eMotion LV1 Classic Console User Guide

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Service

This unit contains no user-serviceable parts. Refer all servicing to a qualified service engineer through an authorized Waves dealer. Servicing is necessary if the console has been damaged in any way, such as when liquid has been spilled into the unit, objects have fallen into it, it has been exposed to rain or moisture, it fails to operate normally, or it has been dropped.

Waves assumes no liability for damage caused by maintenance, repair or modifications performed by unauthorized personnel.

Thank you for choosing the eMotion LV1 Classic mixing console from Waves. To work efficiently and quickly get the best results, please familiarize yourself with this user guide and keep it as a reference.

eMotion LV1 Classic is a mixing console designed for live sound, including front-of-house, monitor, and broadcast applications.

LV1 Classic provides industry-leading sound quality, seamless plugin integration, and all the functionality of a full-sized mixing console in a compact package. It can be expanded with stageboxes or other SoundGrid I/O devices. Servers can be added for extra processing power or redundancy. We recommend visiting the Waves support site: http://www.waves.com/support. There, you will find an extensive answer base, the latest technical specifications, detailed installation guides, troubleshooting help, and much more.

Waves Inc. Knoxville office: 2800 Merchant Drive, Knoxville, TN 37912. Phone: 1-865-909-9200.

64 stereo/mono input channels, 44 buss/return channels

16 DCA faders, 8 mute groups, 18 user-assignable shortcut keys

16 Waves Signature preamps, 12 line outputs

An optional 80-channel configuration provides 80 input channels with two switchable buss options.

Visit waves.com/support for detailed specifications.

It’s important to keep your eMotion LV1 Classic console up to date. You will periodically receive update notices from Waves with instructions. If you do not receive a notification, you can visit the Waves website for more information.

What’s in the box?

eMotion LV1 Classic includes these processors:

Additional plugins are available with Waves Live Sound perpetual plugin bundles. The entire Waves plugin catalog is available with a Waves Creative Access subscription. Refer to www.waves.com for more information.

This User Guide provides detailed information on all eMotion LV1 Classic functions and controls. Like the mixer itself, the User Guide is organized first by Window, then by Page or Tab, and finally by Section and Controls.

To keep things short, the eMotion LV1 Classic console is often referred to as “the console.”

All connections, except headphones, are made on the rear panel.

TRS 1/4” headphone jack x 1, TRS 1/8” headphone jack x 1; headphones volume control

In addition to the onboard Classic 16x12 I/O, LV1 Classic can assign and patch to up to 14 I/O devices, which can include any combination of hardware I/Os and drivers.

When adding external devices, use a SoundGrid Ethernet switch and Cat 5e, Cat 6, or Cat 6a Ethernet cables to connect all hardware components. Cat 5 cables are not supported, and Waves does not recommend using Cat 6 etherCON connectors. Instead, use Cat 5e or Cat 6a etherCON connectors.

Use the SoundGrid network ports for SoundGrid only. Do not connect an Internet or other network connection to the Ethernet switch. Use a different port for those purposes.

Cat 5e/6/6a S/FTP

Joints, or cable extenders, can be used, but with care, since some models do not have electrically connected shielding. Using such extenders in areas with interference may be problematic. Total cable length with the joint may not exceed the above maximum cable length per node. Additional joints may limit the effective cable runs.

Power up LV1 Classic using the “soft” power switch at the top of the rear panel. 

To safely shut down, hold the “soft” power switch for five seconds. Alternatively, click “Shut Down” in the Setup window’s bottom left corner. It may take several seconds for all components to shut down completely. 

To fully turn off the device, first complete the normal shutdown process, then switch off each power entry module. These on/off switches control the redundant power supplies; they do not power up the console.

eMotion LV1 Classic’s comprehensive control is built around its large touchscreen interface. The screen, like the LV1 workflow, is organized by windows, pages (tabs), and sections. Windows are the most fundamental level of organization, and each window provides specific processing, routing, or organization. The selected channel name and preset menu are on the left side of the Top Bar. Scene control and system status indicators are on the right. A mouse and keyboard can be added to compliment the touchscreen.

