choice.

Alternatively, once the chosen faders are selected, touch and hold again to make the selection float over the fader layout
screen. From here drag the selection across the screen to the desired location. As the user taps or drags across possible
destinations, previews of new path placements appear to help with their decision. The colour indication system described
above is used.

Once the user has selected the destination they are presented with three options: CANCEL; SWAP—swaps the original
paths with those on the chosen destination faders; OVERWRITE —replaces the destination path with the original
selection and removes the destination paths from the surface. As channels don’t exist once they are removed from a
fader a pop-up appears if an attempt to overwrite a channel occurs requiring a confirmation of choice.

Deleting Paths from Faders

To remove a path from a fader:

1. Select one or more faders, at least one of which must have a path attached.
2. Tap DELETE in the screen footer.

As channel paths don’t exist once they are removed from faders, if the user attempts to delete a channel, a pop-up
appears showing the paths that will be deleted, requiring a confirmation of selection.

Lock a Fader to the Surface

Layer lock allows the user to ensure some faders are always present on the surface, regardless of which layer is selected.

1. Select one or more faders (with or without paths attached).

2. Tap LOCK in the screen footer.

The selected faders are then locked to the surface and will remain there regardless of layer selection.

72 BRIO 36 Audio Production System with Optional Networking GETTING SIGNALS IN AND OUT
I/O BOXES & HYDRA PATCHBAYS SAMPLE RATE SELECTION IN H2O
From Version 1.1 Brio36 Consoles can now work at 96kHz sampling frequency (sample rate).
There are 2 elements to 96kHz operation of Brio36 consoles:- Configuring the DSP and configuring the I/O to run at
different sample rates.

Consoles at 96kHz
The consoles can switch between 48kHz & 96kHz working as required and they switch their sampling frequency by
loading a show at the required sample rate built from a template at that rate. For Brio, the numbers of channels and buses
are the same at 96kHz as they are at 48kHz. There is no reduction in the numbers of monitor inputs & outputs at 96kHz.

I/O and Hydra2 Patchbays at 96kHz FIG 1 - I/O BOXES & HYDRA2 PATCHBAYS SAMPLE RATE SCREEN IN H2O

Before the I/O can be used with a

96kHz console its sample rate has
to be changed to match. In H2O a
new button labelled “Sample Rate” is
made available, selecting this opens
the list of I/O boxes connected to the
Hydra2 Network.

The list shown in Figure 1 shows the

sample rate set for each I/O box or
Hydra2 Patchbay. In order to change
the sample rate the user first selects
the required I/O box or Hydra2
Patchbay box, this enables the Set
Sample Rate button at the bottom
left of the screen.

Clicking on this opens the

‘Set Sample Rate’ pop-up, allowing
the I/O boxes and Hydra2 Patchbays
to be set to 48kHz or 96kHz, or to
FIG 2 -SET SAMPLE RATE POP-UP SCREEN IN H2O
follow the sample rate of a specific
console. This is shown in Figure 2,
please note that certain older I/O
boxes cannot be set to run at 96kHz
such as the fixed format MADI box.

The Hydra2 network supports 48kHz

and 96kHz consoles and I/O boxes
simultaneously, it achieves this by
running at 48kHz irrespective of
whether the Consoles and I/O boxes
are running at 96kHz or not.

It simply uses 2 samples per 96kHz

signal.

73
INPUT AND OUTPUT PATCHING
Brio 36 desk inputs and outputs can be patched to physical I/O ports or virtual Hydra patchbay ports, or to each
other. To enter the I/O patching screen, tap ‘I/O patching’ in the Show menu.

Patches are made between sources and destinations.

• A source can be an I/O input port, Hydra patchbay output, or console DSP output from the local Brio console.
• A destination can be an I/O output port, Hydra patchbay input, or console DSP input from the local Brio console.

Each source can be patched to multiple destinations but a destination can only have one source. When patching an
input port to multiple input channels it is important to remember that phantom power (48 V), input gain and sample rate
conversion are all set within the Hydra2 domain and so altering these controls from any point on the surface will affect that
feed for every instance of it across the surface and across the Hydra2 network.

The I/O Patching Screen

The I/O patching screen is split into two halves, sources are displayed on the left and destinations on the right. Each side
has a series of buttons running along the top for you to select which source/destination type you wish to access.

Selecting Sources and Destinations

Tap a source or destination selection button and a pop-up reveals all available options of that type, either as a set of
buttons, or, in the case of I/O boxes, within a sortable table. Tapping to select one of these options, i.e. ‘Aux Outputs’,
populates the source/destination screen with the associated ports.

FIGURE 1 - I/O PATCHING SCREEN—SELECTING A PORT TYPE

74 BRIO 36 Audio Production System with Optional Networking GETTING SIGNALS IN AND OUT
Understanding Ports

Figure 2 shows how different port types are displayed within the I/O patching screen.

FIGURE 2 - PORT TYPES AS VIEWED IN THE IO PATCHING SCREEN

Port groupings are always displayed within sortable tables under the following headings:

Numbers

The port number is a combination of the I/O box hardware ID (HID) and the port number within the box—See H2O user
guide for more detailed information. This is the port’s native label and is generated directly from the I/O box itself.

Port labels

The port label can be either the port user label or the system label. See the port labels information box on this page for
more information.

Description

The network administrator can include a brief description of a port, if so, this will be included in the I/O patching screen
table. The description cells can be changed to display the connected source/destination if preferred.

Connected Source/Destination

The label of the source/destination that is connected to the port is displayed.

75
Icons

The following icons can be displayed in the I/O patching screen:

This symbol will be displayed if you have been denied access to the port via H2O by the network
administrator.

Whenever a port goes offline this icon is displayed.

Whenever a box or port is set to a different sampling frequency to the console.

If a port has been patched to/from by another Hydra2 user this icon is displayed.

If a port has been patched to/from via H2O this icon will be displayed.

If a port has been patched via a 3rd party controller this icon will be displayed.

Within the I/O patching screen, sources and destinations have separate settings, which are accessible from the left
and right of the control screen footer. The available settings vary depending on which port type is in view:

Channel Settings

If channel inputs are in view, the user can globally switch between viewing input 1 or input 2.

Layer View

When viewing fader specific paths, such as channel inputs or fader inserts, layer view options will be available.
Select layers A or B to view only faders on that layer.

Surface Interaction

When viewing fader specific paths, such as channel inputs or fader inserts, surface interaction options are available.
Checking the FADER SELECTION FOLLOWS FADER ACCESS check box brings the currently accessed fader directly
into view within the I/O patching screen at all times.

Connected Destination

The user can view connected destinations from sources and view connected sources from destinations. Both are
displayed within the centre columns with this option selected.

Information Display

When viewing Hydra patchbays or I/O boxes, the information display split-selection button is available to choose
between viewing path descriptions or connected source/destinations within the two centre columns of the screen.

76 BRIO 36 Audio Production System with Optional Networking GETTING SIGNALS IN AND OUT
FIGURE 3 - SETTINGS POP-UP

Viewing and Sorting

Ports are displayed within sortable tables. The sorting options vary between port types:

• Fixed format and modular I/O boxes can be sorted by number (native label), port label or description (if available).
To keep I/O boxes together in the viewing table, sort by ‘number’ as this includes the box’s HID which will be the
same for all ports in that I/O box.
• Hydra patchbays can be sorted by patchbay name or patch-point number.
• Desk connections can only be sorted by resource number, e.g. Main 1 to 4.

In order to keep the individual legs of a 5.1 path together within the display the user can add a suffix to each leg, for
example L, R, C LFE, Ls, Rs. See “GENERAL” on page 44 for more information.

Making a Patch
To patch a source to a destination:

1. Select a source type from the source screen header.

2. Select a destination type from the destination screen header.
3. Tap to select a source.
4. Tap to select a destination.
5. Tap CONNECT.

Moving a Destination
Once a patch has been made, the destination can easily be changed:

1. Select a destination.
2. Tap MOVE in the screen footer.
3. Select an alternative destination, (at this point you can select a new destination type).
4. Tap MOVE once more.

77
Protect a Patch from Memory Loads

Patches can be ‘fixed’, isolating them from memory load changes. Fixed patches are also protected under
the port protection system in the same way as ports which are in use by multiple Hydra2 network users
(See ”SOURCE AND DESTINATION PROTECTION” on page 86).

To Fix a patch:

1. Select one or more patched destinations.

2. Tap FIX in the screen footer.
3. To un-fix the patch, tap FIX again.

Isolating a Patch

Isolating a patch protects it from changes due to memory loads, but it differs from patch fixing in that patch isolation only
relates to actions performed on the local Brio 36 console. Isolated patches can still be over-patched by other Hydra2
users and by memory loads on other consoles on the network.

To isolate a patch:

1. Select one or more patched destinations.

2. Tap ISO in the screen footer.
3. To de-isolate the patch, tap ISO again.

Removing a Patch

To remove a patch from the system:

1. Select either the source or destination (or one of the destinations if the source is patched to more than one).
2. Tap REMOVE in the screen footer. The patch is automatically removed, unless it is ‘fixed’ on the surface or
was made by another Hydra2 user, in which case a pop-up appears requiring confirmation of the removal.

Inputs 1 and 2

Every Brio 36 channel has two inputs, 1 and 2, to which two entirely separate feeds can be patched. Input 2 is generally
used for patching a back-up microphone so that if the feed to input 1 fails, you can quickly switch to use input 2, which
has exactly the same processing, routing and output patching applied to it as input 1.

Patching Outputs to Inputs

Desk outputs and buses can be connected directly back into channel inputs. This method of control is different to just
attaching a console output to a fader. From the I/O patching screen select DESK OUTPUTS in the sources screen and
DESK INPUTS in the destinations screen and patch as normal.

78 BRIO 36 Audio Production System with Optional Networking GETTING SIGNALS IN AND OUT
INPUT CONTROLS
The input controls screen is split into three sections, the header contains general controls, the physical I/O box port
controls are on the left and Brio 36’s input channel controls are on the right. With the touch display in ‘active Show’
view, tap the input processing tab to view all input controls for the currently accessed channel or group.

Depending on the type of input port that is connected to a channel, the user will see some or all of the controls described
here. In the control screen header the Input 1/Input 2 toggle button allows the user to switch between two entirely
separate I/O box input ports which may be patched to the currently accessed path. The tone switch toggles tone on and
off to the channel.

I/O Box Input Port

Controls and information fields on the left of the Input screen relate to the physical I/O box input port; at the top, the port’s
native/user label is displayed. The rotary control and switches control mic/line gain and phantom power settings for the
connected physical input port.

If the port is shared with other Hydra2 network users this will be indicated, as shown in the image below, with a padlock icon
along with a list of all network users who are sharing the port. The ENABLE TEMPORARY CONTROL button is used when
altering shared port controls, see “SOURCE AND DESTINATION PROTECTION” on page 86 for more information.

The Channel Input

The channel input controls on the right of the screen control the DSP settings within the Brio 36 processing core for the
currently accessed path:

• Input Trim increases or reduces the level of the incoming signal between -24 dB and +24 dB.
• There are polarity invert switches for each leg of the path.
• If a stereo path is accessed, a middle and side (M/S) decoder will be available. Switching this on automatically
treats the incoming stereo signal as a middle and side microphone array.
• Input balance allows alteration of the weighting of the stereo signal between the left and right legs of the path.
• Path leg routing options L TO LR and R TO LR allow the user to route the left or right legs to both sides of a
stereo channel. With both switches in the off position the left signal feeds the left leg and the right signal feeds
the right leg of the stereo path, this is a ‘normal’ stereo setup. Switching L TO LR to the on position feeds the
left signal to both left and right sides of the stereo path, and switching on R TO LR feeds the right portion of
the signal to both left and right sides of the stereo path. Switching both switches on sums the left and right
portions of the signal together and outputs this on both the left and right legs. With both switches in the same
position, either on or off, you have access to the input balance control. When they are both off the balance
control responds as described above but with both controls switched on the it is a full range balance control,
i.e. turning the dial all the way to the left just outputs the 0 dB left hand signal from the left leg of the path.
With either L TO LR or R TO LR switched on independently, the balance control is unavailable as it would have
no effect as the left and right portions of the signal would be the same.

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FIGURE 1 - INPUT CONTROLS

Mic/Gain

If the gain of any connected mic/line input is not the same on all legs of a stereo or surround channel, then the gain
display will show the highest and lowest value for surround sources, left and right values for stereo sources , as shown in
Figure 2.

FIGURE 2 - MIC/GAIN

80 BRIO 36 Audio Production System with Optional Networking GETTING SIGNALS IN AND OUT
Providing Console Wide Strip User Controls

Tap the Strip User Controls area on the bottom left of the touchscreen. This presents the user with a selection of
controls that the Rotary Control, S1 and S2 buttons can be set to as a console wide function.

Setting the Rotary Function to Trim will change the Rotary control on all the fader strips to be a Trim control.
The S1 & S2 buttons can be configured for various functions or GPIO control.

Figure 3 shows all the rotary controls controlling Input trim, all the S1 buttons switching Input 1/2 and all the S2 buttons
switching Layers A / B. In addition to console wide function each rotary, S1 & S2 button can be set to perform a different
function or GPIO control using Custom Strip Configuration.

This custom function is kept separately and overridden by selecting any function other than “Custom”. When “Custom” is
reselected its custom function is restored. See “CUSTOM STRIP CONFIGURATION” on page 65.

FIGURE 3 - STRIP USER CONTROLS

81
Group Input Controls

When a stereo or mono group is accessed an input trim control is available from the input screen as shown in Figure 4.
Path leg routing buttons are also provided for stereo groups:
FIGURE 4 - GROUP INPUT CONTROLS

Linking Input 1 and Input 2 Trims

Inputs 1 and 2 have separate input trim controls. These can be linked from the Tools menu on the Access> Input screen
as shown in Figure 5. The wording on the Control Cell changes to show the words ‘Trims Linked’ between the Input 1
and Input 2 source identifiers. The display on the screen also shows the fact that the Input trims are linked.

FIGURE 5 -LINK TRIMS

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Replay

Replay allows the user to select a number of channels to switch between input 1 and input 2 from one control which can
be a user button or be controlled from the screen. This is also achieved from the Settings menu on the Access>Input
screen shown in Figure 5 above. The user then selects paths for replay using the ACCESS keys. See Figure 6.
The fader displays change to say ‘REPLAY’ rather that not in replay’ as appropriate.

FIGURE 6 -REPLAY CHANNEL SELECTOR

When Replay is active these channels will switch to Input 2, when Replay is turned off the input channels switch back to
input 1. Replay makes setting up a virtual sound check easy. With the sources connected to input 1 each source is sent
to a recorder and its returns are connected to input 2.

When the talent leaves the user can turn replay on, play the recording and continue the sound check. On completion
the replay is turned off to switch all the inputs back to the live sources. Note: Replay can also be controlled from a GPI if
required. Figure 7 shows system in Replay.

FIGURE 7 -SYSTEM IN REPLAY

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Stereo & 5.1 path spill leg access and independence for Input settings

From version v1.1 Brio can access each spill leg of a Stereo or 5.1 path and allow parameter changes to be made on
each spill leg. Figure 8 shows the ‘Full Path’ button being pressed which brings up the Spill Legs Access pop-up.
The user selects which spill leg they wish to examine/alter and the screen then accesses that leg as shown in Figure 9.
Note: this button appears on all access pages.

FIGURE 8 -SPILL LEG SELECTOR

Figure 9 shows the ‘LR Only’ spill legs on the Input page. As this is a Stereo spill leg all the controls that would normally
appear for a Stereo path are made available. The ‘LsRs’ spill leg appears with the same stereo parameters controls as
shown here for the LR spill legs. Note the Mic Gain for this spill leg.

FIGURE 9 -LR ONLY SPILL LEG SELECTED

84 BRIO 36 Audio Production System with Optional Networking GETTING SIGNALS IN AND OUT
 Figure 10 shows the ‘C Only’ spill leg on the Input page. As this is a Mono spill leg all the controls that would normally
appear for a Mono path are made available. The ‘LFE’spill leg appears with the same mono parameters controls as shown
here for the C spill leg. Note the Mic Gain for this spill leg.

FIGURE 10 -C ONLY SPILL LEG SELECTED

Figure 11 shows the ‘Full Path’ on the Input page. As this is the 5.1 Channel it shows the combined effect of the changes
made on the spill legs. For instance the Mic Gain shows the Highest and Lowest Mic Gain setting made on the spill legs
as a combined display..

FIGURE 11 -FULL PATH SELECTED

85
SOURCE AND DESTINATION PROTECTION
Source and destination protection is a simple system using pop-ups and buttons to protect input parameter
settings and output destinations when ports are in use by multiple users across a Hydra2 network.

When viewing inputs on Brio 36, the user will notice if it is being shared, as the following label will be displayed:

FIGURE 1 - INPUT PROTECTED

The same protection applies if the port has been ‘protected’ within H2O, in this case, the following will be displayed:

FIGURE 2 - INPUT PROTECTED BY H2O

86 BRIO 36 Audio Production System with Optional Networking GETTING SIGNALS IN AND OUT
Destination Protection

Figure 3 shows the I/O port patching screen during the process of making a source to destination connection.
A ‘traffic-light’ colour coding system is used. The coloured arrows indicate any issues associated with the potential
source to destination patch.

• A green arrow indicates that there is no source currently connected to the destination so the patch can be made with
no issues.
• The yellow arrow indicates that currently the destination has a local source connected to it.
• The red arrow indicates that the destination has had a source patched to it by another user on the network.
• The grey arrow indicates that the patch will not be made because the user has been denied access to the port by the
network administrator.

If the user decides to go ahead with the patch and the indication arrow is either red or yellow, the protection pop-up
shown below will appear as an extra level of protection, allowing them to review all potential changes before committing.

FIGURE 3 - PROTECTION ARROWS

87
Source Protection

Audio sources can be shared by all consoles on the Hydra2 network. Source protection adds an layer of protection when
making changes to the following input controls:

• Mic/line gain.
• Phantom power (48 V).
• SRC (if using AES sources).