By default, eMotion LV1 Classic opens to the Mixer 1 window. In this view you can adjust preamps, panning, channel gain, select Channel Strip modes, aux sends and routing, and access plugins processing. Other windows are selected with the Top Bar at the top of the window.

The Top Bar of the eMotion LV1 mixer is a navigation and management tool that is visible from all views. From here you can:

This box displays the name of the selected channel. The list is organized by category (e.g., Channels, Groups, Aux). Use the arrows beneath the channel name to move the channel selection higher or lower, one channel at a time. The down arrow opens a drop-down menu used to access and select any channel directly. The background color of the Name box matches the color of the selected channel.

The Channel menu (Presets menu) is divided into two sections that serve different purposes. Where needed for convenience, some menu items are multilevel.

At the top is the Channel Presets menu section. Channel presets are snapshots of the current condition of the selected channel. These menu items are used to save, load, export, import, and manage presets. Presets are saved as part of a session. To use presets from another session, select the Import from File menu item. The name of the current channel preset is displayed in the Preset box above. Channel Scene operations such as Recall-Safe and update scenes can also be set here.

Beneath the Channel Presets is the Session section. This provides quick access to sessions and enables you to save the presets for the entire current session as files.

The Channel menu is always visible from all windows.

This menu section is used to manage presets for the entire current session. It is also used to save and load mixer sessions.

Sessions and Templates are discussed in the Show chapter of this User Guide.

By default, channels are color-coded based on their type (e.g., channels, groups, FX, monitors). You can also assign a custom color to any channel.

You can also assign channel colors from the Patch window. Click the colored button on the color box to the left of a channel name in the rows section to open the Color Picker.

Clears active solos or cues on all tracks.

Cues and solos are activated in the Mixer window. Configure Cue settings in the Cue control page, which is accessed with the Gear button below Clear Solo. For more information about the cue function, refer to Channel > Cue Section.

Activates talkback. Click on the Gear button to access the Talkback configuration page. For more details, refer to Channel>Talkback Section.

Displays the system tempo as a value in the box, accompanied by a flashing light. Tap repeatedly on the Tap button to establish a tempo. The taps are averaged to create a steady BPM. You can also click+drag on the BPM number to adjust it or edit the value directly.

Radio button tabs navigate between the six mixer windows.

Refer to this panel to monitor the status of the SoundGrid network and servers. The left side displays three overview indicators:

Reports network status. Messages may indicate a sample rate mismatch, a general change in network status, a buffer overload, etc. Troubleshoot network and device issues in the System Inventory page (Setup > System Inventory).

A server group consists of one active server and possibly a redundant server. There are four server groups. Each server group has a meter bar that displays the average and peak processing loads of the active server. The group’s average processing load is displayed as a green bar and its peak as an orange line.

Red indicates that an audio drop has occurred. This may happen for two reasons:

Processing overload (momentary or constant) Solution: Disable some plugins

Some plugins exhibit a high average/peak ratio. This may cause temporary CPU overloads that result in audio drops. When adding many of these plugins, the peak and average indicators will drift apart. In such cases, some of these plugins may need to be disabled.

Network connection errors (channels over the network) Possible solution: Increase server network buffer size.

A red server group letter indicates a lost server connection or a server fault. The mixer can still be used in an offline mode with offline devices assigned in the inventory.

Go to Setup > System Inventory to investigate network problems.

The Scenes menu is used to quickly store and recall scenes within the current session. The name of the current scene is displayed in the box. If a scene has been modified since it was recalled, it is followed by an asterisk (*). The Scenes menu is accessible from any window.

A red REC button indicates that the onboard recorder is in record. Click the REC button to open a drop-down menu to start and stop record and to access the Media Player.

Displays the console’s system time. Set the time in the Admin Configuration kiosk. When MIDI control is used, this box can display MIDI time code.

Click the keyboard icon to open the on-screen keyboard, which is useful when no external keyboard is available. Alt and Ctrl act as locking modifiers. When Alt is selected, click on a control to set it to its reset value.