As indicated in the input control screen, to make changes to these protected input controls, simply tap ENABLE
TEMPORARY CONTROL , then make the desired changes. This remains active until the user touches any control outside
the input screen, at which point it will need to be activated again to make any changes to the protected input controls.
Alternatively hold the Access button for the strip to temporarily enable control over the gain. If adjusting input gain from a
strip rotary for a shared input port, the strip display will show that the port is protected.

User Memory Load Protection

Loading a user memory will generally include changes to patching and input controls, if these changes affect shared/
protected inputs, or patching to outputs which are already in use by other users on the network, source and destination
protection will come into play.

When a user memory with conflicting settings/patching is loaded, a pop-up, like the one shown below, is displayed on
the touch display. The number of pages within the pop-up depends on whether there are conflicts relating to sources,
destinations or both.

Once the user has checked all conflicts and selected those that they wish to accept, they tap OVERWRITE SOURCE
& DESTINATION SETTINGS. Tapping DON’T MAKE ANY CHANGES rejects all changes to shared sources and
destinations, but makes all other changes associated with the memory load.

It is important to ensure that the user fully understands the effect of any accepted changes as they will be directly
affecting other users on the network.

FIGURE 4 - SOURCE AND DESTINATION POP-UP—MEMORY LOAD

88 BRIO 36 Audio Production System with Optional Networking GETTING SIGNALS IN AND OUT
EXTERNAL INPUTS
Brio 36 has a pool of 48 mono external input resources from which the user can create any combination of mono,
stereo and 5.1 inputs, using one, two or six resources respectively. External inputs can be monitored and metered
and are available as patching destinations within the I/O patching screen.

External inputs are typically used to monitor down-stream feeds or ‘off-air’ returns to ensure the console output is not
being compromised on its way to its intended destination.

To view the external inputs screen, tap SHOW SETTINGS at the bottom of the Show menu, then tap EXTERNAL
INPUTS.

Creating External Inputs

Within the external inputs screen, select one or more cells using one of the following options:

• Tap to select a single cell.

• Touch and drag to select multiple cells.
• Tap, then drag selection handles to select multiple cells.

... then tap NEW.

Select a path width from the pop-up—mono, stereo and 5.1—and the selected cells are populated with that choice.
Note: within the pop-up the number of remaining external input resources is displayed.

FIGURE 1 - CREATING EXTERNAL INPUTS

89
Removing External Inputs

To remove external inputs:

1. Select one or more external input cells using one of the methods described above.
2. Tap DELETE .
3. A pop-up appears showing all external input paths to be deleted, tap DELETE to accept. The deleted
resources are returned to the resource pool to allow more external inputs to be created.

Labelling External Inputs

By default, external inputs have labels which correspond to the cell that they were created in, for example “External Input
5” in cell 5. The user may wish to add your own labels. To do this:

1. Select one or more external inputs using one of the methods described above.
2. Tap EDIT LABEL .
3. The control screen footer changes to text input mode, with navigation buttons: PREVIOUS, NEXT , DONE and
CANCEL . Move between the external inputs and edit each label individually either by using these buttons or by
tapping on the individual text fields.
4. Once happy with your labels, tap DONE .

Patching to External Inputs

External inputs appear within the ‘desk connections’ patching destination list. They can be patched-to using the usual
method, as described here: ”INPUT AND OUTPUT PATCHING” on page 74.

Monitoring External Inputs

To monitor an external input:

1. Tap the console monitor source selection button in the monitor bar.
2. Select the EXTERNAL INPUTS tab within the pop-up.
3. Select the external input that you would like to monitor.

Monitoring is explained in detail here: “MONITOR CONTROLS” on page 150

90 BRIO 36 Audio Production System with Optional Networking GETTING SIGNALS IN AND OUT
FIGURE 2 - MONITORING POP-UP—EXTERNAL INPUTS

Metering External Inputs

To meter an external input:

1. Tap one of the four meter selectors to the bottom right of the touch display.
2. Select the external input tab within the pop-up.
3. Select the external input that you wish to meter.

Metering is explained in more detail here: ”METER TYPES” on page 158.

FIGURE 3 - METERING EXTERNAL INPUTS

91
DIRECT OUTPUTS
Direct outputs are path specific desk outputs, available to Channels and Groups, which are available for patching.
Brio has a pool of 64 resources, which is shared between direct outputs and mix minus outputs.

Assigning a Direct Output

To assign a direct output to a path:

1. In ‘active Show’ view, tap the direct output routing tab.

2. Tap MONO, STEREO or 5.1 to choose a direct output width.
3. If not enough resources are available for the output that the user wants to create they can remove other direct /
mix minus outputs to free-up resources.

Note: within the pop-up the number of remaining direct / mix minus resources is displayed.

Removing a Direct Output

To remove a direct output:

1. Tap to choose NO PATH from the path width drop-down menu in the direct output control screen header.
2. A pop-up will appear asking the user to confirm the removal of the direct output, tap either REMOVE OUTPUT or
CANCEL .

Downmix/Spill

If a direct output is assigned to a surround path, that is narrower than the path width, two options appear to the bottom of
the direct output screen that allow the user to set whether the downmix or spill faders are used for downmixing the path to
mono or stereo.
See ”DOWNMIXING” on page 180 for more information.

Direct Output Controls

• Tap the width drop-down menu to change the width of the direct output or select ‘no width’ to remove it.
• Tone: Tap to inject tone into the direct output, replacing the direct output feed with the correct tone for the width of
the path.
• Direct Output Patching: The direct output’s patch destination is displayed.
• Level: Turn the level rotary control to alter the level of the direct output between ‘off’ and +10 dB.
• Send Position: Direct outputs can be taken at different points in the associated path’s signal flow, pre EQ, pre fader
or post fader.
• Use Downmix Levels: If the direct output’s associated path is 5.1 and the direct output is stereo or mono the user can
choose whether or not to use the downmix fader levels during the downmixing process.
• AFL: Tapping AFL replaces the console monitor source with the direct output feed, post level control, providing a
non-destructive solo for the direct output.
• Output Listen: Similar to AFL but the feed is taken post output delay.
• Talkback: Replaces the direct output feed with whatever is routed to the talkback input.

92 BRIO 36 Audio Production System with Optional Networking GETTING SIGNALS IN AND OUT
FIGURE 1 - THE DIRECT OUTPUT SCREEN

93
MIX MINUS OUTPUTS
Mix minus outputs are path-specific desk outputs, which are available for patching. Brio has a pool of 64 resources
which is shared between mix minus outputs and direct outputs.

Mix minus outputs are used to create foldback feeds using a comprehensive contribution system for defining the paths or
buses that feed the output. See “MIX MINUS” on page 167 for detailed information on how to set up and use the mix
minus system, including a list of all mix minus controls.

Assigning a Mix Minus Output

To assign a mix minus output:

1. In ‘active Show’ view, tap the mix minus output routing tab.
2. Tap MONO or STEREO to select the mix minus output width to be created for the currently accessed path.

If not enough resources are available for the desired output, the user can remove other direct/mix minus outputs to free-up
resources. Note: at the bottom of the pop-up the number of remaining resources is displayed.

Removing a Mix Minus Output

To remove a mix minus output:

1. Choose NO PATH from the path width drop-down menu in the mix minus control screen header.
2. A pop-up will appear asking the user to confirm the removal of the mix minus output. Tap either REMOVE
OUTPUT or CANCEL .

94 BRIO 36 Audio Production System with Optional Networking GETTING SIGNALS IN AND OUT
BUS OUTPUTS
Brio 36’s bus outputs—up to 4 mains & up to 24 auxes—are available for patching from the I/O patching screen.
Bus outputs appear under desk outputs in the sources screen.

Multiple paths can be routed to each bus using the routing tabs down the right hand side of the control screen.

See ”ROUTING A SIGNAL” on page 176 for more detailed information.

Mains

Mains are generally used as main broadcast outputs of the system as well as to feed monitoring systems.
Two versions of each main are available for patching out of the system: main and main (pre talkback and tone).
Main (pre talkback and tone) is generally used for monitoring output, for example, during rehearsals.

Auxes

Auxes are generally used to feed external signal processing devices or to create Interruptable foldback feeds. For each
path, auxes have individual level controls and send position switches for each of the 24 aux feeds, allowing a high level of
control over up to 24 separate mixes. Auxes also have an additional level of logic control, allowing you to set conditions
under which each pre fader aux send should be cut.

See “BUSES AND OUTPUTS” on page 174 for more detailed information on using and configuring buses.

Note: If Group Bus Outputs are required then this is achieved by assigning Direct Outputs to the Group paths.

95
TONE AND OSCILLATOR
Brio 36 provides many ways to inject tone within the system to help with path-checking and line-up.

Routing Tone to a Channel

1. Press the fader ACCESS button for the channel to inject tone into.
2. Tap the input processing tab.
3. Tap TONE in the input control screen header.
It is easy to see if tone has been routed to a channel input as a note appears in the input screen as shown in Figure 1.

FIGURE 1 - TONE TO CHANNEL INDICATOR

Routing Tone to Buses

1. Tap BUSES & OUTPUTS in the Show menu.

2. Select the Group/Aux/Main tab depending on which bus/output type to route tone to.
3. Tap TONE for the chosen bus/output. (Tone is shown routed to Main 1,2,3 & 4 in Figure 2).

FIGURE 2 - ROUTING TONE TO A BUS OR OUTPUT

96 BRIO 36 Audio Production System with Optional Networking GETTING SIGNALS IN AND OUT
Routing Tone to Path Outputs

1. Select either the mix minus or direct output routing tab.

2. Tap TONE in the control screen for mix minus outputs or in the control screen header for direct outputs.

FIGURE 3 - ROUTING TONE TO A MIX MINUS OUTPUT

FIGURE 4 - ROUTING TONE TO A DIRECT OUTPUT

Note: buttons that route tone to audio paths are disabled whilst the console is in On-Air mode, and entering on-Air mode
will also clear any tone routing that is active.

97
Oscillator Controls

Internal tone signals are generated by Brio 36’s oscillator which can be controlled from the oscillator setup area.
To access this, tap OSCILLATOR in the Show menu. Brio has one internal oscillator which is controlled using the two
rotary controls towards the bottom of the screen: level and frequency. The user can set the oscillator to generate a fixed
tone at the specified frequency, or a stepped 20 Hz to 20 kHz tone sweep.

Different tone sources can be set for each path width (mono, stereo and 5.1) using the internal and external tone source
buttons. Selecting INTERNAL uses Brio internal oscillator as the tone source for that path width, whereas selecting
EXTERNAL uses the feed that is currently patched to Brio 36’s external tone input. Each leg of a stereo or 5.1 tone
source can be muted individually.
FIGURE 5 - OSCILLATOR CONTROLS

Clearing Tone

Tap CLEAR TONE at the bottom of the OSCILLATOR screen to quickly switch off all tone on all paths.

Tone and Talkback Active Notification

Notifications appear in the main header when any tone or talkback is active.
The notifications can be tapped to clear all tone or talkback. See Figure 6.

FIGURE 6 - TONE AND TALKBACK ACTIVE NOTIFICATIONS

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Tone Idents

Tone idents are variations in the tone signal used to identify legs of multichannel paths when verifying routing and
patching. To set an ident for a stereo or 5.1 path, tap the IDENT selector button in the oscillator screen for the chosen
path width to display a pop-up menu populated with path width specific ident options, as shown in the following table:

Width
FIGURE 7 - TONE IDENT TABLE

Ident Description Width

Similar to the EBU ident specification. The tone routed to the left
L Only hand audio channel is repeatedly interrupted while the right channel Stereo
remains constant (stereo paths only).

Similar to the GLITS ident specification. Tone is repeatedly inter

L=1, R=2 rupted on both left and right channels. Each interruption on the left Stereo
channel is followed by two interruptions on the right channel.

First, a short burst of tone is applied to each of the six channels, one
at a time, in order. Four different frequencies of tone are used at this
stage to help ID the channels—L/R outputs at 880 Hz, center at
1320 Hz, LFE at 82.5 Hz, Ls/Rs at 660 Hz. This is followed by 1kHz
tone on the L and R legs only. The right channel is continuous, whilst
BLITS “NORM” the left channel is repeatedly interrupted. The last stage of the cycle 5.1
applies 2 kHz tone on all six channels simultaneously before begin-
ning the cycle again. Each cycle lasts approximately13 seconds.
The different frequencies used help to identify each part of the
cycle, for example, if 1 kHz can be heard anywhere other than front
L/R, there must be a problem with routing or patching.

99
100 BRIO 36 Audio Production System with Optional Networking
BRIO 36
PROCESSING

calrec.com
EQUALISER
A four band parametric EQ + LF & HF filters module is available on every channel, group, aux and main.

The frequency range for all bands is 20Hz to 20kHz, the gain range is -18dB to +18dB. The Q control for the bell curve
can be set at: 0.3, 0.5, 0.7, 1, 2, 3, 5, 7 or 10, and for all other bands is set at 0.7. Each band has an On/Off button.

Equaliser controls are accessed from the touch display.

• With the touch display in ‘active Show’ view, tap the EQ processing tab to access the relevant controls.
Note: the appropriate context sensitive controls under the touchscreen illuminate to provide physical controls
• From the surface, push the ACCESS control mode button to select which path the controls will act upon.
The equaliser context based controls and page are shown in Figure 1.

FIGURE 1 - CONTEXT CONTROLS—ACCESS MODE—EQUALISER-BAND 4

Touch Display EQ Controls

Tap on any of the 6 EQ band tabs along the top of the control screen to highlight that band in the EQ graph display.
The EQ controls to the right of the screen apply to whichever EQ band is currently selected. The graph instantly updates
to reflect all EQ parameter changes.

Any EQ band can be set to any response type but good practice is to set them in a logical, frequency-based order. Bands
1 & 4 are fixed as filters, but can switch between 12 & 24dB/octave. Bands 2-5 are full parametric EQ but if set to filters
are 12dB/octave only.

102 BRIO 36 Audio Production System with Optional Networking PROCESSING

 • Each EQ band has a dedicated on/off switch.
• Response: Select the desired EQ response curve for the selected band, from high cut filter, high shelf, notch, bell,
low shelf, low cut filter. See Figure 2
• Frequency: Sets the frequency that the EQ band is operating around.
• Gain: Sets the gain increase or reduction for the band.
• Q: Sets the width of the frequency band for the selected response. The higher the Q, the narrower the bandwidth.

Once a response type is selected, the relevant Frequency/Gain/Q controls become active. There are several ways to
manipulate these controls:

• Drag up and down or left or right on the touch display to turn the rotary control.
• Drag the band node up, down, left or right within the EQ graph.
• Use the context sensitive controls under the touchscreen.

FIGURE 2 - EQ RESPONSE CONTROLS

Bypass and Alternate EQ

BYPASS in the EQ screen header bypasses the whole EQ module.

The A/B alternate EQ button allows the user to compare two EQ set-ups, simply tap to switch between EQ A and EQ B
and change the parameters within each. Then tap to switch between the two to compare.

EQ Settings

Tapping the cog icon in the top right of the EQ screen header displays three EQ settings options:

• RESET EQ A AND B returns all EQ settings to their defaults.

• COPY EQ A TO EQ B and COPY EQ B TO EQ A allows the user to duplicate EQ settings which can be useful in
auditioning subtle differences in EQ. Modify either EQ A or B, copy these settings to the other EQ module and use
the EQ A/B switching button towards the top right of the EQ screen header to quickly switch between the two.
See Figure 3 on the next page.

103
FIGURE 3 - EQ SETTINGS

EQ Independence Controls for Stereo and 5.1 Paths

For Multichannel paths such as Stereo and 5.1 paths it is now possible to apply Equaliser processing independently for
each L or R spill leg in the case of a Stereo path, or LR, C, LFE, LsRs spill legs in the case of a 5.1 path.

Figure 4 shows the EQ page for a 5.1 path, in the path header is shown a drop down box which normally says ‘Full Path’.
Tapping on this opens an independence control table which is used to determine which spill leg controls will be made
independent of its multichannel master for any of the 6 EQ bands shown down the Spill Leg Independence column.
Sliding any of these switches makes a particular Equaliser Band for a particular spill leg will be made independent.

FIGURE 4 - INDEPENDENCE CONTROLS

As shown in Figure 4 all the controls for the LFE spill leg are independent, this is by default. The user has just made
EQ band 1 independent for the C Only spill leg of this 5.1 channel. Figure 5 on the next page shows the EQ control for
Band 1 of the C Only spill leg.

104 BRIO 36 Audio Production System with Optional Networking PROCESSING

FIGURE 5 - INDEPENDENT EQ BAND 1 FOR THE C ONLY SPILL LEG OF A 5.1 PATH

EQ displays of Non-independent Controls for Stereo and 5.1 Paths

If the user selects a spill leg that has not been made independent from its master or selects an Equaliser band that has
not been made independent then the EQ display is ‘Greyed Out’ meaning that no controls are available from this page.
Figure 6 shows the EQ page for the LR Only spill legs of a 5.1 path which have not been made independent.

FIGURE 6 - NON-INDEPENDENT CONTROLS

Removing Independence from Spill Legs

Clicking on the spill legs button to the right of the Access display shown as ‘LR Only’ in Figure 6, reopens the
independence control switch table as shown in Figure 4. Turning off the independence switches overwrites the
independent control settings that this EQ Band had for this Spill Leg and replaces it with its master’s settings.

105
DYNAMICS
Every channel and group has three dynamics processing modules available to it:
Module 1 is an expander/gate/ducker and module 2 is a compressor/limiter 1 which act in parallel and can be
used simultaneously, module 3 is either a single band or a multi-band compressor/limiter 2 and is a separate
processor. Modules 1 & 2 act in series with module 3 on the associated path. Auxes do not have module 3 and
mains do not have module 1.

Dynamics controls are accessed from the touch display.

• With the touch display in ‘active Show’ view, tap the Exp/Gate/Duck*, Comp/Lim1 or Comp/Lim2* processing tabs
to access the relevant module controls. Note: the appropriate context sensitive controls under the touchscreen
illuminate to provide physical controls. See Figure 1.
• From the surface, push the ACCESS control mode button to select which path the controls will act upon.
The dynamics context based controls and page are shown in Figure 1.