Locks or unlocks the mixer surface, I/O routing, and/or plugin parameters to prevent unwanted changes during live events. The scope of the mixer lock is defined in the Setup window (Setup > Mixer Settings > Lock). A password can be assigned to this function

Brings a window to the front and docks all floating tabs and floating plugins. This menu is identified by a double window icon.

Takes you to an information page displaying the eMotion LV1 Classic version number and provides links to the user guide and the quick start guide.

Many mixer actions can be assigned to sixteen keys in the Mixer window. Clicking on a key will trigger its corresponding action. Common assignments include loading and saving sessions and scenes, navigating between channels and views, and controlling channels and plugins. The name of an action is indicated on its assigned key.

User-assignable keys are assigned in the U/I Settings page. (Setup > U/I Settings > User-Assignable Keys). They are recalled from the left side of the touchscreen Mixer window (shown here on the left).

To trigger user-assignable keys from the fader bank, set the User Keys/Ch Select button to “User Keys.” The scribble strip of each channel will display a user key name. Click the Channel Select button that displays the desired key name.

Mute group assignments are made in the Output Section of the Channel Focus and Main Route modes, in the Channel window, and in the Patch window. Refer to Channel > Output Section > Main Outs Assignment Panel.

Mute groups are activated in the dedicated collapsible panel on the Top Bar.

All member channels of an activated mute group display a flashing Mute button.

Any member of an active mute group can be unmuted by clicking its Mute button. Clicking it again mutes the channel beyond the scope of the mute group. It will remain muted even after the mute group is deactivated.

A third click returns the channel mute to normal mute group behavior.

Ctrl and Alt modifiers provide alternate actions throughout the mixer. They can be used momentarily or latched from the on-screen keyboard.

Many of the software interfaces can be undocked from their original locations, as floating windows and then moved to another display. This applies to the main windows, control panels, plugin interfaces and settings panels.

Each one of the main windows can be detached from the original screen to use on other displays.

Original view: All tabs are available.

To create a secondary view, click/drag its tab downward, away from the Top Bar. The new floating window will appear on a secondary display.

This new secondary display will show the selected window only.

The main display can access all windows except the secondary view. To return to the complete view, close the floating windows.

The control panel for any I/O device, driver, server, or controller opens as a floating window. You can open a device control panel from the System Inventory page it will already be flaoted and can be moved to any available display.

Floating a plugin user interface window starts by un-docking it from its Rack, this can be selected in the Rack menu or Click on a plugin icon in a rack to open its user interface, than Click the Expand button in the upper-right corner to undock the interface into a floating window.

When another plugin is undocked, the current plugin window will automatically be redocked. Pin a plugin window to keep it undocked. Floating plugin windows are set to remain “always on top” in relation to the main application windows.

Flaoting plugin layout - location and size can be saved in session and in scene. Up to five plugin windows can have their layouts changed with a scene change.

Access the Undock Routing View panel In Setup > System Inventory to monitor network activity continuously.

This menu provides a list of all current floating tabs (e.g., Channel, Patch, Routing Panel) and floating plugin user interface windows. It’s a quick way to keep track of your floating windows and to find those that may be hidden beneath other windows. Click on a window to bring it to the front.

View from which a Window tab was “detached.” A detached window tab that is now a floating window.

Floating plugin user interface windows.

Return all tabs and/or plugins to their docks.

Floating windows configurations are part of a scene and will normally change when a scene is recalled. You can, however, choose to make floating windows recall safe or outside the scope of a scene change.

Set Scope and Recall Safe in the Show window.

You can increase a control’s resolution (that is, slow down the control) by holding the Control key while dragging. This applies to long faders, aux faders, preamp gain, channel trim, and pan. Release Control to return to regular resolution.

To return a control to its default position, hold Option and touch the control.

To ensure optimal performance, keep your eMotion LV1 Classic up to date. When a software update is available, you will receive a notification from Waves. You can also visit waves.com to see if updates are available. An internet connection is required for software updates.

To check for updates and to update eMotion LV1 Classic software, follow these steps:

For detailed instructions, refer to this technical article on updating the console.