FIGURE 1 - CONTEXT CONTROLS—ACCESS MODE—EXPANDER/GATE/DUCKER

Compressor/Limiter 1 & 2

Compressor/limiters provide controls for reducing and smoothing the dynamic range of an audio signal. Compressors
proportionally reduce the gain of a signal as it exceeds a definable threshold. When the compressor is set to be a
limiter (by selecting a ratio of 50:1), the input signal must increase by a massive 50 dB above the threshold in order
for the output to increase by a negligible 1 dB. Brio’s Comp1, Comp 2 in singleband compressor mode and the three
compressor bands in Comp 2 multiband compressor mode all have the same control parameters as shown in Figure 2.

106 BRIO 36 Audio Production System with Optional Networking PROCESSING

FIGURE 2 - TABLE OF CONTROL PARAMETERS FOR DYNAMICS MODULES

Compressor 1 & 2 (Inc Multibands 1, 2 & 3)

Threshold -48 dBFS – 0 dBFS

1:1 to 4:1 in steps of 0.1

4:1 to 10:1 in steps of 0.2
Ratio 10:1 to 20:1 in steps of 1
20:1 to 40:1 in steps of 5
50:1 (Limiter)

Attack 50 µs – 0.2 s

Release Auto, 75 ms – 4 s

Make Up Gain 0 dB – 20 dB

Knee Hard, 0.4 dB, 0.8 dB, 1.5 dB, 3.6 dB, 12 dB, 24 dB

Crossover Frequencies
Band1<>2 20 Hz – 20 kHz

Band2<>3 20 Hz – 20 kHz

Expander

Threshold -60 dBFS – -6 dBFS

Depth 40 dB – 0 dB

Attack 50 us – 0.2 s

Release 0 ms – 4 s

Knee Variable soft knee or 2:1 hard knee

Gate / Ducker

Threshold -60 dBFS – -6 dBFS

Depth 40 dB – 0 dB

Attack 50 µs – 0.2 s

Release 0 ms – 4 s

Delay 0 ms – 1 s

107
Expander/Gate/Ducker

An expander acts in the opposite way to a compressor: When a signal exceeds the expander threshold it is passed
through unchanged, and when it falls below the threshold it is reduced, effectively increasing the dynamic range of the
signal and reducing unwanted audio content.

A gate is effectively an extreme version of an expander, with a very high ratio, resulting in the gain of the input signal being
significantly reduced almost immediately as it falls below the threshold. Gates are often used to minimise unwanted audio
content.

A ducker is used to reduce the level of a signal by the presence of another signal or side chain source. A typical use
of this effect in a daily radio production routine is for creating a voice-over: a foreign language original sound is dubbed
(and ducked) by a professional speaker reading the translation. Ducking becomes active as soon as the translation starts.

Calrec’s expander/gate/ducker processing has 6dB of built-in hysteresis to avoid unwanted ‘chatter’ (constant on/off
switching) resulting from an input signal residing on or around the threshold.

Global Module Controls

When looking at a dynamics module, any control situated within the screen header affects the whole module as shown in
Figure 3. This includes the following:
• Each Dynamics module can be inserted either pre EQ, pre fader or post fader. Tap the dynamics position button in
the screen header and select an option.
• By default, dynamics modules operate as standalone units. The second button in the screen header allows the
module to be put into one of four Dynamics Links.

FIGURE 3 - GLOBAL DYNAMICS CONTROLS FOR POSITION AND DYNAMICS LINKS

Dynamics Links

Dynamics Links allow multiple audio feeds to have the same dynamics processing applied. When multiple paths’
dynamics modules are set to be part of a Dynamics Link, the amount of gain reduction applied across the link will always
equal that for the signal which is being affected the most. For example, within a Dynamics Link, if one path’s signal is
causing 5 dB of gain reduction and another is causing a reduction of 10 dB, all signals within the Dynamics Link will have
a gain reduction of 10 dB applied. When expander/gate units are used within a Dynamics Link and one feed within the
link reaches the threshold level to open the expander/gate, all expander/gates within the link open regardless of the audio
levels of their feeds.

Compressor/Limiter Controls

• Threshold: The level (dBFS) at which the signal will begin to have its gain reduced.
• Ratio: Controls gain reduction once a signal has exceeded the threshold, for example, if the ratio is set at 2:1 and
the signal exceeds the threshold by 4 dBFS, the gain will be reduced so it exceeds the threshold by only 2 dBFS.
When set to 50:1, the compressor is acting as a limiter.
• Attack: Time taken to reduce the gain to reach the new compressed level. Short attack times enable the compressor
to catch transients in the audio feed, whereas increasing the attack time will focus the compressor on more long term
level issues, such as level differences across various sections of a program.

108 BRIO 36 Audio Production System with Optional Networking PROCESSING

 •
Release: Time taken to remove gain reduction once the signal falls back below the threshold. Short release times can
lead to a ‘pulsing’ effect, with only audio peaks being compressed. A longer release time will lead to a smoother effect
at the expense of some lower level audio components being compressed.
• Make Up Gain: Allows the gain of the whole compressed signal to be increased by up to 20 dB.
• Knee: Controls the dB range over which the threshold is active on the incoming signal. With knee set to ‘hard’, a
signal which exceeds the threshold will instantly have the full gain reduction applied, which leads to a very noticeable
compression. Setting a softer knee ‘smooths’ the point at which the threshold acts, for example, a 6 dB knee setting
means that the threshold is active over a 6 dB spread leading to a less noticeable compression effect.
See Figure 4 below.

FIGURE 4 - COMPRESSOR/LIMITER CONTROLS

Expander/Gate/Ducker Controls

•
Mode: The expander/gate module has a dual mode button for switching between expander and gate functionality.
•
Ratio (expander only): Controls the amount of gain reduction applied to the signal. Hard uses a ratio of 2:1, meaning
1 dB of gain reduction is applied for every 1 dB that the signal falls below the threshold, for example, a signal 10 dB
below the threshold will have 10 dB of gain reduction applied. Soft ratio is a variable ratio dependent on the level of
the input signal, the final ratio of 3:1 being applied when the signal drops to 20 dB below the threshold.
• Threshold: The level (dBFS) at which the signal will begin to have its gain affected.
• Depth: Controls the maximum amount of attenuation which can be applied to signals below the threshold.
• Attack: Time taken for the expander/gate takes to open. Short attack times help to preserve natural transient attack
but can result in a ‘clicking’ sound due to the rapid transition. A long attack time ensures a smoother transition but
some of the transient information will be lost.
• Release: Time taken for the expander/gate to close. Longer release times create a smoother more natural transition.
• Delay (Gate/Ducker Only): The minimum time the gate or ducker will be held open before closing once the threshold
is reached.
See Figures 5, 6 & 7 over the page for images of Expander, Gate and Ducker pages.

109
FIGURE 5 - EXPANDER CONTROLS

FIGURE 6 - GATE CONTROLS

110 BRIO 36 Audio Production System with Optional Networking PROCESSING

FIGURE 7 - DUCKER CONTROLS

Sidechain Source

Figure 7 shows the sidechain Source box in Red to indicate that in order for the Ducker to affect the audio a sidechain
source other that itself needs to be selected. Tapping the ‘Select Sidechain Source’ button opens a pop-up box as shown
in Figure 8.  Note: only mono channels, groups or auxes can be used as sidechain sources.
The user can then select mono sources from the surface by pressing applicable mono path access keys. Those paths that
can be used have their fader displays lit in the dynamics purple colour with the following message
‘Press Access to select a sidechain source’, the other paths display the message ‘Cannot be used as a sidechain source’.

Although its essential for ducking control, the sidechain source is also available for use with Compressor 1, Expander and
Gate processing and it is this path’s audio that is used as the source for the sidechain equaliser control.

Note: Compressor 2 does not use a Sidechain in Singleband or Multiband modes.

FIGURE 8 - SIDECHAIN SOURCE SELECTOR

111
Sidechain EQ

Dynamics units take copies of their input signals, analyse them, and work out how best to process the originals.
These copies are called sidechains. Sidechain EQ controls are used to process frequency components of the sidechain
signal in order to control which components of the input signal the dynamics unit will respond to.

With the Exp/Gate/Duck or Comp/Lim 1 processing tab selected, tap SIDECHAIN EQ within the control screen
to see the sidechain EQ controls. The SC LISTEN toggle button towards the bottom right of this screen allows the
user to listen to the sidechain signal whilst altering the EQ parameters. The sidechain BYPASS button in the screen
header allows the user to switch the sidechain EQ controls in and out, allowing the user to hear the difference the
EQ processing makes. The rest of the controls are explained in more detail here: See ”EQUALISER” on page 102.
Sidechain EQ is available to either the Exp/Gate/Duck or Comp/Lim 1 of each path - but cannot be used on both
modules at the same time.

FIGURE 9 - SIDE CHAIN OPERATION

FIGURE 10 - SIDECHAIN EQ

Compressor2, as shown in Figures 11 & 12 does not have assignable sidechain EQ like exp/gate/duck and comp/lim1.
Instead, when in multi-band mode, the frequency range of each band can be adjusted. Multi-band compressors offer an
advantage over sidechain EQ for applications such as de-essing as they can apply gain reduction to a specific frequency
range, whereas using a regular compressor, the sidechain EQ can be set so that gain reduction is only triggered by certain
frequencies, but will apply the same amount of gain reduction across the whole frequency range.
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FIGURE 11 - COMPRESSOR 2 IN SINGLEBAND MODE

Multiband Compressor

Compressor 2 may be reconfigured to act as a multiband compressor, as shown in Figure 12, by sliding the ‘Multiband’
switch in the top right hand corner of the Comp/Lim 2 window. This allows the user to compress a signal differently over
3 different frequency ranges. Between compressor bands 1 & 2 and compressor bands 2 & 3 are placed crossover
frequency controls. These are by default set to 120Hz and 2.8kHz respectively so band 1 compressor acts on the signal
frequencies up to 120Hz, band 2 compressor acts on the signal frequencies between 120Hz and 2.8kHz and band 3
compressor acts on the signal frequencies above 2.8kHz.

FIGURE 12 - COMPRESSOR 2 IN MULTIBAND MODE

113
Dynamics Independence Controls for Stereo and 5.1 Paths

For Multichannel paths such as Stereo and 5.1 paths it is now possible to apply Dynamics processing independently for
each L or R spill leg in the case of a Stereo path, or LR, C, LFE, LsRs spill legs in the case of a 5.1 path.

Figure 13 shows the Expander/Gate/Ducker page for a 5.1 path, in the path header is shown a drop down box which
normally says ‘Full Path’. Tapping on this opens an independence control table which is used to determine which spill
leg controls will be made independent of its multichannel master for any of the Dynamics controls or Gain Reduction
elements shown down the Spill Leg Independence column. Sliding any of these switches makes those particular controls
and or gain reduction elements for a particular spill leg to become independent.

FIGURE 13 - INDEPENDENCE CONTROLS

As shown in Figure 13 all the controls for the LFE leg are independent, this is by default. The user has just made the
Expander/Gate/Ducker, Comp/Lim1 & Comp/Lim2 controls independent for the LR Only spill legs of this 5.1 channel.
Figure 14 shows the Ducker control for LR Only spill leg.

FIGURE 14 - INDEPENDENT DUCKER CONTROLS FOR THE LR ONLY SPILL LEGS OF A 5.1 PATH

114 BRIO 36 Audio Production System with Optional Networking PROCESSING

Dynamics displays of Non-independent Controls for Stereo and 5.1 Paths

If the user selects a spill leg that has not been made independent from its master or selects a Expander/Gate/Ducker or
Comp-Lim 1 or Comp-Lim 2 control set that has not been made independent then the display is ‘Greyed Out’ meaning
that no controls are available from this page.
Figure 15 shows the Ducker page for the C Only spill leg of a 5.1 path which has not been made independent.

FIGURE 15 - NON-INDEPENDENCE CONTROLS

Removing Independence from Spill Legs

Clicking on the spill Legs button to the right of the Access display shown as ‘C Only’ in Figure 15, reopens the
independence control switch table as shown in Figure 13. Turning Off the independence switches overwrites the
independent control settings that this Dynamics Process had for this spill leg and replaces it with its master’s settings.

Compressor / Limiter 1 Module and AutoMixers

It should be noted that if AutoMixers are in use the Comp/Lim 1 modules is disabled. This is set on a per channel basis.

115
AUTOMIXERS
Brio 36 has two AutoMixers which can be used to automatically mix the levels of a selection of mono channels and
mono groups, keeping the overall level of the mix constant.

AutoMixers have the effect of boosting paths with higher signal levels relative to other paths in the grouping, whilst
lowering those with lower signal levels. In reality, AutoMixers only ever apply attenuation, signals are never actually
boosted. For example, in a ‘talkshow’ situation, with one presenter and three guests, if all four microphones are assigned
to an AutoMixer and only the presenter is speaking, the three guests’ microphones will be attenuated more than the
presenter’s microphone, giving the effect of a boost to the presenter’s voice and keeping the level of the overall program
constant.

This method of automixing—using attenuation adjustment—results in a mix in which the total ambient/background noise
level remains fairly constant.

Applying AutoMixers to Paths

1. Access the mono channel or group by pushing its ACCESS button.

2. Tap the AutoMixer processing tab.
3. Tap to choose an AutoMixer for this path: 1 or 2.
4. Check that the AutoMixer Control is turned on (It’s on by Default)

Note: AutoMixers use Comp/Lim 1 modules to function, so when an AutoMixer is applied to a path, its Comp/Lim 1
module is disabled.

Setting Individual Path Weightings

AutoMixers calculate the ratios of path audio levels to the sum of all path levels to which the AutoMixer has been applied.
Weightings can be applied individually to each path—the higher the weighting, the more prominence is given to that path
in the ratio calculation, giving it more prominence within the mix. For example, in the ‘talkshow’ setting described above,
if all contributors talk at the same time the user may wish to give a higher weighting to the presenter’s microphone so that
their voice cuts through during the debate.

AutoMixer Controls

• Weight: Used to calculate the level of attenuation applied to the path. The higher the weight the more prominent the
path will be in the resulting mix.
• Position: Set the order of processing. The AutoMixer can be applied pre EQ, pre fader or post fader.
• AutoMixer Control: This switch turns the AutoMixer Off or On
• A gain reduction meter is provided so the user can quickly see how much gain reduction is currently being applied to
the path.

116 BRIO 36 Audio Production System with Optional Networking PROCESSING

FIGURE 1 - AUTOMIXER PATH CONTROLS

AutoMixer Global Controls

Each of Brio 36’s two AutoMixers have their own attack, release and bypass controls. Attack and release are used to
smooth out the signals prior to the level ratio calculation being made. A compromise must be made between fast attack
and release, which leads to a more erratic but fast-acting functioning and slow attack and release times, which leads to
a slower acting but smoother functioning.
Tapping BYPASS disables the AutoMixer for all assigned paths. If the user wants to momentarily take a path out of the
AutoMixer assignment, the AutoMixer Control On/Off switch should be used on the individual path’s processing tabs, as
shown in Figure 1.

FIGURE 2 - AUTOMIXER GLOBAL CONTROLS

117
PAN CONTROLS
The pan processing tab provides individual pan controls for each channel or group. Separate pan controls are
available for panning to mains and groups and to auxes and you can switch between them using the drop-down
menu in the screen header.

Surround Mains and Groups

Surround panning controls are available when feeding mains and groups. There are several ways to manipulate these
controls:

Pan controls are accessed from the touch display.

• With the touch display in ‘active Show’ view, tap the Pan processing tab to access the relevant controls.
Note: the appropriate context sensitive controls under the touchscreen illuminate to provide physical controls
• From the surface, push the ACCESS control mode button to select which path the controls will act upon.
• On the touch display there is a visual representation of the surround space to the left hand side of the
panning screen. Tap a new location or drag the white disk to place the audio within the space. Alternatively,
there are rotary controls on the right of the panning screen available for left/right and front/back panning.
The pan context based controls and page are shown in Figure 1.

FIGURE 1 - CONTEXT CONTROLS—ACCESS MODE—MAINS & GROUPS PANNING

118 BRIO 36 Audio Production System with Optional Networking PROCESSING

Pan Controls

• Bypass M&G Pan: Allows the user to quickly disable panning to mains and groups without having to navigate to
the correct pan screen. Individual in/out statuses of each pan control are preserved when bypass is used.
• Switch between viewing panning controls for mains and groups or auxes.
• Centre Only: Allows the user to quickly centre all panning for the currently accessed path.
• Front Format: Allows the user to switch between LR, LCR and LCR with divergence when panning to 5.1 destinations.
• LFE and non-LFE Level: Separate level controls are available for the LFE and non-LFE portions of the signal so that
the overall level can be balanced.
• Front Divergence: An extra control over the ratio between the amount of signal routed to the centre and LR speakers
in a 5.1 situation.

Pan to Auxes

Auxes can be stereo or mono. When PAN TO: AUX is selected in the screen header the context sensitive controls
become 8 panning rotaries for setting individual panning for each of 8 Auxes. There are 3 pages of Pan controls for
up to 24 Auxes and there are also individual ON/OFF switches to switch on and off the panning for each Aux send.
Note: Panning is only available for Stereo Auxes as shown in Figure 2.

FIGURE 2 - PAN TO AUX CONTROLS

119
Stereo & 5.1 path spill leg access and independence for Pan settings

From version v1.1 Brio can access each spill leg of a Stereo or 5.1 path and allow parameter changes to be made on
each spill leg. Figure 3 shows the ‘Full Path’ button being pressed which brings up the Spill Legs Access pop-up.
The user selects which spill leg they wish to examine/alter and the screen then accesses that leg as shown in Figure 4.
Note: this button appears on all access pages.

FIGURE 3 -SPILL LEG SELECTOR

Figure 4 shows the ‘LR Only’ spill legs on the Pan page. As this is a Stereo spill leg all the controls that would normally
appear for a Stereo path are made available. The ‘LsRs’ spill leg appears with the same stereo parameters controls as
shown here for the LR spill legs.

FIGURE 4 -LR ONLY SPILL LEG SELECTED

120 BRIO 36 Audio Production System with Optional Networking PROCESSING

 Figure 5 shows the ‘LFE Only’ spill leg on the Pan page. As this is a Mono spill leg all the controls that would normally
appear for a Mono path are made available. Note: the ‘C ONLY ’spill leg does not allow any panning as it is by definition
in the centre of the soundfield.

FIGURE 5 -LFE ONLY SPILL LEG SELECTED

Figure 6 shows the ‘Full Path’ on the Pan page. As this is the 5.1 Channel it shows no Pan controls available as it is by
definition a 5.1 source..

FIGURE 6 -FULL PATH SELECTED

Note: the above images show panning of spill legs to Mains and Groups. It is also possible to pan spill legs to stereo
Auxes. LR, LFE and LsRs can all be panned individually, however the ‘C ONLY’ spill leg again does not allow any panning
for the same reason as the Mains and Groups.

121
DELAY
Brio 36 has three types of delay available:

• Input delay: up to 5.4 s available per path from a pool of 64 mono legs, for example, when assigning input delay
to a 5.1 path, six of the 256 mono legs are used.
• Path delay: up to 5.4 s available per path from a pool of 64 mono legs, as above.
• Output delay: up to 5.4 s available per path from a pool of 64 mono legs, as above.

Input, path and output delay can be used individually or in combination.

Accessing Delay Controls

• Tapping the delay processing tab brings up the delay screen for the currently accessed path. If the path is an input
channel, both input and path delay are displayed. If the path is an output, path and output delay controls are available.
Note: the appropriate context sensitive controls under the touchscreen illuminate to provide physical controls
• Path delay is available for all paths, input delay is only available for input channel paths, output delay is available an
can be applied to direct outputs on channels and groups providing a direct output has been allocated for those paths.
In addition, aux outputs and main outputs can have output delay applied to their actual bus outputs.

Multiple input and output delay modules can be added to paths. If all available input or output delay modules are in-
use and more are needed, modules must be removed from paths by tapping the REMOVE buttons at the bottom of the
modules to add them back into the delay pool. The delay context based controls and page are shown in Figure 1.

FIGURE 1 - CONTEXT CONTROLS-INPUT & PATH DELAY SHOWING PAN POSITION OPTIONS

122 BRIO 36 Audio Production System with Optional Networking PROCESSING

 • Use the rotary control to set the delay length.
• Alternatively, use the step up [+] & step down [-] buttons to increase and decrease the delay time in steps of 10 ms.
• Delay Units: Switch between displaying delay in either time or frames.
• Delay Position: Path delay can be inserted into the path either pre EQ, pre fader or post fader.
• Delay units can be assigned from the pool by tapping on the on screen assign buttons. See Figure 2 on Main 4’s
Stereo O/P delay.

FIGURE 2 - OUTPUT & PATH DELAY CONTROLS

Global Delay Controls

Tap ‘Show Settings’ in the Show menu and then select ‘Delay Controls’. Three global delay settings are available as
shown in Figure 3.

• Delay can be viewed in either time or frames across the surface, select TIME or FRAMES and all new delay
modules will be displayed according to your choice. If you wish to extend this selection to all existing delay
assignments tap APPLY TO EXISTING DELAYS.
• If delays are displayed and controlled in frames rather than time, a frame-rate must be set. Changing the frame-rate
from this screen changes is for all delays assigned on the surface which are in frames.
• When setting delays wither a rotary control or an up/down stepper can be used. If the stepper is used, the step size
can be set at either 1 frame or 0.5 frames.

FIGURE 3 - SHOW SETTINGS—DELAY CONTROLS

123
INSERTS
Inserts provide a quick way to insert signal processing equipment into the system. Input channels, groups, auxes,
mains and the console monitor output all have an insert.

Each insert has a send and a return, providing a convenient break in the signal chain. Sends and returns all appear in the
I/O patching screen where they can be patched to I/O box ports for connection to external devices.

Path Inserts

Path inserts are associated with the attached path. If, for example, an input channel is attached to fader three and its
paths insert is patched to an I/O box, if input channel on fader three is moved to a different fader, such as fader 10 for
example, the insert patching will move along with it to appear on fader 10’s insert send and return displays.

Patching Inserts

From the Brio 36 surface, insert sends should be connected to outboard inputs and Insert returns should be connected to
outboard outputs. Outboard devices should have their inputs connected to I/O box output ports and their outputs con-
nected to I/O box input ports, as shown in Figure 1.

FIGURE 1 - INSERT

In/Out

Each insert has its own activation in/out button which, for faders, groups and mains can be found in the insert & width
processing tab. The console monitor insert in/out button is accessible from the settings tab within the console monitor
pop-up, as shown in Figure 2.

In/out buttons are useful for quickly comparing processed and unprocessed signals.

Note: Brio 36 has 2 Inserts available per path.

124 BRIO 36 Audio Production System with Optional Networking PROCESSING

FIGURE 2 - CONSOLE MONITOR INSERT ON/OFF TOGGLE SWITCH

Insert and Width Tab Controls

• Width: A width rotary control is available for all stereo paths and is used to control the width of the stereo width
ranging from mono, through stereo to wide. Wide creates the impression of an extended image past the usual
left/right limits. Pressing the WIDTH control mode button populates the bottom row of control cells with width
controls for any stereo paths.
• Insert: Inserts can be switched on or off individually.
• Position: Inserts can be placed either pre EQ, pre fader or post fader.
• Insert patching sources and destinations are clearly displayed.
• Figure 3 shows a Stereo Path with Width controls and two inserts assigned to it.

FIGURE 3 - FADER STRIP

125
Stereo & 5.1 path spill leg access and independence for Insert settings

From version v1.1 Brio can access each spill leg of a Stereo or 5.1 path and allow parameter changes to be made on
each spill leg. Figure 8 shows the ‘Full Path’ button being pressed which brings up the Spill Legs Access pop-up.
The user selects which spill leg they wish to examine/alter and the screen then accesses that leg as shown in Figure 9.
Note: this button appears on all access pages.

FIGURE 4 -SPILL LEG SELECTOR

Figure 9 shows the ‘LR Only’ spill legs on the Inserts page. As this is a Stereo spill leg all the controls that would
normally appear for a Stereo Insert including Width are made available. Note: the LsRs spill legs appears with the same
parameters controls as shown here for the LR spill legs. The C and LFE spill legs appear in a similar way but without width
controls.

FIGURE 5 -LR ONLY SPILL LEG SELECTED

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VCA GROUPS
Brio 36’s VCA group system allows you to control the level, CUT, AFL and PFL states of a group of faders from a
‘master’ fader.

Creating and dissolving VCA Groups

To create a VCA group:

1. Select the fader to be the group’s master by pushing and holding its ACCESS button.
2. Push ACCESS for the faders that are to be slaves to this master.

To remove slaves or undo the process:

1. Push and hold the master’s ACCESS button.

2. Push the ACCESS buttons for the slaves that are to be removed from the group.

By default, slave faders move along with their master faders to show the relative levels. This feature can be switched off
within Brio 36’s general settings, as shown in Figure 4 at the end of this section.

VCA Group Status Indication

FIGURE 1 - VCA STATUS—FADER DISPLAY OPTIONS

The VCA group status indicators show

whether a fader or path is a:-

Master

Secondary Master

or Slave

127
FIGURE 2 - VCA STATUS—FADER VARIANTS

Secondary Master

There is a three tiered hierarchy within Brio 36’s VCA group system: primary Master, secondary master and slave.
Altering the level of a primary master affects the levels of its direct slaves, its secondary master and the secondary
master’s slaves, all by the same degree. Pushing the primary master’s CUT, AFL or PFL buttons applies the same settings
to direct slaves, any secondary masters and their slaves. The diagram on this page illustrates the hierarchy.

128 BRIO 36 Audio Production System with Optional Networking PROCESSING

FIGURE 3 - VCA HIERARCHY

Masters and Paths

When a fader becomes a master and it has a path attached, that path becomes a slave of the master fader.
The level of the slave path can be altered separately to the master fader level:

1. Push the master fader’s ACCESS button to see the fader jump to the position of the slave path.
2. With the ACCESS button held, move the fader to change the level of the slave path.
3. Release the ACCESS button to see the fader jump back to the master position.

Other VCA information

A VCA Slave can only be set +10dB higher than the position of its VCA Master.

When a Primary VCA Master, Secondary VCA Master and Slave are all pushed to the top of their travel it is possible to
make the gain of the Slave go up to +30dB.

If the level of the VCA Master fader is taken below -50dB the level of the slave cannot be altered so that the balance of
the VCA group is preserved at low levels. This has been put in place for safety as making alterations at such low levels
would be likely to produce inaudible results that would be significantly amplified when the master is later opened.

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5.1 Surround Paths

If a surround path is part of a VCA group, the primary and secondary masters’ level, PFL, AFL and CUT settings will affect
all legs of the surround path. A surround path leg cannot be a VCA master or slave.

VCA Group Protection

VCA groups can be protected from being changed:

1. Tap SHOW SETTINGS at the bottom of the Show menu.

2. Select GENERAL from the left hand menu.
3. Switch VCA EDITING USING ACCESS BUTTONS ‘off’—all existing VCA groups carry on operating normally but
no changes can be made and no new groups can be created.

FIGURE 4 - VCA GROUP SETTINGS

VCA Non-Moving Faders

The motorised VCA system can be disabled so that the Audio resultant is just the Sum of the fader values and the faders
don’t move to show the WYSIWYG resultant:

1. Tap SHOW SETTINGS at the bottom of the Show menu.

2. Select GENERAL from the left hand menu.
3. Switch VCA SLAVES MOVE WITH THEIR MASTER ‘off’—all existing VCA groups carry on operating normally but
the motors are turned off and the Audio result is now the sum of the primary master, secondary master (if any) and the
Slave positions.

130 BRIO 36 Audio Production System with Optional Networking PROCESSING

THE FADER SCREEN
The fader screen displays an overview of the currently accessed fader. All level information relates to the fader
level, not the actual level of the attached audio path.

A virtual version of the accessed fader is provided within the fader screen including PFL, AFL and CUT buttons which
can be used as an alternative to the surface buttons. The image below shows how a fader that is not in a VCA group is
displayed within the fader screen.

FIGURE 1 - FADER—NOT IN VCA GROUP

131
VCA Slave

If the accessed fader is a slave within a VCA group a green slave level is displayed to the right of the blue fader level
indicator showing the combined level of the accessed fader and its master fader.

FIGURE 2 - FADER—SLAVE IN VCA GROUP

132 BRIO 36 Audio Production System with Optional Networking PROCESSING

VCA Master

If the accessed fader is a primary or secondary master within a VCA group and a path is attached to the fader, two faders
are displayed, one for the VCA master and one for the slave path beneath (see “VCA Groups” on page 134 for more
information)

FIGURE 3 - FADER—MASTER IN VCA GROUP

133
VCA Slaves on Buses and Outputs Page
The Buses and Outputs page now shows VCA Slave levels as well as the bus path level, if a bus is controlled by a VCA
Master. This applies to Main, Group and Aux bus outputs. See Figure 4 which shows Aux bus outputs display when set
as VCA slaves to a VCA Master.

FIGURE 4 - AUX BUS OUTPUT FADERS—SLAVES IN VCA GROUP

Surround Paths

If the accessed fader has a surround path attached, two additional tabs appear within the fader screen: ‘surround leg
faders’ and ‘downmix faders’.

Surround Leg Faders

The surround leg faders screen allows you to set the relative levels for the separate surround component legs:

• Left and right (LR)

• Centre (C)
• Low frequency enhancement (LFE)
• Left surround and right surround (LsRs)

The individual surround legs can be monitored and cut individually using the CUT, AFL and PFL buttons.

Downmix Faders

The downmix faders tab allows the user to make individual alterations to the LR, C, LFE and LsRs levels which will be
used for downmixing the surround feed to stereo and mono outputs. Each Show has default downmix levels which are
defined within the setup area. Making changes within the fader screen offsets the downmix levels from these defaults.
See ”DOWNMIXING” on page 180 for more information.

134 BRIO 36 Audio Production System with Optional Networking PROCESSING

CSCP control

Calrec serial control protocol (CSCP) enables control of the following using various third party devices:

• Fader positions
• Path CUT/ON status
• PFL/AFL Status
• Routing to Auxes and Mains
• Setting Aux output levels
• Main output level
• Left to both and right to both switching

Each fader has a CSCP Control on/off switch in the fader screen header. Setting this switch to the on or off positions
enables/disables CSCP for that path.

FIGURE 5 - CSCP CONTROL SWITCH IN THE FADER SCREEN

135
AUTOFADERS
AutoFaders allow Brio 36 faders to be opened and closed under the control of another system through the use
of GPIs.

To control an assignable AutoFader, select the Access>Autofader page and press the appropriate access button for the
channel whose AutoFader is to be accessed. See Figure 1.
Note: the appropriate context sensitive controls under the touchscreen illuminate to provide physical controls
FIGURE 1 - AUTOFADER SCREEN

The AutoFader TFT screen gives a visual representation of the behaviour of the AutoFaders position over time and pro-
vides information about which AutoFader is in use and which GPI the AutoFader is being triggered from.
There are 9 individual AutoFader controls provided and a global on screen switch to Bypass All AutoFaders.

AutoFader Controls

• AUTOFADER ON - Enables the AutoFader on this assign path. Note: if the AutoFader is shared across several paths,
only this path is affected by this switch.
• REHEARSE - Press and Hold this button labelled ‘ Hold then release to rehearse AutoFader’ to trigger the AutoFader
and release to release the AutoFader. This button allows the user to walk through the action of the AutoFader and
adjust parameters if necessary.
• FADE IN LEVEL - This is the level that the fader goes to when the GPI is triggered shown as an ‘IN’ line.
• FADE OUT LEVEL - This is the level that the fader goes to when the GPI is released shown as an ‘OUT’ line.
• FADE IN DELAY - This is the delay period before the fader starts to ramp up to the IN LEVEL.
• FADE IN DURATION - This is the fader ramp up period.

136 BRIO 36 Audio Production System with Optional Networking PROCESSING

• FORCE RELEASE - When ON this time period is used to force the AutoFader into the fade out delay phase even if
the AutoFader is still triggered via the GPI.
Note: if the above control is set to ‘Never’ the AutoFader will remain triggered indefinitely whilst the connected GPI is
triggered.

• FADE OUT DELAY - This is the delay period before the fader starts to ramp down to the out level

• FADE OUT DURATION - This is the fader ramp down period.

Note: the AutoFader thumbnail shows which AutoFader is in use and its On / Off state even when the Access mode is
on a different control page.

• CONNECTED AUTOFADER TRIGGER - Pressing this button allows the user to select the AutoFader trigger.

Setting Up AutoFaders for use

There are 99 AutoFaders in the Brio 36 system. GPIs are assigned to control one or more of these AutoFaders when they
receive the required trigger signal. The AutoFaders can then be assigned to control one or more faders on the surface.

Assigning GPI’s to AutoFaders

GPIs are assigned to AutoFaders in the GPI screen in System Settings>GPI as shown in Figure 2.

A single GPI may control any number of AutoFaders, so assignments can be made one to one or one to many. Select the
required GPI from the list on the left and any number of AutoFaders from the right. Now touch the PATCH button.

To remove a connection, select the connected AutoFader from the GPI list on the left and touch remove.

FIGURE 2 - ASSIGNING GPIs TO AUTOFADERS

137
Assigning AutoFaders to faders

Once the relevant GPIs have been assigned to AutoFaders, the AutoFaders can be assigned to control faders on the
surface. This is done on the Access>AutoFader screen as shown in Figure 3.

FIGURE 3 - ASSIGNING AUTOFADERS TO FADERS

AutoFader levels

When an AutoFader is attached to a fader and is enabled, providing the trigger signal is not present, the fader will go to
the OUT LEVEL complying with the Fade-Out Duration parameter, rather than snapping the audio to the Fade-Out level.
If an AutoFader is enabled, either from path or global enable, for a path whose GPI is currently triggered, the audio should
fade (up or down) to the Fade-In Level (if it is not there already), complying with the Fade-In Duration parameter, rather
than snapping the audio to the Fade-In level. When the trigger signal is present, the fader will follow the settings made on
the Access>AutoFader screen.

AutoFader parameter settings

The AUTOFADER screen allows the settings of the AutoFaders to be configured. The available settings for all the Time
based controls are :

• 0 to 100ms in 10ms steps.

• 100ms to 1s in 100ms steps.

• 1s to 5s in 500ms steps.

The IN and OUT gain level settings are -100dB to +10dB.

Global AutoFader Bypass

At the bottom of the AutoFader screen there is a copy of the Global Bypass button which effectively disables all
AutoFaders.

AutoFader indicators

When an AutoFader is assigned to a fader, the Fader display will show the AutoFader Number and the Meter display
shows when the AutoFader is active.

138 BRIO 36 Audio Production System with Optional Networking PROCESSING

Default Fader Interaction Mode

This section describes the operational interaction conditions when settings and fader positions are modified in
combination with AutoFaders.

Faders in this default mode allow the user to temporarily override AutoFader control using the path fader to open, close
or adjust the path’s level. Faders can be manually adjusted, and their output will reflect the manually set physical position,
whether the AutoFader is active or inactive. Adjustments affect current audio, but do not affect subsequent autofades.
AutoFaders do not fight manual control. If a fader is being touched at the time an AutoFader is fired, OR when an
AutoFader transitions from its initial ‘Fade In Delay’ period into its’ ‘Fade-In’ period, then the AutoFader fade-in is cancelled.
This does not cancel the fade-out for this autofade event (which will be triggered as normal if the fader has been manually
opened in the interim).

If a fader is touched whilst an AutoFader fade-in is in progress, the auto-fader immediately relinquishes control of the
fade-in (but can still perform the subsequent fade out if the fader is no longer being touched at that point in time)
Similarly, if a fader is being touched or moved when an AutoFader enters the fade-out stage, or during the fade-out stage,
the AutoFader again immediately relinquishes control of the fade out to the operator.