The Admin kiosk is used for maintenance, troubleshooting, file access, system recovery, and accessing the media player. It can be accessed from any page in the Setup window.

In Setup window, pressing Admin quits LV1 and opens the Admin kiosk. You can reopen LV1 from the kiosk. Going to the Admin kiosk takes you out of the console. Your session information will be saved, and it will be restored when you click “LV1.”

The Admin kiosk is organized into two view modes: Basic and Advanced.

To set the time and date, use the pencil on the top-right side. This is important, for internet connection and console updates.

Click the gear icon on the right to enter the advanced admin mode. You will receive an “Are You Sure?” confirmation prompt. The Advanced controls are on the right. There are four tabs.

The name of this system is shown in a box on the left side. This is useful when several LV1 systems are members of a SoundGrid network.

To change the System name, click the pencil icon at the top-left side, avaibale on Admin mode.

Locations takes you to the default folders where your LV1 files are stored. Open these folders to delete or copy session information.

Utilities consists of four functions:

(1) Browser takes you to the internet browser.

(2) Fader Bank Service provides a firmware update and/or fader calibration. Full restart required.

(3) rtpMIDI is the bridge that lets Classic interact with MIDI. When rtpMIDI is installed, the indicator is lit.

(4) Recovery returns the console to factory settings from a disk image built on your current software version. This will not affect your saved files (sessions, templates, history, plugin presets, and plugin data).

Troubleshoot provides maintenance and service utilities. Some are intended for skilled users and administrators, while others are used when troubleshooting with Waves technical support.

External Drives is a file browser that lets you access your connected drives.

The Mixer window provides comprehensive control over channel and mix parameters, from basic fader and pan controls to assignments, channel processing, automixing, and immersive panning. Each Mixer window can display up to 16 channels plus one master channel, and Channel Layers let you populate the mixer with different input and mix channels. The mixer is organized into four main sections.

Mixer 1 window is, by default, linked to the LV1 Classic fader bank and can be controlled from the tactile surface in addition to the touchscreen, providing quick access of multiple channels.

The channel strips on the touchscreen and the fader bank are functionally identical, although some controls, by necessity, are presented differently. Fader bank channel strips are mapped to the touchscreen interface. They use the same logic and flow as the touchscreen channel strips.

The master fader controls the overall output level. Like the channel strip faders, it includes a fader, meter, mute, and cue. When sends-on-faders is used, the master fader controls the Aux channel fader.

The Master fader on the fader bank follows the Master Fader in the touchscreen. Its meter is displayed in the scribble strip. The Master fader can be mapped to any channel if required. Mastre fader does not change when changing layers, howeevr it will flip to Aux master in Aux SOF Flip mode.

Channel Strip modes determine the processing, routing, and views for all channels in a layer. Modes are displayed in the large section in the middle of the mixer. They are selected via the panel on the right (highlighted in the yellow circle here). Toggle between the selector pages using the arrows above the panel.

Mixer Layers populates the channels strips with different channels. There are several banks of mixer layers, each comprises 8 layers, the default Factory banks, Custom layers bank and Spill layers bank. Mixer Layers can be selected from the touch surface or the fader bank.

When a large Channel mode is enabled, the factory channel layers bank will be split to two banks, INPUT and MIX. INPUT will map all the input channels available, MIX will map all the available busses and outputs. The MIX layer has its own color (deep blue), while Input uses the original factory color (light blue).

The Mixer windows comprised from channel strip population and Mixer Mode controls and info. Selecting layers changes the channel strips that are being displayed and controlled, while modes offer variable views and control for each strip.

There are two layouts that can be set, a three Mode rows layout, and a single Mode row with the Big Fader. While the three mode layout provides comprehensive control and info, the Big fader based layout is more foused and is easier for mixing using the touch screen or a remote tablet.

Around these rows, at the very top there is a short row for the Input section of each channel strip, this section may have a pull down menu with input assignment options and operations. Just above the middle row, there is a section dedicted fro channel names and important indicators for Link status, processing server assignment, recall safe, recording, Dugan enabled channels and post effect groups. At the bottom of the mixer window there is access to the channel strip Solo/Cue and indications of the type and index of the strip.