AutoFader fade-in’s & fade-out’s begin from the current physical position of the fader. If they have been manually
adjusted, this becomes the start point, they do not have to go to their specified or expected On or Off level first.
Fade in and fade out values are absolute in that the time taken from the beginning to the end of the fade-in or fade-out
period lasts for the duration set by the relevant control, regardless of the actual physical starting level that may have been
manually set and differ to that of the AutoFaders set On/Off level.

If a fader is positioned at or below its AutoFaders set Off-Level when a fade-out is instigated, the fade-out will be
cancelled.

If a fader is positioned at, or above its AutoFaders set On-Level when a fade-in is instigated, the fade-in will be cancelled.
If the Fade-In Level is being adjusted whilst an AutoFader Fade-In is in progress, or similarly, the Fade-Out Level is being
adjusted during a Fade-Out then the Fade-In/Out continues at a constant rate-of-fade until the fader level and In/Out level
meet. At which point the AutoFader stops due to the target level being met. (The Fader will then track with the In/Out
level control until the next AutoFader fade In/Out by virtue of the fader being fully in/out).

Fade-In Delay, Force Release & Fade-Out Delay can all be adjusted whilst the AutoFader is in their phase of operation,
and the adjustments affect the phase they are in (rather than being applied to the next AutoFader trigger cycle).
Each phase can be extended up to its maximum duration whilst that phase is ongoing.

When reducing the duration, the relevant phase will end and the next phase start when the length of time passed since the
start of the phase meets that set by the control.

When an AutoFader is fully In or Out, adjusting the relevant In/Out Level control will directly affect the level output by the
path - the fader will track the adjustments in real time - it will not apply a fade in/out to track the adjustments.

139
CONTROL LINKING
Paths can be linked, meaning that if a parameter is altered for one linked path it will also be altered for all other
linked paths for which the parameter is relevant. Memory isolation is also included in the control link.

Linking can be achieved by pressing two access buttons will link all the paths between them on the surface, or by pressing
and holding the ‘LINK’ Sel/Clear button and selecting the paths to be linked by pressing the Access buttons at the same
time. To alter the paths in the link, press and hold LINK and add or remove paths from the link using the Access buttons.
Those paths in the Link will have their Access buttons lit. . To add a fader on a different surface layer to the link group, use
the fader layer A or B buttons to access the desired layer, then push the path’s ACCESS button.

To link a group of sequential paths, simultaneously push the ACCESS buttons at each end of the group, for example,
simultaneously pushing ACCESS buttons for fader one and four adds faders one, two, three and four to the link.

Identifying Linked Faders

All linked paths can be identified by the link symbol in the Fader displays. See ”Fader Display” on page 24.
In addition when a Link is active even if the linked faders are on the other layer the LINK button flashes. If the LINK button
is switched off the faders operate independently. Turning on the LINK button again will restore the last link arrangement.
Note: if another two access buttons are pressed simultaneously without holding down the LINK button a new link
arrangement will replace the last one.

Link Features

• Parameter changes across linked paths are made relatively, for example, if the gain of one linked path is increased
from 0 dB to 5 dB, a linked path with an original gain of 5 dB will be increased to 10 dB.
• Frequency controls are altered ‘musically’, for example, if one EQ frequency control is increased from 5kHz to 10 kHz,
i.e. one octave, the corresponding frequency control for a linked path starting at 7 kHz will also be increased by one
octave to 14 kHz.
• If a path is cloned and then added to the link group, all its clones will also be linked.

For reasons of safety and usability some features are not included in linking:

• Port patching
• PFL/AFL
• Phantom power
• VCA masters can not be linked

FIGURE 1 - LINK SEL/CLEAR BUTTON

140 BRIO 36 Audio Production System with Optional Networking PROCESSING

Access Follows Link

Active Show>Show Settings>General contains an option for path access to follow the creation of a control link see
Figure 2.

FIGURE 2- ACCESS FOLLOWS LINK OPTION

When this option is on, then when the user creates a link across a range of faders by simultaneously pressing two access
buttons, the left-most path in the link will be accessed. Using this option eliminates the worry about accessing the right
path after the link is created.

The user can now also link faders that do not contain paths. This makes it very quick to select a range of faders and
assign paths from the Access screen.

141
PRESETS
A preset is a complete copy of a path from which you can choose elements to load onto another path.
Using presets can speed up work-flow when several paths with similar settings are required.

When a new preset is made a full copy of the path is taken. Setting the scope of a preset defines which elements of the
path are copied to a path when the preset is loaded. The scope of the preset can be set at any time.

FIGURE 1 - PRESETS SCOPE

Creating a Preset

To create a preset from the currently accessed path:

1. Tap PATH PRESETS in the Access bar.

2. Navigate to where you wish to save the preset, making a new folder if necessary.
3. Tap NEW.
4. If overwriting a previously saved preset a red dialogue will be displayed to warn the user of the potential overwrite.
Tap OVERWRITE or CANCEL. Otherwise, the user will be directed to enter a label and description and set the
scope of the preset, then tap CREATE NEW PRESET or CANCEL to discard any changes.

FIGURE 2 - CREATING / SELECTING A PRESET FOLDER

142 BRIO 36 Audio Production System with Optional Networking PROCESSING

Loading a Preset

To load a preset to the currently accessed path:

1. Tap PATH PRESETS in the Access bar.

2. Navigate to and select the required preset.
3. Tap LOAD .
If a preset is loaded to a path which is part of a control link, the in-scope preset elements will be loaded for all paths in the
control link. Any elements of the preset which don’t apply to the path will be automatically ignored.

FIGURE 3 - LOAD PRESETS

Updating a Preset

To update a preset to the currently accessed path:

1. Tap PATH PRESETS in the Access bar.

2. Navigate to and select the preset to update.
3. Tap UPDATE and confirm.

FIGURE 4 - UPDATE PRESETS

143
Backing Up and Restoring Presets

Presets can be backed up to a USB drive connected to one of Brio 36’s USB ports.

To back up a preset:
1. Tap PRESETS in the Access bar.
2. Navigate to and select the preset that you wish to backup from the list.
3. Tap BACKUP. The user can now select multiple Presets from the same location if required.
4. Tap SELECT BACKUP LOCATION and ensure a USB drive is connected to one of Brio 36’s USB ports.
5. Navigate to the desired backup location, creating a new folder if necessary
6. Press BACKUP HERE or CANCEL. If there is a previously saved a version of the same preset, a pop-up will appear
to ask the user if they to OVERWRITE or CANCEL the backup.

FIGURE 5 - BACKUP PRESETS

To restore a Preset from an external drive:

1. Press RESTORE and navigate to select the Preset to restore to the internal memory.
2. Press RESTORE or CANCEL.

Editing a Preset

Once a preset has been created the user can edit its scope, label and description at any time by tapping PRESETS in
the Access bar, selecting the from the pop-up and tapping EDIT .

Pooled Resources
When presets are loaded for ‘pooled’ resources, such as input and output delay modules, they will be assigned up to the
point where the pool runs out. If not enough resources are available to complete the load, a dialogue appears to tell the
user that some resources have not been applied.

144 BRIO 36 Audio Production System with Optional Networking PROCESSING

COPY AND PASTE
It’s quick and easy to copy properties from one path and paste them to another

1. Access the path that to copy properties from and tap COPY in the top right corner of the Access bar as shown in
Figure 1.
2. Tap to select the properties to copy SELECT ALL and SELECT NONE can be used if required and tap COPY or
CANCEL as shown in Figure 2
3. Access the path(s) to paste the properties to and tap PASTE in the Access bar.

FIGURE 1 - COPY AND PASTE BUTTONS

FIGURE 2 - COPY PATH PARAMETERS

145
146 BRIO 36 Audio Production System with Optional Networking
BRIO 36
MONITORING

calrec.com
CONNECTING MONITORS
Audio I/O is available on the back of the Brio 36 surface for processing, therefore, loudspeakers may be connected
to the system from console outputs or Hydra2 I/O ports and patched from Brio’s various monitor outputs.

All Brio’s monitor outputs are available as sources within the I/O patching screen from where they can be patched to I/O
output ports either built-in or via Hydra 2 I/O ports and then connected to loudspeakers.

Once loudspeakers have been connected and correctly patched, monitoring control is achieved from the surface monitor
controls, as described in “CONTROL SURFACE SECTIONS” on page 23, or by using the monitor bar at the bottom of
the touch display. The figures below show an example of how loudspeakers can be connected and arranged along with
an image showing how the I/O patching screen should look for this loudspeaker setup.

FIGURE 1 - MONITORING PATCHING EXAMPLE

Note: patching monitors to output ports as fixed connections (using Connect & Fix), means they will be the same
regardless of the user memory loaded.

FIGURE 2 - BRIO 36 REAR VIEW - SHOWING BUILT-IN ANALOGUE OUTPUT PORTS

148 BRIO 36 Audio Production System with Optional Networking MONITORING

FIGURE 3 - EXAMPLE LOUDSPEAKERS SETUP

149
MONITOR CONTROLS
The monitor bar provides access to monitor controls, monitor source settings and visual feedback from the surface
monitor controls.

Tap either the console monitor or one of the studio monitor selection buttons to view the monitor pop-up, which is
described in detail here: “THE MONITORING POP-UP” on page 151. Figure 1 explains each control that is available
from the monitor bar.

FIGURE 1 - THE MONITOR BAR EXPLAINED

Note: the Console and Studio 1 monitors are surround. If using only a stereo pair of speakers for these monitor, ensure
that phantom centre is selected in the options - if this is not done, when mono is pressed on the surface to hear a mono
downmix, the user will hear nothing as the mono downmix is routed to centre speaker unless phantom centre is selected.

150 BRIO 36 Audio Production System with Optional Networking MONITORING

THE MONITORING POP-UP
The monitor pop-up allows the user to quickly select a monitor source as well as providing detailed controls for the
selected output. It is accessed by tapping any of the monitor source select buttons from the Monitor bar.

The monitor sources tab in the monitor pop-up is used for selecting a monitor source. On accessing the monitor pop-up
for the console monitors, tap any path selector to see the console monitor source select button change to display the
correct source label and colour, indicating that the selected source is now feeding the console monitors.

Favourite Monitor Sources

Three ‘favourites’ boxes are provided towards the bottom left of the monitor pop-up. Any monitor source can be placed
into a favourites box making it more readily available during operation—drag and drop the three most commonly used
monitor sources into these favourite boxes to speed up monitor source switching.

The user can also assign monitor sources to global user buttons to provide a shortcut for changing between commonly
used sources.

Monitoring External Inputs

The external inputs tab allows the user to select any external input as a monitor source.

Settings

• Listen Modes: Allow the user to monitor the source at either its current path width (full), using the left, right and centre
speakers (3 stereo), in stereo or mono.
• Insert: Switch the monitor insert on and off.
• Misc Functions: Various functions ranging from leg routing options, LFE on/off, phantom centre (meaning to route the
C monitor feed to both left and right speakers) and polarity invert right (which allows the user to monitor the stereo
content of the monitor source by cancelling out the mono content).
• APFL Settings: Gives control over where the PFL bus is routed along with an ‘APFL clear’ button to clear all
• AFL/PFL/Output Listen routing across the surface.
• Solo Legs: Each leg of the monitor source has its own solo check-box, checking any of these disables all other legs,
so each can be auditioned individually.

The controls along the bottom of the pop-up are visible whichever tab is selected:

• Favourites: Allows the user to make up to three monitor sources available for quick selection at any time.
Simply drag and drop sources from the first two monitor pop-up tabs.
• Console LS Controls: Control the level of the console monitors and cut or dim the feed.
• Dim Adjust: Set how much the monitor level will be reduced when DIM is selected.
• AFL Trim: Adjust the level of the AFL feed between -10dB and +10dB.
• PFL Level: Sets the level of the dedicated PFL output.
• PFL to Mon button: when active this reroutes the PFL signal to the Console Monitor rather than the PFL speaker.

The console LS settings tab contains settings for the currently accessed monitor feed.
The individual controls are displayed in the following figures.

151
FIGURE 1 - MONITOR SOURCES

FIGURE 2 - EXTERNAL INPUTS

FIGURE 3 - CONSOLE LS SETTINGS

152 BRIO 36 Audio Production System with Optional Networking MONITORING

PFL, AFL AND OUTPUT LISTEN
Brio 36 has comprehensive built-in, after fader listen (AFL), pre fader listen (PFL), and ‘output listen’ (OPL) systems,
allowing you to listen to multiple combined audio feeds at various points in the signal chain.

Multiple paths can be PFL’d, AFL’d or have ‘output listen’ activated at any time to create summed mixes of pre/post fader
path feeds.

AFL

Selecting AFL for any path replaces the current feed to the console monitors with the path’s post fader feed.
AFL provides a ‘non-destructive solo,’ allowing you to quickly check individual paths whilst maintaining all mixes as they
are. Only the monitor output is affected by AFL, no paths are cut and the mix to all other buses is preserved.

PFL

By default, selecting PFL anywhere across the surface feeds the pre fader feed of the path to Brio’s dedicated PFL
speaker output. If PFL TO MON is activated within the monitor pop-up, the PFL feed will replace the monitor source,
as described for AFL above.

Output Listen (OPL)

Mains, auxes and direct outputs all have an OUTPUT LISTEN option. Like AFL, this provides a non-destructive solo,
but output listen takes the feed after the addition of output delay, directly before the feed leaves the console.

PFL Position in Audio Chain

The PFL point may now be placed at the Input, Pre EQ, Post EQ or Pre Fader in the Audio Path. This is accessed from
the Meter & PFL button in the Screen Header. Selections can be made per path, or applied to all Paths. See Figure 1.

FIGURE 1 - PFL POSITION SELECTOR

153
Access from Faders

Figure 2 shows the location of AFL and PFL buttons on the surface. Both are either latching when pushed, or momentary
when held. PFL can also be activated momentarily by pulling the fader down below its lowest point, and deactivated
once released. Also by default if a fader is closed and its PFL is activated, it will be deactivated once the fader is opened.
These features can be switched off within the general Show settings: Tap ‘Show settings’ in the Show menu and select
‘General’.

FIGURE 2 - FADER STRIP AFL AND PFL CONTROLS

Access from the Touch Display

AFL, PFL and ‘output listen’ can all be accessed from the routing and fader control screens as well as from the
‘Buses & Outputs’ screen

Global Cancel

AFL, PFL and output listen can be globally cleared across the surface by tapping the ‘APFL Active’ icon
in the notifications area.

Sending PFL to the Console Monitor

Within the monitor pop-up, tapping PFL TO MON routes all PFL feeds to the console monitor, rather than the PFL
loudspeaker output. When AFL, PFL ( if PFL TO MON is selected ) or output listen are activated anywhere across the
surface, the console monitor button in the monitor bar changes to display the feed that the user is currently monitoring.

154 BRIO 36 Audio Production System with Optional Networking MONITORING

BRIO 36
METERING

calrec.com
METER DISPLAY LAYOUT WITH CUSTOMISATION
Brio 36 uses an external DVI meter display connected via a DVI-D cable to the Meters DVI Out connector on the
back of Brio. The 1920x1080 display consists of 4 rows of 24 meter slots which are fully customisable.

This allows for Input Channels, Mains, Groups, Auxes, Console LS, PFL, AFL, APFL, Off Air Conference, Autominus and
External Input metering to be mapped out. Figure 1 shows the empty layout on the external display.

FIGURE 1 - METER LAYOUT

Customising Meter Layouts

Figure 2 shows the meter layout screen for the upper 2 rows and part of the lower 2 rows. The lower section shows the
usage of the 4 rows of 24 meter slots shown here empty. The upper section is used to create the meter from source and
options required which varies depending on the type. The minimum slot usage is 1 slot for Auxes, Off-air & Mix minus
sources or 2 slots for Mains, Groups, Console LS, AFL, PFL, APFL, User Meters and External Inputs. Depending on the
options selected for that source this can expand the custom meter up to 10 slots. The primary option available for all
meters is to provide full height meters which doubles the slot usage vertically. The rest of the options vary in the number
of meter slots used depending on meter source type. To set up the meter display, select the required souce, then a
preview appears in the upper left area, choose the required options using the toggle switches, then drag the preview onto
the meter grid below in the desired location. Then highlight the selection on the meter grid and use ‘Add Next’ to speed
up allocating consecutive meters as shown in Figure 3 on the next page.

FIGURE 2 - METER LAYOUT SCREEN EMPTY

156 BRIO 36 Audio Production System with Optional Networking METERING

 Figure 3 shows a partially customised meter layout using a mixture of Group, Aux, Monitor, Off Air, User Meter and Fader
paths meter slot usage. The options apart from Full Height can add Dynamics, Downmix, Loudness, Pre Tone & TB and
PreDelay metering to the basic meter source and type, these other options vary depending on source type. Note: for
some meters a number of Layouts are made available, for instance Main 2 can show the same information in an 8, 6 or 10
slot configuration for layout 1,2 or 3 depending on user preference. Once a meter layout has been completed the user
can simply ‘Apply Changes’ which puts the Meter layout onto the TFT screens or can tap the Layout Presets button to
Create New Presets from the layout, Load Old Presets from memory or Backup and Restore Meter Presets.

FIGURE 3 - METER LAYOUT SCREEN PARTIALLY CUSTOMISED.

Meter Layout Presets

Figure 4 shows the Layout Presets pop-up for the custom meters. From here the user can go back to select, create,
rename or delete another Meter folder or, can in this meter folder:- make a New preset from the Meter layout, Update a
selected preset with the current meter layout, Edit the name of a preset, Delete presets or Load a preset into the Meter
Layout screen. Note: this does not apply the meter layout to the surface until the ‘Apply Changes’ button is tapped. Two
further functions are available:- Backup and Restore, these allow the Meter Layout presets to be backed up to / restored
from a backup location. A USB flash drive can be selected from the screen once the Backup or Restore buttons have
been tapped. This allows the user to transfer customised meter layouts to/from a storage medium for subsequent use
with this or other Brio 36 consoles as the meter presets are independent from Shows and Memories storage.