The Mixer Mode selectors are located at the top right side of the Mixer window, while the Layer Banks are located at the bottom right.

The Mixer Modes selector section comprises per row mode selection menu, a Big Fader mode toggle and 8 mode layout presets.

The Input Channel Strip mode manages signals from I/O devices or internal busses. In this mode, each layer includes digital trim controls and pan/balance/rotation controls for each channel or buss. When a channel is patched to an I/O with a preamp, the Input Mode provides control over the preamp.

To Control Input Gain from teh Fader Bank, Use a channel’s encoder knob to control the preamp and adjust channel trim. When the encoder knobs are set to control gain, they automatically map to the channel input’s preamp-Gain or local-VGain. If there is no preamp, the encoder knobs control the channel trim. Gain value is shown in the scribble strip.

The DYN/EQ mode displays the controls and graphics of plugins that have been assigned to Main Channel processing. It provides a single-page overview of the dynamics, EQ, and filter processing for an entire 16-channel layer.

Each channel’s mode section includes graphic displays of specific EQ and dynamics processors. Plugins can be bypassed with the display buttons. A selected plugin or section is bypassed when its indicator light is off.

Filters, EQ, and Dynamics buttons turn their respective processing sections on or off for the entire plugin. In addition, the specific dynamics sections (gate, compressor, leveler, limiter, de-esser) can each be bypassed. For further control of a plugin, click on its graphic display to open the plugin user interface in the Channel window.

The Rack mode displays the plugins and external inserts for channels in the current layer. It provides an overview of the processors on each channel or mixer buss. In the Rack mode you can move and copy plugins between racks, re-sequence rack order, and bypass, disable, and remove plugins from racks.

Each channel rack can hold up to eight plugins.

Click on a plugin icon to open its user interface in the Chanenl Window or select to Float the plugin interface from the menu.

To add a plugin to a rack, click the small arrow on an empty rack slot, or click+hold on the slot itself. This opens the Plugin menu. Search for a plugin or go to the Plugin List sub-menu and choose from among the available plugins. Its name then appears in the rack slot. Click on the icon to access the plugin user interface.

The Plugin menu is also used to manage presets, copy parameters between plugins, and to monitor channel latency. These functions are described in detail in the Channel Window chapter of this manual (Channel>Rack Section>Adding and Managing Plugins).

Certain regularly used Plugin menu items are described in the next section of this manual.

Bypasses the plugin while keeping it in the processing chain. A bypassed plugin appears with a white background in the rack. Bypass from the Menu or by clicking alt+Ctrl+plugin name.

Removes the plugin from the processing chain without deleting it from the rack. Disabling plugins that are currently unused may reduce rack latency. Higher rack latency can result in an accumulated delay from the buss inputs. You can re-enable the plugin without losing its settings, controls, or automation assignments. When a plugin is disabled, its name will remain visible, but the slot will appear as black. Disable from the Menu or by Ctrl+click on plugin name.

Deletes the plugin from the slot. All parameter settings and control assignments are lost. Remove from the Menu option or by dragging the plugin out of the rack.

Hold the Alt key while selecting Insert or Remove from the Plugins menu to extend the action across an entire row, throughout all channels in the session. The on-screen keyboard provides latching Alt and Ctrl modifier keys

Menu Latency indications for:

Latency Compesation On/Off - Removes the plugin from plugin/buss latency compensation calculations. The plugin remains active, but its latency is no longer reported to the delay compensation engine. This prevents a plugin with a particularly long delay from delaying the entire buss.

Latency - indicates the plugin latency.

Rack Latency - indicates teh accumilated latency of all plugins and routing.

Rack signal flow is from top to bottom of the rack. Some plugins are designed to work together in parallel without regard for processing sequence. With these plugins, rack order is unimportant. Refer to the plugin’s user guide for details.

Moving, copying, and controlling the plugin icons is executed on the touchscreen. Take caution to avoid inadvertently touching an icon and changing its condition.

Controlling Plugins From the Rack Single click: Opens the user interface of the plugin or external insert.

Single click + hold: Opens the Plugin menu.

Ctrl + Alt + click: Bypasses the plugin.

Ctrl + click: Disables and removes the plugin from the DSP processor.

Drag an icon off the left side of screen: Removes the plugin permanently.

Click + drag icon: Moves a plugin and its presets to another rack slot.

Alt + click + drag icon: Copies a plugin from one rack slot to another.

Drag a plugin to change its position in the rack. Drag to move a plugin or external insert to another channel or use Alt+drag to copy. Latching Alt and Ctrl keys are located on the on-screen keyboard. Move a mono plugin module to a stereo channel and the plugin becomes a stereo module. The mono plugin’s parameters will be applied to both sides of the stereo module. If a stereo plugin is moved to a mono channel, then settings of the left stereo channel become the mono parameters.

Do not add, remove, disable, or move a plugin when an audio dropout is not acceptable. These actions change the structure of the plugin rack, which can result in a brief interruption. Bypassing a plugin or changing its parameters can be done at any time.

Use the Route modes to patch within the mixer and to I/O devices. Route Modes provides an overview of the internal and external patching in the mixer view.

Main Route Mode is used to overview and set assignmnets for the internal Main Mixes, the Matrices and Mute groups. Its also used for assigning a channel for internal Record (when avaiable). IO outputs can also be assigned from here, displaying the last assignment made. For stereo outputs assign pairs or use Ctrl+click to assign individual IOs per side.

Group Route Mode is used to inetrnally assign channels to Processing Groups, and to Link / DCA groups.

In the large LV1 configurations Aux Busses are devided to FX and Monitor busses for routing simplicity. FX busses are used primarily for effects processing. As FX preceeds Monitors in the processing signal flow, they can be sent to MON busses and to the main mix. Mon busses can be sent directly to an I/O. All Aux busses can be sent to each other providing the destination is a higher index Aux buss. Aux Sends Modes are split to groups of 8 and provide a quick Sends-On-Faders Flip option.

mode, the console is “flipped.” A channel fader controls the level it is sending to a selected aux channel. Select another channel to adjust what it is sending to the same aux. Select another aux (on the left) to choose another aux to send to. This provides more comfortable control of aux channels, with greater resolution.

The interface changes color to indicate that the channel faders have flipped function. To remind you of the mode, “Send Level” appears next to each large fader. Large faders now control the send level from the selected channel to the selected aux.

To return to normal faders, click on the aux send name, either on the left side of the panel or above the Master fader. You can select another AUX channel while the faders are flipped. This will remap the faders to the new aux sends

When in Sends Flip the channel faders controls the Send level and the channel encoder knobs default to Pan control, which serves as the send pan.

While the mixer is in sends-on-fader mode, the master fader controls the output of the Aux channel. The name of the selected aux channel will appear above the master fader, and cue will be selected for that aux buss.

Once you have finished adjusting sends, click the Flip button to return to the normal channel faders.

Legacy Pan Note: If you send a mono input channel to a stereo AUX Channel (or IEM), post pan (PSP) the send panner is redundant and so will not be displayed. If, however, you created a session with an older LV1 version using that panner, the session will open in Legacy Send Pan mode ON. When Legacy Send Pan is disabled, all the values of mono PSP panners in a pre-v16 session will be reset, and the redundant panner control will be removed from the interface. This action cannot be undone.

Small Fader mode provides a Fader and a Meter (-144 to +10 dB) , Mute and Pan controls in a compact layout that fits a single row, allowing for more modes to be accessible while retaining monitor and control over the channels. Aux Sends on Faders Flip also affects these faders and changes them into send level faders.

Big Faders Mode brings the large fader and meter to focus and overrides the Middle and Bottom rows, providing a touchscreen workflow fader interface similar to the original LV1 layout. When Big Fader Mode is turned Off, the Middle and Bottom Mode rows become active again.

The Big Fader. mode is the one to use with remote tablet contorol and when critical meter monitoring is required.

The Big Fader Mode provides Pan and Mute control. Fader and Meter range -144 to +10 dB, and have dedicated value box that display the current state.