FIGURE 4 - METER LAYOUT PRESETS

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METER TYPES
Brio 36 meter types and ballistics can be set globally within System Settings. Available meter options are shown in
the following table:

Meter Type Color Break

PPM 8 dB/20 dB

PPM 9 dB/15 dB

PPM 10 dB/18 dB

PPM 12 dB/18 dB

VU 8 dB/20 dB

VU 12 dB/20 dB

VU 0 dB/20 dB

Input channel, group and main meters all include integrated dynamics meters for Exp/ Gate/ Ducker, Comp/Lim 1 and
Comp/Lim 2 Dynamics modules. Each compressor/limiter meter displays a small ‘C1 or C2’ (compressor/limiter) and ‘E’
(expander/gate) below, which illuminate as the modules are enabled.

All Brio meters include a peak-spot-on meter bar which remains for a short time to make peak monitoring more accurate.
If a signal reaches the clipping point, the meter background turns red and holds for the peak spot duration, then fades out
over one second, letting you trace overloads very easily.

PPM or VU?

VU (Volume Unit) meters use the amplitude and duration of signals to provide an indication of the perceived loudness of a
program. PPM (Peak Program) meters have short attack and long fall-back times in order to give an indication of the peak
amplitude of an input signal.

Fader Meters

Each fader on the Brio 36 surface has a small input meter bar in the fader display. The bottom of each fader display is
shaded to match its attached path type, to ease identification. Fader meters on the external screen provide a wide variety
of essential information including: fader number/ layer/label/scale etc.. an example of which is shown in Figure 1.

FIGURE 1 - FADER METER

158 BRIO 36 Audio Production System with Optional Networking METERING

External Input Meters

Any of the 48 external input meters are available on the customisable meter layout. An example of a 5.1 external input
meter is shown in Figure 2.

FIGURE 2 - EXTERNAL INPUT METER

Bus and Output Meters

As described earlier the Bus and Outputs/ Monitoring can display a variety of information depending on how it is created
in the customisable meter layout page. Examples of each bus/output meter type are shown in Figure 3.

FIGURE 3 - BUS AND OUTPUT METERS

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Loudness Meters

Loudness meters provide a way to monitor and regulate average loudness levels over the duration of a program.
Loudness meters are displayed as part of the meter they are assigned to on the External Meter Panel. There are
two loudness meters available on Brio 36.

FIGURE 4 - LOUDNESS METERS

Loudness Metering Modes

There are six loudness metering modes available on the console, the details of which are displayed in the table in Figure 5
on next page.

The loudness meter mode is set globally for the console: Tap METERS in the Show menu and tap the MODE button to
view a drop-down list of loudness modes to choose from. An appropriate loudness metering scale can also be set from
this screen, which alters the scale of all loudness meter bar graphs.

Loudness meter modes relate to standards set by organisations in different geographical regions. EBU (European
Broadcasting Union) relates to Europe, ATSC (Advanced Television Systems Committee) to North America and ARIB
(Association of Radio Industries and Businesses) to Japan. These are currently the main standards and are being widely
adopted in other geographical regions.

Two extra modes called DPP Live and DPP Non-Live have been added to provide additional guidelines in Live and Non-
Live production environments. This was set up by various broadcasters in a group known as the DPP (Digital Production
Partnership).

Loudness Meter Controls

Controls for Loudness metering can be accessed from the Active Show>Meters>Loudness Meters page
The Loudness Metering Mode and Scale is set globally and can be configured for the 2 Loudness Meters.
There are individual play, pause and refresh controls for each meter and global controls to play, pause and refresh all the
Loudness meters at once. See Figure 6 on the next page.

160 BRIO 36 Audio Production System with Optional Networking METERING

FIGURE 5 - LOUDNESS METERING MODES

Target Target Max True Relative

Scale
Loudness Variance Peak Gate

+9...-18 LU (EBU +9 relative)

+18...-36 LU (EBU +18 relative)
0LU
-14...-41 LUFS (EBU +9
EBU Mode (-23 +/- 1 LU -1 dBTP -10.0 LU
absolute)
LUFS)
-5...-59 LUFS (EBU +18
absolute)

+9...-18 LU (+9 relative)

ATSC 0LU
+18...-36 LU (+18 relative)
A/85: 2011 (-24 +/-2 LU -2 dBTP N/A
-15...-42 LKFS (+9 absolute)
(BS1770-1) LKFS)
-6...-60 LKFS (+18 absolute)

+9...-18 LU (+9 relative)

ATSC 0LU
+18...-36 LU (+18 relative)
A/85: 2013 (-24 +/- 2 LU -2 dBTP -10.0 LU
-15...-42 LKFS (+9 absolute)
(BS1770-3) LKFS)
-6...-60 LKFS (+18 absolute)

+9...-18 LU (+9 relative)

0LU
+18...-36 LU (+18 relative)
ARIB TR-B32 (-24 +/- 1 LU -2 dBTP -10.0 LU
-15...-42 LKFS (+9 absolute)
LKFS)
-6...-60 LKFS (+18 absolute)

+9...-18 LU (EBU +9 relative)

+18...-36 LU (EBU +18 relative)
0LU
-14...-41 LUFS (EBU +9
DPP Live (-23 +/-2 LU -1 dBTP N/A
absolute)
LUFS)
-5...-59 LUFS (EBU +18
absolute)
+9...-18 LU (EBU +9 relative)
+18...-36 LU (EBU +18 relative)
0LU
-14...-41 LUFS (EBU +9
DPP Non-Live (-23 +/- 1LU -1 dBTP N/A
absolute)
LUFS)
-5...-59 LUFS (EBU +18
absolute)

FIGURE 6 - LOUDNESS METER CONTROLS

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User Meters

User meters 1-4 provide metering for paths which the user wishes to display and is free to change on the fly.
The 4 user meters are placed on the meter bridge as part of the configurable meter layout. Any bus output can be chosen
as a user meter source. User meter sources can be selected quickly using the meter selector buttons to the bottom right
of the touch display when in ‘active Show’ view for each of the 4 user meters. Figure 7 shows the user meter 1 selection
pop-up, which follows a similar structure to the monitor pop-up, with a source select tab, an external inputs tab and a
settings tab. The sources tab is shown here.

FIGURE 7 - USER METER SELECTION POP-UP

Meter Position in Audio Chain

The Metering point may be placed at the Input or Post which is the last point in the Audio Path. Note: this applies to
the “Fader Meter” on the external display and on the console surface strips themselves. The Bus meters on the external
display show the actual output, including output tone. This is accessed from the Meter & PFL button in the screen
Header. These Selections can be made per path, or applied easily to all Paths See Figure 8.

FIGURE 8 - METER POSITION SELECTOR

162 BRIO 36 Audio Production System with Optional Networking METERING

BRIO 36
COMMUNICATIONS

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TALKBACK
Talkback is the process of routing a microphone to an output for the purpose of communication. Usually, talkback
routes a microphone signal to headphones or a loudspeaker so that people in a control room can talk to those on
the studio floor, and vice versa.

The talkback feed can be routed to any bus or output using the touch display talkback buttons.

When talkback is routed to an output, the output’s normal feed is entirely replaced by the talkback microphone feed.

Touch Display Talkback Buttons

There are talkback buttons for individual bus outputs in the Buses & Outputs screen and for outputs in the mix minus
and direct output routing screens. Tapping any of the touch display talkback buttons routes the talkback feed to the
corresponding output and stays on when released, pressing and holding any of the touch display talkback buttons routes
the talkback feed to the corresponding output but when released the talkback is turned off.

Surface Talkback Buttons

Each fader on the Brio 36 surface can have a function assigned to the S1 or S2 user buttons which routes talkback to
the corresponding mix minus output.

Patching to Talkback

There is one talkback input to the system which is available as a patching destination within the I/O Patching screen.
Brio 36 has a built-in talkback microphone situated close to the Brio 36 logo on the surface, which can be connected
directly to an I/O port in the Brio. To use the built-in talkback microphone, first connect its output to an analogue input.
By default TB Mic port M-01 should be patched to Brio’s DSP TB input, but this can be over-patched with any other input
if a different mic/source is required. Also M-01 can be patched to other destinations as well, e.g. if you want to feed the
console’s mic into a TB system.

Any Hydra2 input port can be patched to the talkback input:

1. Tap I/O PATCHING in the Show menu.

2. Select I/O BOXES in the sources screen and select the I/O box to which the talkback microphone is connected
Select DESK INPUTS within the destinations screen and select talkback Inputs.
3. Tap to select the input port to which the talkback microphone is connected.
Note: When using the Built in Microphone use M-01 port of the built in I/O box currently shown as Box 434.
4. Tap to select the talkback input.
5. Tap CONNECT.

The built-in mic has fixed gain and phantom power. If using a different input for TB, the gain and phantom power can be
setup by the network administrator via H2O (see ‘Source Settings’ in the H2O user guide for more information).

Alternatively this can be set up from the console UI by patching the mic to a channel at the same time as the TB input
apply the settings on the channel, then the channel can be removed and the settings are retained.

164 BRIO 36 Audio Production System with Optional Networking COMMUNICATIONS

FIGURE 1 - TALKBACK BUTTON SENDS THE TALKBACK MICROPHONE FEED TO THE OUTPUT

On-Air / Rehearse Settings

The talkback system can be inhibited when the console is in on-air mode. By default, when in on-air mode, talkback
cannot be routed to a main. See ”ON AIR PROTECTION” on page 194 for more information on setting up the on- air/
rehearse settings.

Reverse Talkback

Reverse talkback is a process which allows the use of ‘hot-mics’ (often by the director or producer) in the audio control
room which routes their microphone signal to Brio’s PFL loudspeaker output. Brio has two reverse talkback inputs.

Microphones should be patched to Reverse TalkBack inputs using the method described for patching to talkback inputs.
These RTB inputs feed directly to the PFL LS as “hot-mics”, i.e. they are always live. If there is a requirement for RTB not
to be always active, it needs to be switched externally,

165
FIGURE 2 - REVERSE TALKBACK SWITCH SENDS THE MICROPHONE FEED TO THE PFL LS OUTPUT

BRIO 36

Talkback & Reverse Talkback Levels

In the Active show page, Tap “Talkback” from the left hand menu this opens the Talkback and reverse talkback level
controls page as shown in Figure 3 together with their contextual controls.

FIGURE 3 - TALKBACK AND REVERSE TALKBACK LEVEL CONTROLS

166 BRIO 36 Audio Production System with Optional Networking COMMUNICATIONS

MIX MINUS
Brio 36’s mix minus system allows a comprehensive foldback mix to be sent to multiple listeners. Using the auto
minus bus along with mix minus outputs allows you to provide to listeners a complete mix with their own input
automatically removed.

Foldback is a term used to refer to audio mixes used to feed communications systems, usually from control rooms into
studios, to allow presenters and performers to hear all audio content which is relevant to them.

Why remove a source’s own input from its foldback mix?

Scenario one: Field reporters or presenters communicating via long distance systems, e.g. satellite links.

Field reporters need to hear a live mix of the program to which they are contributing in order to hear cues and
communicate with other presenters. The inherent delay in the system means that it may be a number of seconds before
the live audio stream reaches the reporter.

It can be very difficult to speak whilst hearing your own voice even with only a slight delay. Using an auto minus feed for
the reporter solves this problem as their own contribution to the audio mix is removed before it is fed to their headphones
or monitoring system.

Scenario Two: Eliminating feedback when using loudspeakers for communication.

If a presenter is monitoring their foldback feed using a loudspeaker, the sound from the loudspeaker signal may be picked
up by the presenter’s microphone, thus creating a feedback loop. By using the auto minus bus to remove the presenter’s
own contribution to the foldback bus, this feedback loop is broken.

Mix Minus Output

Each channel and group has a dedicated mix minus output available for patching to external communications devices to
create foldback feeds. Each mix minus output can be fed by either the auto minus bus or an aux bus.

167
FIGURE 1 - MIX MINUS OUTPUT CONTRIBUTION SYSTEM

Mix Minus using the Auto Minus bus

The auto minus bus is a summing bus, which automatically subtracts the associated channel/group feed from the bus prior
to feeding the channel/group’s mix minus output. Paths can be routed to the auto minus bus, either using the contribution
pop-up within the mix minus screen, or from the Mains and Groups routing screen.

FIGURE 2 - AUTO MINUS ROUTING

168 BRIO 36 Audio Production System with Optional Networking COMMUNICATIONS

Mix Minus using Auxes

When using an aux to feed a mix minus output make sure that the associated channel/group is not routed to the
contributing aux as it will not automatically be subtracted. The source channel/group is only automatically subtracted
when using the auto minus bus.

Setting up a Mix Minus output

1. Access a channel or group by pressing its ACCESS button (either above the fader or in the ‘Buses & Outputs’
screen).
2. Make sure the touch display is in ‘active Show’ view by exiting either the shows list or System Settings area and
select ACCESS from the Show menu.
3. Select the mix minus output routing tab.
4. Create a mix minus output by tapping either MONO or STEREO.

Mix Minus Controls

• Level: Control the level of the mix minus output.

• Tone: Send tone to the mix minus output.
• Talkback: Route the talkback microphone feed to the mix minus output.
• AFL: Route the AFL of the mix minus output to the console monitors.
• When Fader Open: Tap to select a source to feed the mix minus output when the accessed path’s fader is open.
• When Fader Closed or Cut: Tap to select a source to feed the mix minus output when the accessed path’s fader
is closed.

FIGURE 3 - MIX MINUS OUTPUT SCREEN

169
 Once the mix minus output has been created there is an option to set different feeds depending on whether the channel/
group fader is open or closed.

Tap to select WHEN FADER OPEN and the mix minus output feed pop-up appears. Within the pop-up, select one of
the following feed options:

• Nothing
• Auto minus
• Any of the 24 auxes

Next, tap the contribution button to the right. This brings up the contribution pop-up which replicates the fader setup
screen, allowing you to route any path to the contributing bus. For example, if aux 3 is selected to feed the mix minus
output, selecting any path from the contribution screen immediately routes that path to aux 3.

The path for which the mix minus was created can easily be identified within the contribution
screen as it displays the ‘receiver’ tab.

It is important to be sure of any changes made within the contribution pop-up as this can directly change routing for
all paths.

FIGURE 4 - MIX MINUS CONTRIBUTION POP-UP

170 BRIO 36 Audio Production System with Optional Networking COMMUNICATIONS

Off Air Conference Bus

The same process can be followed for WHEN FADER CLOSED OR CUT for which the following options are available:

• Same as ‘when fader open’

• Nothing
• Auto Minus
• Off Air Conference
• Any of the 24 Auxes

The ‘off air conference bus’ provides a way for all contributors to talk to each other when their faders are closed.
Selecting OFF AIR CONFERENCE routes the pre fader feed of the accessed path to the off air conference bus
when its fader is closed, which is then used to feed the associated mix minus output.

Surface Controls

The User Rotary controls can be set to control the Mix Minus Level for each path. If a mix minus output has been
assigned to the accessed path, mix minus output controls can be made available by assigning the rotary controls to the
Mix Minus Level function.

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BRIO 36
ROUTING

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BUSES AND OUTPUTS
Brio 36 has up to 4 mains, 8 groups and 24 auxes. Direct outputs and mix minus outputs can be assigned per path
from a shared pool of 64 mono resources.

All outputs and buses are available for the currently accessed path via the routing tabs to the left of the control screen with
the touch display in ‘active Show’ view.

Direct Outputs and Mix Minus

Direct outputs and mix minus outputs are created on a per-path basis from the shared pool of 64 resources. Creating
a 5.1 direct output uses six of these shared resources, and for stereo direct output or mix minus output, two resources
are used. For information on using mix minus outputs see ”MIX MINUS” on page 167 and for direct outputs
see ”DIRECT OUTPUTS” on page 92.

Unconfigured Buses

Figure 1 shows Buses and Outputs being Configured, Note: Main 1 has not yet been allocated and shows the number of
resources available to create Mains and Groups, the user simply taps on the required width to create the bus. Mains and
Groups share a pool of 36 mono resources, whilst Auxes have a separate pool of 24 mono resources.

Configuring Buses

Tap BUSES & OUTPUTS in the Show menu to access bus configuration controls. Figure 1 also shows an example of
each allocated bus/output type. Each bus has a combination of the controls which are described here:

• Width: The width drop-down menu allows the user to change the width of each bus at any time to mono, stereo,5.1 or
remove the bus entirely from the DSP if it is not required.
• User Label: The user can enter a user label for each bus.
• Level: Control the individual output level of each bus.
• Access: acts in the same way as the physical access buttons above each fader on the surface. When a path is
accessed and the surface/touch display are in access mode, all control cells and parameters apply to that path.
• AFL: Replace the current feed to the console monitors with the bus feed. AFL provides a non-destructive solo,
allowing the user to quickly check individual paths whilst maintaining all mixes-only the monitor output is affected, no
paths are cut and the mix to all other buses is preserved. Note: No AFL on Main Outputs
• PFL: Route the pre-fade feed to the dedicated PFL speaker output. If PFL to MON is selected, the PFL feed will
replace the console monitor feed.
• Output Listen: Like AFL, Output Listen provides a non-destructive solo, but in this case the feed is taken post-
output delay, directly before the feed leaves the console.
• Talkback: Route the feed from the talkback microphone directly to the bus or associated output
• Tone: For groups, tapping TONE routes the tone source to the input of the group, similarly to routing tone to a channel.
For mains and auxes, tapping TONE routes the tone directly to the bus output, prior to the point where it is patched out
of the system.
• Downmix Type: Note: Brio 36 currently only uses LoRo downmixing for 5.1 mains.
• Cut: Cut the bus output.
• Pre-Fader send cut if...: Cut the feed to the aux if the conditions selected in the drop-down menu are met.

174 BRIO 36 Audio Production System with Optional Networking ROUTING

FIGURE 1 - CONFIGURING BUSES AND OUTPUTS

175
ROUTING A SIGNAL
Routing a signal in Brio 36 is quick and simple:

1. Access the path you wish to route, either using the ACCESS buttons situated above faders, or from the touch display
within the ‘Buses & Outputs’ screen.
2. Next, tap to select the routing tab for the bus or output to route the path to and the relevant controls are displayed
within the control screen.
3. If routing to a bus, tap to slide the on/off switch for the individual bus.