Big Fader is also used for Aux Sends-on-Faders Flip mode and work as send level controls.

The Channel Focus mode provides comprehensive feedback and control over routing and processing for a selected channel or buss on the current layer. The Channel Focus is a subset mini-display of the Channel Window and provide quick access to the most used parameters This mode is particularly well suited for single-display mixer setups.

eMo IEM enables immersive 360-degree panning for in-ear monitors. This delivers a monitoring experience that is, for most musicians, more comfortable, especially during prolonged use. It is intended for MON aux mixes, but it can be used on any Aux channel (FX and Monitor).

eMo IEM requires a separate license. The software License must be installed and activated to be available to LV1 and Mobile apps. Use Waves Central to purchase and manage all Waves software products.

To select eMo IEM monitoring from Mixer window, follow the steps outlined below.

Method one

Method Two

Immersive monitoring requires a stereo AUX channel. If you activate IEM on a mono AUX, the Channel will flip to stereo binaural mix mode automatically. eMo IEM can also be initiated from the Channel window.

You can use Waves on-stage monitoring tools for mobile devices, like MyMon and MyFoh to control the immersive mix directly. Visit Waves.com to learn how use your device with LV1.

The Dugan Speech Automixer controls a group of live microphones in multi-speaker environments. It turns up mics where someone is talking and turns them down where people are quiet. It’s commonly used in roundtable discussions, talk shows, debates (and similar setups) and is based on the hardware Dugan Automatic Microphone Mixer.

A Dugan Speech license is required to use this feature, use Waves Central to install the license.

To access the Dugan Layer, click the Dugan Mode Preset, or choose Dugan on any of the mode menus.

Assign channels to Dugan groups. A group functions as a separate and independent automatic mixer. Each channel can be assigned to one of three groups: a, b, or c. Dugan groups control mutes in the same manner as LV1 mute groups.

A mixer layer is a collection of channels that share a common function. Layers differ from modes. A layer determines which channels you want to address, while modes determine what you want to do with the channels in the layer. There are layers that contain fixed channels, and custom layers that you can populate with any combination of channels. Select between layers with the selection buttons.

The eMotion LV1 Classic 80-channel configuration provides 40 channels of groups and auxes. Depending on the needs of your show, you can allot 16 groups and 24 auxes or 8 groups and 32 auxes. The 64-channel configuration provides 8 groups and 24 auxes. You can change the configuration at any time. Mixer configuration is set in the Mixer Settings page. The 80-channel expansion requires a separate license.

Each Layer Bank holds 8 layers of 16 channels each. Up to the 64 channel configuration, the Factory layer layout fits in one bank, while higher channel count configuartions split the Factory layout to Input Layers Bank and Mix Layers Bank.

Custom Layers Bank can be slected for
fully customized layout of all avaiable channels.

Spill Layers mode can be activated here.

The factory mixer layers are accessed from the Input button on the right panel. These are the input channels that feed the mixer. An input channel can be mono or stereo, and this does not affect the total number of channels available. Input channels can control I/O preamps (depending on input device), and each input channel can have up to eight plugins. They can be routed to groups, matrix, main, and direct outs, and sent to Aux FX and Aux Monitor channels.

These Five layers share the same view and functionality. Only the channels change.

Click the MIX button above the Layers to access the GRP FX, MONs, Masters, and Link/DCA layers.

A group can be routed to another group for additional processing. A low-numbered group can route to a group that is later in the signal flow, but not earlier. For example, Group 4 can be routed to Groups 5–8, but not to 1, 2, or 3. Groups can be set to process pre-FX or post-FX to create and process mix groups that include dry inputs with effects.

Group busses are mono or stereo. The default mode is stereo. There are two ways to set the group buss to mono or stereo:

Each Group buss can accommodate up to eight plugins.

The eight FX busses are used to process signals that will be sent to monitor outs or other paths. You may choose to process an FX aux buss and then send it to one or more MON busses. This way you can efficiently perform effects processing that can be used over several monitor outs.

If needed, some FX busses can be used as monitor outputs (within limitations of available sources). In addition, monitor busses can be used for more effects processing and routed to the main mix rather than a monitor (IO device).