FIGURE 1 - BUS ROUTING SWITCHES

4. If routing to an output (direct or mix minus), tap either MONO or STEREO to create the desired output for the
accessed path.

FIGURE 2 - ASSIGNING AN OUTPUT

176 BRIO 36 Audio Production System with Optional Networking ROUTING

Partial Routing

From version v1.1 the user has the ability to route individual spill legs to Mains, Groups and Aux Buses. This is achieved
by selecting the channel to route from (Fader 1), selecting the appropriate spill leg (LR Only), using the ‘Full Path’ button
to the right of the access block as highlighted in Figure 3 and routing to the appropriate Bus.

FIGURE 3 - BUS ROUTING SWITCHES FOR LR ONLY SPILL LEGS

Note: that in Figure 3 the Main 1 and Group 1 routing displays are just showing the L and R indicators underneath the
routing switches. Selecting the ‘Full Path’ button again and this time selecting ‘Full Path’ returns the routing display back
to showing the routing for all the spill legs as shown in Figure 4 below.

FIGURE 4 - BUS ROUTING SWITCHES FOR FULL PATH

When a partial route to a bus is made, i.e. only some of the spill legs are routed, the routing indicator from the ‘Full Path’
view shows the Route with the top right hand corner cut off and in addition the routing blocks underneath the ‘Full Path’
routing switches show which spill legs have been routed. So in Figure 4 Fader1’s 5.1 channel has routed just the front LR
spill legs to Main 1 and has routed the LR & C spill legs to Group 1.

177
CONTRIBUTION
The Contribution screen allows the user to see which paths are routed to a selected bus quickly and easily.
To enter the Contribution screen, tap CONTRIBUTION in the Show menu and the following screen will be displayed:

FIGURE 1 - CONTRIBUTION SCREEN

Tap to select any of the bus selectors (mains, groups, auxes or auto minus) in the contribution screen and the fader
ACCESS buttons for any paths that are currently routed to the selected bus will light as shown in Figure 3. In the following
image Group 6 has been accessed in contribution mode. The Global and Strip User buttons can be configured to act as
a shortcut to access contribution mode.

FIGURE 2 - CONTRIBUTION MODE—GROUP 6

178 BRIO 36 Audio Production System with Optional Networking ROUTING

 At this point you can toggle on/off the routing of any path to the selected bus by pressing its fader ACCESS button.

Paths on layers other than the currently visible layer can also be routed by using the layer buttons to access their fader
controls. The following image shows how the fader displays will change to indicate routing to a Group. Once you have
finished viewing contribution for the chosen bus, tap DONE VIEWING CONTRIBUTION on the touchscreen.

FIGURE 3 - CONTRIBUTION—FADER DISPLAYS

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DOWNMIXING
When a surround audio feed is routed to a mono or stereo destination, its component legs are combined using
predefined level settings to ensure the resultant mono or stereo feed is accurate and appropriate. This process is
referred to as downmixing.

Downmixing happens automatically whenever a surround feed is routed to a non-surround destination. All internal
downmixing uses LoRo values.

LoRo

When configuring a 5.1 main, LoRo is simply the surround channels summed together as follows:

• L + Ls+ C = Lo
• R + Rs + C = Ro

LoRo takes away all front to rear sound separation and leaves a stereo mix which is also compatible with mono systems.

All internal routing of the 5.1 main to stereo destinations remains as LoRo.

Downmix Settings

Individual LoRo downmix settings are available for each surround path from the fader control screen. Five level controls
are available: Left and right front (LR), centre (C), low frequency effects (LFE), left and right rear (LsRs) and an overall
level control (overall LoRo). Altering the overall LoRo level increases and decreases the overall level of the path.

FIGURE 1 - DOWNMIX FADERS

180 BRIO 36 Audio Production System with Optional Networking ROUTING

Downmix Defaults

Every Show has default downmix settings which can be located by tapping SHOW SETTINGS at the bottom of the
Show menu on the touch display and then selecting ‘downmix defaults’ from the menu.
These defaults can be edited by tapping the individual text fields and entering new values. All new and existing paths
will be updated to the new level settings but any offsets which were previously specified for existing paths will be retained.

Offsets

A level offset can be specified for all paths that are routed to monitors and meters (except APFL) which allows the user to
increase the level of 5.1 sources for monitoring purposes without having an effect on the mix. A separate offset can be
specified for APFL levels.

FIGURE 2 - DOWNMIX DEFAULTS

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182 BRIO 36 Audio Production System with Optional Networking
BRIO 36
EXTERNAL INTERFACING

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GENERAL PURPOSE INPUTS AND OUTPUTS
Opto-isolated general purpose inputs (GPIs) can be configured to allow Brio 36 to respond to external control
signals. Brio can also output control signals via general purpose output relays (GPOs) to control external
equipment.

GPI Functions

To access the GPI setup screen, tap SYSTEM SETTINGS in the top right hand corner of the touch display and select
GPI from the left hand menu.

GPI functions listed within the ‘Functions’ pop-up, are all specific to console functions. The ‘Fader Cut’ and ‘Fader PFL’
functions are I/O port specific, for example, if the user connects a GPI to a port’s ‘Fader Cut’, that GPI will stay connected
to that port’s fader cut even if the port is moved to a different fader.

GPI functions are listed below:

AutoFaders Trigger any number of the 99 independent AutoFaders via a GPI input signal

External 'On Air' Signal—Use an external signal to switch the console into ‘On Air’ mode

General External 'Rehearse' Signal—Use an external signal to switch the console into ‘Rehearse’ mode

Surface Sleep --Energy Saving Mode

Group CUT Apply CUT to any of the 8 Group Buses

Group PFL Apply PFL to any of the 8 Group Buses

Monitoring Apply CUT or DIM to the Console Monitor or any of the 2 Studio Monitors

Strip User Illuminate any of the 72 Strip User Button LEDs via any of the 72 Triggers
Button LEDs

Global User Illuminate any of the 12 Global User Button LEDs

Button LEDs

Aux Talkback Route talkback to any of Brio's 24 Auxes

Group Talkback Route talkback to any of Brio's 8 Groups

Main Talkback Route talkback to any of Brio's 4 Mains

Main Tone Route tone to any of Brio's 4 Mains

Fader CUT Apply CUT to the fader to which a specific port is patched

Fader PFL Apply PFL to the fader to which a specific port is patched

184 BRIO 36 Audio Production System with Optional Networking EXTERNAL INTERFACING
Assigning GPIs

To assign a GPI to a function:

1. Tap GPI in the screen header and select the box in which the GPI port is installed.
2. Tap FUNCTIONS in the screen header and select the function type for the GPI to control.
Alternatively, tap FADER CUT or FADER PFL and select the relevant I/O box for the port to be controlled.
3. Select a GPI on the left, select a destination on the right and tap CONNECT.
4. Decide if the GPI needs to be inverted (active low rather than active high).

Moving a GPI destination

1. Tap a destination and tap MOVE in the screen footer.

2. Select a new destination and tap MOVE again, or tap CANCEL to discard any changes.

Removing a Destination

1. Tap one or more destinations and tap REMOVE in the screen footer.
2. Tap REMOVE again to confirm or tap CANCEL to discard any changes.

FIGURE 1 - GPI USAGE

185
GPO Functions

To access the GPO setup screen, tap SYSTEM SETTINGS in the top right hand corner of the touch display and
select GPO from the left hand menu.

GPO functions listed within the ‘Functions’ pop-up, are all specific to console functions. ‘Fader On’ and ‘Fader Open’
functions are I/O port specific, i.e. if the user connects a GPO to a port’s ‘Fader Open’, that GPO will stay connected to
that port’s Fader Open even if the port is moved to a different fader.

GPO functions are listed below:

AFL Active—If an AFL is activated a GPO can be activated

Error Warning—If an error warning occurs a GPO can be activated

Fire Alarm Mute — If a Fire Alarm Mute is activated a GPO can be activated

Mic Open1 thru 5— If a Mic Open circuit is activated a GPO can be activated

General On Air—if the console is put into On Air mode a GPO can be activated

PFL Active—If a PFL is activated a GPO can be activated

Red Light — If a Red Light is activated a GPO can be activated

Rehearse—If the console is put into Rehearse mode a GPO can be activated

Strip User Buttons Assign any Strip User Button to Activate a GPO via any of the 72 Triggers

Global User Buttons Assign any Global User Button to Activate a GPO

Fader On Fader open and on (not cut) activates GPO for any port on the network

Fader Open Fader open activates GPO for any port on the network

Assigning GPOs

1. Tap GPO in the screen header and select the box in which the GPO port is installed.
2. Tap FUNCTIONS in the screen header and choose a function type from the list. Alternatively, tap FADER OPEN or
FADER ON and select the relevant I/O box for the port to be controlled.
3. Tap to select a function or port on the left, tap to select a GPO port on the right and tap CONNECT.

Moving a GPO Function

1. Tap a destination and tap MOVE in the screen footer.

2. Select a new destination and tap MOVE again, or tap CANCEL to discard any changes.

Removing a Destination

1. Tap one or more destinations and tap REMOVE in the screen footer.
2. Tap REMOVE again to confirm or tap CANCEL to discard any changes.

GPO Actions & Invert

Figure 2. Shows the available options under “GPO Action”...

“Normal” - GPO held closed whilst console function is active.
“Toggle” - useful if controlled by a user button where a press to activate and a subsequent press to deactivate is required.
“Pulse On” - when function activates, Pulse Off” - pulse when function deactivates, or
“Pulse On & Off” - where a pulse is sent on both activation and deactivation of a function.
The user can also invert the GPO if required In most cases.

186 BRIO 36 Audio Production System with Optional Networking EXTERNAL INTERFACING
 Assigning GPOs to be controlled from the Global and Strip User Buttons can change their mode from latching to
momentary so the relay is only activated as long as the button is pressed.

FIGURE 2 - GPO SHOWING GPO ACTION MODES

Pulse Time

When the GPO Action is set to a Pulse mode, tapping the Pulse Time button opens a pop-up with four different pulse
times 50ms, 100ms, 250ms & 500ms, this sets the duration of the pulse as shown in Figure 3.

FIGURE 3 - GPO SHOWING GPO PULSE TIMES

Testing GPO Functioning

A TEST GPO button is available in the screen footer to quickly manually trigger GPO signals for testing purposes.
To use this the user must be logged in as an administrator.

187
MIC OPEN SYSTEMS AND ON AIR PROTECTION CONFIGURATION
Mic Open systems are used to control external devices, relative to the ‘On Air’ status of a signal source. Mic open
systems can CUT or DIM a loud speaker feed to avoid feedback, or control relays for switching purposes, such as
turning on ON AIR lights. This On Air Protection is an important part of the Broadcast System.

There are 5 Mic Open systems available on the console, each is normally associated with a physical area for control,
such as a studio or an area of a studio floor. Mic Open systems work for all input ports, as microphones can be
connected to ports other than mic/line inputs.

Mic Open systems detect whether the assigned signal sources are on air.
A signal is deemed to be on air if:
• It is assigned to a channel input (one or two).
• The channel is selected to that input (one or two).
• Its fader is open and not cut.
• It is routed to a main output.
• That main output’s fader is open.
• If a signal is routed via a group or a number of groups in series before being routed to a main output, those group
faders must also be open and not cut.

Note: the fader open trigger happens at -90dB and the fader close trigger happens at -95dB.
If a signal is routed to a console input via a hydra patchbay and/or an input alias the on air decoding will be the same as
described above.
When a Mic Open system detects that a microphone is on air, it switches on and the associated GPO/CUT/DIM is
executed.
Mic Open systems are console-wide.

FIGURE 1- ASSIGNING A MIC OPEN SYSTEM

188 BRIO 36 Audio Production System with Optional Networking EXTERNAL INTERFACING
Assigning Inputs to Mic Open Systems

To allocate an input port to any of the 5 Mic Open systems, select Mic Open Systems within the System Settings page,
then select the Hydra 2 I/O boxes containing the Mic Input ports. The port list appears in the right hand screen with a
Mic Open System column.
There are 6 buttons at the bottom of the input allocation screen for assigning inputs to any of the 5 Mic Open
systems. Select an input port from the list and press one or more of the 5 Mic Open system buttons - notice that the
corresponding cells in the end column now reflects your choice. Assigning Mic Open Systems to GPOs
Mic Open systems can be set to control relays by assigning them to GPOs. Select System Settings>GPO and enter the
GPO screen. Tap the FUNCTIONS button at the top left of the screen, select FUNCTIONS and then GENERAL.

Select one of the five Mic Open systems on the left hand side of the screen and then select one of the available GPOs
from the list on the right hand side of the screen. See “Assigning GPOs” on page 186 for more information.

Assigning to CUT/DIM Loud Speakers for On Air Protection

Mic Open systems can be assigned to CUT or DIM the various loudspeakers connected to the console or inhibit talkback
routing to any of the Studio Monitor s.
These settings can be different for the different console modes: On Air , Rehearse and Off Air . See Figure 2.
Select On Air Protection Configuration from the System Settings page. The table in the main screen lists the various
CUT/DIM and talkback inhibit options down the left hand side along with columns for the three console modes. The
selection buttons in the three columns can be used to select one of the 5 Mic Open systems to control each Loudspeaker
CUT/DIM and Prevent Talkback.

FIGURE 2- ON AIR PROTECTION

Mic Open systems and multi-leg paths

Individual legs of stereo and 5.1 paths can be associated with different Mic Open systems. In this case, when the path is
considered on air, all associated Mic Open systems will be activated.

A 5.1 path will be considered on air with only one of its legs routed, as long as all other conditions are met. An on air 5.1
path will remain on air even if all its spill legs are closed/CUT as long as the surround master is open and not CUT.

189
CONTROL PROTOCOLS
In addition to GPI activated controls, the Hydra2 product range supports several protocols to allow 3rd party
equipment to remotely control various features. CSCP (Calrec Serial Control Protocol) can be used to remotely
automate various Brio 36 features.

CSCP

Calrec Serial Control Protocol (CSCP) allows remote control, using third party equipment, of the following:

• Fader positions (including VCA master faders)

• Path cut/on status
• PFL status
• Routing to auxes and mains
• Aux output levels
• Main output Level
• ‘Left to both’ and ‘right to both’ switching

CSCP can be enabled and disabled per fader:

1. Press a fader’s ACCESS button.

2. Tap the fader processing tab.
3. Tap CSCP ENABLE in the screen header to switch on or off.

When a fader is under CSCP control, this can be overridden by touching and dragging the fader to the desired level.

Setting Up CSCP

Tap SYSTEM SETTINGS in the top right of the screen and select CONTROL PROTOCOLS from the left hand menu. In
this screen the user can configure each CSCP controller device to connect to your network. On the left of the screen the
LAN port IP address information is displayed (see “LAN CONFIGURATION” on page 192 for more information) so that
it is available for configuring the CSCP controller. On the right of the screen the user can add the CSCP interface, EDIT
the settings, switch on the connection or DELETE the controller from the system. By default, the Assist CSCP interface
will already be defined. Use CSCP version 21 unless otherwise advised by a Calrec engineer.

190 BRIO 36 Audio Production System with Optional Networking EXTERNAL INTERFACING
FIGURE 1 - CONTROL PROTOCOLS SETUP

For more information on CSCP, including a list of supported 3rd party devices,
See “Remote Control–Calrec Serial Control Protocol” in the Brio 36 installation manual.

191
LAN CONFIGURATION
Brio 36 has two ports labelled Ethernet 1 and 2, these ports can be used to connect the Brio 36 system to other
corporate networks.

To configure these ports tap SYSTEM SETTINGS in the top right of the screen and select LAN CONFIGURATION from
the left hand menu. In the LAN configuration screen the user can define the adaptor settings for each port and create
multiple static routes for each port as required. Note: the user must be logged on as Administrator to change these
settings.

FIGURE 1 - LAN CONFIGURATION SCREEN

192 BRIO 36 Audio Production System with Optional Networking EXTERNAL INTERFACING
BRIO 36
CONSOLE FACILITIES

calrec.com
ON AIR PROTECTION
Brio 36’s ‘on air protection system’ provides three modes of operation:

• On
• Rehearse
• Off

When ‘on air protection’ is switched on or into rehearse , certain talkback and tone options are disabled to help to avoid
unwanted broadcast of tone and talkback feeds. The tone and talkback settings associated with the three operation
modes are shown in the Figure 1.

Changing Modes

With the touch display interface in ‘active Show’ view , the ‘on air’ mode selection button is in notifications area along
the top of the screen. Tap the ‘on air’ button to and select one of the three mode options from the pop-up.

On Air Mode via GPI

Two GPIO options are available relating to the ‘on air protection’ system: ‘On air protection - on’ and ‘On-air protection
- ‘rehearse’. Applying a signal to either of these GPIs puts the console into the on or rehearse mode. Note: these
functions can be controlled by assigning them to the Global User buttons

If mode selections are made both by GPI and from the touch display interface, the highest setting will be used:
On being the highest and Off the lowest.

194 BRIO 36 Audio Production System with Optional Networking CONSOLE FACILITIES
FIGURE 1 - TABLE OF FUNCTIONS AFFECTED BY ON AIR PROTECTION

General Functions On Rehearse Off

Red Light GPO Active

Fire Alarm Mute Active

On Air GPO Active

Rehearse GPO Active

Talkback On Rehearse Off

Mains (1-4) Deactivated

Tone On Rehearse Off

Mains (1-4) Deactivated

Groups (1-8) Deactivated

Talkback Dims Console Monitors On Rehearse Off

Mains (1-4) Active Active Active

Groups (1-8) Active Active Active

Auxes (1-24) Active Active Active

External Talkback Active Active Active

Talkback Groups Active Active Active

Channel Direct Outputs Active Active Active

Channel Mix Minus Outputs Active Active Active

Group Direct Outputs Active Active Active

Group Mix Minus Outputs Active Active Active

Studio Monitors (1-2) Active Active Active

195
SYSTEM STATUS MONITORING
Brio 36 constantly monitors the functioning of all system components and connections and reports warnings, faults
and information to the user. There are three types of system status message:

Error messages report a serious error message that could cause, or has caused the
system to fail. Errors normally require user intervention to correct the problem before
operation can continue.

Warning messages indicate where the system has located a fault or a failure, but will still
operate without intervention. Warnings indicate that the system should be checked as it
may be running on secondary components.

Information messages inform users when certain actions take place. They do not report
errors and no action needs to be taken in response to them.

The system status notification button is situated within the notifications area to the top right
of the touch display when in ‘active Show’ view. Under normal operating circumstances
the system status button will look like this.

Notifications

Tap the system status button to display the pop-up which lists all messages in a sortable table. Tap the table headers to
sort the messages. There are four view selection buttons along the bottom of the pop-up which allow the user to filter
out messages by type, for example, if the user does not want to see any messages which have already been fixed, tap
to switch off the FIXED view button. Selecting any of the messages populates the ‘message description’ field with a
description of the message.

FIGURE 1 - SYSTEM STATUS POP-UP

196 BRIO 36 Audio Production System with Optional Networking CONSOLE FACILITIES
COLLECTING SYSTEM LOGS
Various log files are maintained by different parts of the system. These log files can be collected and transferred
to USB memory for forwarding to Calrec Support in the event that detailed troubleshooting is required:
• Insert a USB memory device into one of the USB ports on the control surface
• Navigate to the System Settings>General screen and click the “Save Logs to USB Drive” button
• All log files from around the system will be collated into a zip file written to the chosen location on the USB memory
device
• Note: the system may be unresponsive for a moment while logs are gathered
• The log files will be compressed as a gzip tar archive and given a default filename that starts with the system’s ID,
followed by date and time, e.g. ID_date_time_logs.tar.gz

FIGURE 1 - COLLECTING LOGS

197
198 BRIO 36 Audio Production System with Optional Networking
BRIO 36
TERMINOLOGY

calrec.com
A
Access

An operating mode of the surface. When a fader or path is accessed (by pressing its ACCESS button) all controls shown
on the touchscreen correspond to the accessed path.

Accessed Path

When a path is accessed (by pressing its ACCESS button) certain functionality routing processing etc.. becomes
available to it, from both the touchscreen and the strip rotary control cell

Active Show View

With the Touch Display in Active Show view all operational screens, controls and settings are available from I/O patching
to processing and routing.

ADC (Analogue to Digital Conversion)

The process by which continuous analogue signals are sampled and converted into discrete digital representations.
The frequency of samples in the resultant digital signal is determined by the Sample Rate of the system (e.g. 48kHz).
The dynamic range of the sampled signal is dependant on the word-length (e.g. 24bit).

AFL

After-Fade Listen. Allows the user to hear only the selected channels after they have been affected by fader position, pan
position and channel processing. Multiple AFL signals can be sent to the AFL bus. AFL does not affect the main outputs,
so can be seen as being similar to ‘safe solo’.

APFL

A bus that combines both AFL and PFL signals. This removes the need to have separate loudspeakers and meters for
monitoring AFL and PFL signals.

Auto Minus Bus

A dedicated bus used for simple yet powerful creation of mix minus feeds. A unique mix is created for each recipient
which consists of the whole Auto Minus bus, minus their own contribution. The Auto Minus bus can be used to feed
individual channel/group’s Mix Minus outputs.

Aux (Auxiliary)

An Aux is a bus to which signals can be sent and grouped. The send for the originating channel may be pre or post
fade. Auxes can be patched to output ports and can be controlled by certain logic functions such as pre-send cut when
originating channel is cut, pre-send cut when originating channel fader is closed and Bird Beater.

B
Bus

A path in which multiple signals can be combined. A bus is the general term and can refer to a number of path types
including Group, Aux, Main, Mix Minus, AFL, PFL.

200 BRIO 36 Audio Production System with Optional Networking TERMINOLOGY

 C
Continuous Memory
A continually updated memory that stores the state of the system. In the event of a restart after power loss or reset, the
system can reload the continuous memory and continue from almost the same state prior to power loss.

Control Cell

A collection of controls consisting of a display, a rotary control and a button in the top of the rotary control.

Control Processor

The control processor module acts as the main controller of the Brio 36 system, passing messages between all modules
in the surface. It also handles DSP processing and Routing

CSCP (Calrec Serial Control Protocol)

CSCP allows for remote control over mixing console operational functions by 3rd party systems such as video switchers
and production automation systems.

D
DAC (Digital to Analogue Conversion)

The reverse of ADC. The digital representation of a signal is converted back into a continuous analogue signal.

Direct Output

Output from a channel or group path with level control and pre EQ / pre fader / post fader selection.

Downmix

The process of converting a signal of a given width into a signal of a smaller width allowing fixed or variable amounts of
each of the contributing legs to be included. For example, a downmix must be applied to a 5.1 surround signal for it to be
correctly translated into a stereo format.
Without a downmix, surround, LFE or centre information may be lost and levels may become unbalanced.

DSP

Digital Signal Processing. Discrete mathematical operations applied to a stream of digital audio signals.

E
Ember

The Ember protocol is a sophisticated data exchange mechanism that has potential for remote control of many functions
across varied equipment types.

F
Fader

Faders are located on surface fader panels. Channels, Mains, Groups and Auxes can all be attached to faders allowing
for control over level and access. Faders are also used to control VCA groups.

Foldback

An audio mix sent to a presenter or artist. Applications include enabling them to hear their own input or communications.

201
 G
Gigabit Ethernet

A family of network technologies used for connecting equipment and efficiently passing large amounts information over
copper or fibre links.

Global User Buttons

There are 12 Global User buttons below the touchscreen which can be assigned to a variety of functions.

GPIO

These connections allow simple on/off signals to be sent and received by the system. Functions of the system can be
controlled from external sources via opto-isolated inputs. The system can control external items of equipment based upon
surface actions via relay outputs. GPI/O connections are optional for Hydra2 I/O boxes and fitted to Brio 36 as standard.

Group

A bus to which many audio signals can be routed, summed and controlled simultaneously with a single fader. Groups
have full EQ and dynamics processing. For example, all audience microphones may be sent to the same group bus for
easy access. Groups must be routed to output buses in order to be patched out of the system.

H
Hydra2

An audio networking system which links I/O boxes to one or many consoles over Gigabit Ethernet. Brio 36 can be
connected to a Hydra 2 system.

Hydra2 Router Module

All Hydra2 I/O boxes connect to the network via a core router. The router module contains SFP sockets that can accept
either copper or a range of fibre connections by using the appropriate adaptor.

I
IFB Interruptable Fold Back

IFB is a foldback mix which can be interrupted by tone or talkback. In Brio 36 this function is handled by the aux buses.

L
Layers
Layers allow the surface faders to change the paths they are controlling. In each layer a different path can be attached to
and controlled by a given fader. There are 2 layers on the Brio 36.

MADI

Multichannel Audio Digital Interface: A coaxial or optical transmission medium providing a 56 or 64 channel capacity.
The MADI standard (AES10) allows simple high density connectivity between different manufacturer’s equipment.
MADI is interfaced with an Artemis system via a Hydra 2 MADI I/O unit.

202 BRIO 36 Audio Production System with Optional Networking TERMINOLOGY

 Main

An output bus. A final point at which signals are mixed and affected before they leave the console.
Two versions of each Main are available for patching out of the system - Main and Main (Pre Tone and Talkback).
Main (Pre Tone and Talkback) can be used to avoid the possibility of broadcasting tone and talkback feeds.

Memory Isolation

Memory Isolation is a system whereby paths or individual path parameters can be protected from being updated when a
user memory is loaded.

Meter Display

Large TFT display used to display metering information.

Mic Input Headroom

Input headroom is the level in dB’s above 0dB available in the system before distortion (‘clipping’) occurs. The headroom
can be set within Brio 36’s Console Settings. A high headroom offers greater safety at the expense of slightly more noise.

Mix Minus

Mix Minus is a system that allows a comprehensive mix to be sent to multiple listeners each receiving the complete mix,
minus their own input.

On Air Mode

On Air mode allows certain operational functions to be activated or inhibited when the system is switched in to it.

Patch

A patch is a connection made between a source and a destination in the system. For example an input port may be
patched to one or more channel inputs, or a main output may be patched to one or more output ports.

Path

A generic term that refers to a DSP process in the system. A signal present at an input port must be routed to a path in
order for it to be processed and then sent back out of the system. Paths include channels, groups, auxes, mains, talkback
and monitor paths. Paths can be routed to other paths, for example a channel path can be routed to a group path and a
main path simultaneously.

PFL

Pre-Fade listen. A function to allow a signal to be heard before it has its level altered by a fader. Multiple PFL signals can
be sent to the PFL bus.

Port

A port refers to any physical audio input or output either built-in to Brio 36 or in a Hydra 2 I/O box. Ports can be of any
form of analogue or digital I/O. In the case of analogue signals, a single port relates to a single signal in the system.
Where digital signals are connected, multiple signals become available for each port. A single AES3 port provides two
signals, SDI can provide up to 16 signals (or more with Dolby E decoding) and MADI can provide up to 64 signals.

203
 Preset

A preset is a complete copy of a path from which you can choose elements to load onto another path. Using presets can
speed up work-flow when several paths with similar settings are required.

PSU Module

PSU module is a term used to describe a Power Supply unit which is built in to the Brio 36 in order to provide power
inlets.

R
Redundancy

All main components of the system are redundant, meaning that there is always a secondary hot spare ready to step in and
take over control if the primary component fails.

Rotary Controller

A knob which can be rotated, allowing variable control of a parameter. In some cases it can be pressed giving it extra
functionality. Each control cell contains a rotary controller.

Route

A route is a connection made from one path to another within the system. For example a Group may be routed to a Main,
or a Channel may be routed to an Aux via an Aux send.

Router Core

External Processing rack without a DSP mix engine, and therefore no control surface connected. Used to expand network
capacity when Brio 36 is connected to a Hydra 2 network..

SDI (Serial Digital Interface)

Although SDI is primarily a means for encoding and transporting video signals, audio signals can also be encoded and
sent through in the ancillary data space. Certain Calrec SDI de-embedders can decode all groups and Dolby E encoded
audio for a maximum of 128 mono signals per SDI stream.

SFP (Small Form-Factor Pluggable)

SFP sockets accept a range of adaptors which provide different interface connections for copper or fibre connectivity.
This allows units fitted with SFP sockets to be customised to meet a range of requirements. All main network connections
in a Brio 36 system make use of SFP sockets.

Show

A recallable collection settings as well as a way of organising User Memories which pertain to a specific program type.

204 BRIO 36 Audio Production System with Optional Networking TERMINOLOGY

 Shows List

Shows can be loaded, saved and edited with the Touch Display in the Shows List view, which can be entered by tapping
the SHOWS LIST button in the top left of the Touch Display when in Active Show view.

Spill Faders

Allow control of legs of a multichannel signal. For example the overall level of 5.1 surround channels is controlled by
a single fader. By using the spill faders, components of the multichannel signal can be altered. If a spill fader is the
currently assigned fader, then processing can also be applied to that component using the assign panels. For a 5.1
channel the legs are broken into the following components: L/R (stereo), C (mono), LFE (mono), LsRs (Stereo).

SRC (Sample Rate Conversion)

A sample rate converter is by default switched in on each AES3 input in the event that an incoming external signal is at a
different sample rate or not synchronised to the same source as the system. It can be switched out if the incoming signal
is known to be synchronous.

Strip User Buttons

Each fader Strip has a vertical arrangement of controls on the surface. In this arrangement are placed 2 user buttons
S1 and S2 which can be assigned to a variety of functions.

Surface

The surface is the physical control surface for a Brio 36 system containing the collection of faders, rotary controllers,
buttons, displays and touchscreen, allowing hands-on control of the audio signals. Also referred to as Console or Desk.

System

The term ‘system’ encompasses the processing core, surface and connected I/O boxes. From the moment a signal enters
an input it is in the system and remains there until it is passed out of an output.

System Logs

Various log files are maintained by different parts of the system. These log files can be collected and transferred to USB
memory for forwarding to Calrec Support in the event that detailed troubleshooting is required.

System Status Monitoring

Calrec’s system for providing information and logs of any developing or occurring faults in the system.

Touch Display

Large TFT touchscreen used to operate the Brio 36 surface, including patching, routing, processing and accessing
detailed system settings.

205
 U

User Memory

Recallable collection of settings which relate to a specific program type. Collections of user memories are collected within
Shows.

V
VCA Groups

The term VCA stands for Voltage Controlled Amplifier. A VCA group, unlike a group bus does not sum any audio.
Instead it allows a single fader to control the relative levels of any contributing paths. The controlling fader is known as
the master, the contributing paths are known as slaves. This maintains the relative levels of all paths in the group yet still
allows individual control where required.

206 BRIO 36 Audio Production System with Optional Networking TERMINOLOGY

BRIO 36
FEATURES BY SOFTWARE VERSION

calrec.com
FEATURES
The following summarises key new features by the software version in which they were introduced. If you require
features that are not available in the software version that you are running, please contact Calrec Customer Support
or your local Calrec distributor to discuss upgrade options.

V1.0
Surface
• 36 x dual layer faders - 100mm, motorised, with PFL overpress
• 1 x assignable user rotary control per strip
• 2 x assignable user buttons per strip
• 12 x assignable global user buttons
• Compact 892mm x 892mm control surface

DSP
• Freely configurable on the fly, operates at 44.1, 48, 88.2 and 96kHz (from version V1.1)
• 64 legs assignable as mono, stereo, or 5.1 Input Channels
• 36 legs assignable as mono, stereo, or 5.1 Mains and Groups (maximum of 4 Mains and 8 Groups)
• 24 legs assignable as mono or stereo Auxes
• 64 legs assignable as Insert sends and returns
• 64 legs assignable as Direct, or Mix-Minus Outputs
• Automatic Mix-Minus
• Off-Air Conference for Mix-Minus

EQ
• 6 band EQ available on every Input Channel, Group, Aux and Main path:
• 4 band full Parametric EQ
• 2 band LF/HF filters, 12 or 24dB/octave

Dynamics
• Every Input Channel and Group path:
• Expander/Gate, with key input and sidechain EQ
• Compressor/Limiter with key input and sidechain EQ
• Multi-band Compressor/Limiter (from version V1.1)
• Every Aux:
• Expander/Gate
• Compressor
• Every Main:
• Single Band Compressor
• 2 x Automixers available to all mono Input Channels and Groups (uses Comp/Lim 1resource).

Delay
• Input delay: up to 5.4 s available per path from a pool of 64 mono legs,
for example, when assigning input delay to a 5.1 path, six of the 64 mono legs are used.
• Path delay: up to 5.4 s available per path from a pool of 64 mono legs, as above.
(Note: Path Delay not available till v1.1)
• Output delay: up to 5.4 s available per path from a pool of 64 mono legs, as above.

Monitoring/Metering
• 3 x Monitor outputs 1 Console , 2 Studio
• Surround capable metering within each strip
• Configurable meter screen output (DVI)
• 2 x Loudness meters

208 BRIO 36 Audio Production System with Optional Networking FEATURES BY SOFTWARE VERSION
 Multiple Sample Rates
• Functions at 44.1, 48, 88.2 and 96kHz (from version V1.1)
• All DSP facilities are available at all sample rates

Remote/Automated Control
• 8 x GPI and 8 x GPO built in
• AutoFaders for Audio Follows Video style control
• CSCP mixer control protocol interfaces with a variety of video switchers and production automation systems
• SW-P-08 ‘Pro-Bel’ router control protocol
• EMBER

I/O
• 24 x Mic/Line inputs
• 16 x Analogue outputs
• 8 x AES3 digital inputs
• 8 x AES3 digital outputs
• 3 x Expansion slots to increase standard built in I/O, or to provide interface to other formats, including SDI,
MADI, Dante etc..
• Optional Hydra 2 Module allows for further I/O to be connected, and to network audio with other consoles.

V1.1
DSP/Multiple Sample Rates
• Freely configurable on the fly, operates at 44.1, 48, 88.2 and 96kHz

Path Processing
• Stereo and 5.1 path spill leg access and independence for Routing, Input, EQ, Dynamics , Inserts and Pan
settings via the ‘Full Path’ button
• Second compressor:-Multi-band Compressor/Limiter with single or three band operation
• Ducker mode added to the Expander/Gate module for Channels and Groups
• Selectable sidechain source (“key input”) for dynamics processors. The Expander/Gate/Ducker & Comp/Lim1
processors of all Input Channel and Group paths can be keyed by mono audio from other paths on the surface
• Path delay: up to 5.4 s available per path from a pool of 64 mono legs, as above.

Networking
• Support for Hydra2 connection to Apollo/Artemis/Summa/Router cores that are running V8.0.1 software and
above for multi-console networking.
• Changeable System ID:-Brio consoles ship with a factory set ID of 192.1. If connecting them to a multi-console
Hydra2 network, their system ID should first be changed, to be a unique ID amongst all the consoles on the
network. Networked consoles should not use IDs starting with 192*. Note: the second part of the system ID
is used to determine the internal I/O’s HID. The second part therefore needs to be unique amongst Brio36s,
regardless of whether they have a unique first part in order to differentiate their I/O. Any existing internal I/O
patching will need to be re-made after changing I/O ID.
• H2Hubs connected to a standalone Brio should be given an ID greater than 1* (using the DIP switches on the
rear of the hub).
• I/O connected via H2Hubs will not update software – when upgrading software, each I/O box requires
connecting directly to the Brio console one at a time, in order to upgrade them.
• H2Hubs also need a direct connection to a Brio in order to update their software, and require both primary and
secondary to be connected in order to reprogram both primary and secondary modules within the H2Hub.

*Console IDs of 192.X can be used, however there will be conflict if any H2Hubs are connected that have an ID that
matches X. It is therefore recommended not to give Hubs an ID of 1 as this will conflict with a factory default Brio
on 192.1. It is also recommended not to use 192 if connecting to a larger, multi-console network, to avoid such
potential for ID conflicts.

209
Calrec Audio Ltd
Nutclough Mill
Hebden Bridge
West Yorkshire
England UK
HX7 8EZ

Tel +44 (0)1422 842159

Fax +44 (0)1422 845244
Email enquiries@calrec.com

calrec.com (926-219 Iss.3)