All AUX/MON and AUX/FX busses can be stereo or mono. This is determined by the format of the buss you are sending to, not the one you are sending from.

MON busses are typically used for monitor feeds. Signals are sent to the MON busses auxes from groups and FX. Each monitor aux can include up to eight plugins, so processing can be added to an aux buss before it is routed to an I/O. Monitor busses can be mono, stereo, or immersive.

If needed, some FX busses can be used as monitor outputs. In addition, monitor busses can be used for more effects processing and routed to the main mix rather than a monitor (directly to an I/O device).

Assigning aux sends is discussed later in this chapter.

The Masters layer provides control over the Main mix and its distribution, as well as Matrix, Talkback, and Cue. The Main and Matrix busses each use up to 8 plugins to adjust the distribution properties of each mix output, such as the PA system, peripheral zones, or guest sends. The Layer is divided into two sections: Mix buss outs (Main outs, Cue, and Talkback), and a Matrix (12 stereo inputs per channel, with eight stereo outputs).

Main mix outs can be assigned from any mixer channel or buss, except Cue, Matrix, or Talkback. To quickly learn which busses are assigned to the Main out busses, check the Internal Patch page or open the Input list in the Channel window of a Main out.

When a channel’s Cue button is engaged, assigned busses are sent to the cue buss. This section controls level, panning, and processing of the cue buss.

The Talkback section controls the level, panning, and processing for mixer talkback. It provides for input from an I/O and a preamp. It can accept up to eight plugins. Talkback routing and presets are controlled from a control panel in the Channel window. To access this window, select the Talkback channel and click on the Gear icon beneath the Talk button.

The Matrix controls the input mix and output levels of the 12-input x 8-output matrix busses. It is typically used to send audio to PA systems, distribution, guests, and monitoring systems. Matrix channels can receive input from any channel or buss in the mixer and can output to any I/O device on the network. Each Matrix channel has an eight-plugin rack for dedicated processing.

Each Matrix channel accepts up to 12 assignments. Assignment levels can be controlled using the small faders on each Matrix channel (Input mode), or, more conveniently, in the Matrix channel page. To access this panel, select any Matrix channel and navigate to the Channel view.

The Link/DCA layer does not pass audio. Instead, it’s a controller that’s used to manage groups of channels.

While both Links and DCAs allow you to control a group of faders and adjust their gain together, they work in very different ways.

Channels are assigned to Links and DCAs in the Output section of the Channel window.

Links provide a way to globally control values across multiple channels. When channels are assigned to a Link, most of their controls move together. Adjusting one fader causes the other faders in the group move correspondingly. The Link button and menu are used to activate and deactivate linking and determine which Link group is currently active.

Relative offsets between controls are maintained when any group member moves.

Channels in the active Link group are identified by small numbers beneath the channel name. A Link group is active only when its group is displayed, so only one Link group can be active at a time.

A channel can be assigned to up to 16 Links. Channels in the active Link group are identified with small numbers near their panners. A Link group is active only when the Link button is On and its group is displayed, so only one Link group can be active at a time.

To change the value of a control with respect to other members of the Link group, turn off the Link button, make the adjustment, and then reactivate the Link group. Faders that are members of a Link group behave as do any other linked controls—move any fader in the Link group and the other faders follow.

Link Follow Channel Select Selects link behavior when switching between link groups. (Links apply to faders, pans, and mutes).

On: When you have more than one link group, changing the channel select activates the new link. This is akin to selecting a new link in the Link drop-down menu. Only channels in the newly selected link are activated.

Off: When you select a channel in another link, the link selection will remain tied to the original channels, but the new and old channels can each be adjusted.

A Temporary Link lets you simultaneously adjust parameters on selected channels without setting up a formal Link group. You can gang together any controls that can be adjusted in the Channel Mode. Temporary Links are not stored in the session; they are active only until you stop the link. To create a temporary Link, follow these steps:

To quickly link numerous channels across many layers, use the All Mixer view for ad hoc group assignments.

A digitally controlled amplifier (DCA) controls the volume levels of the channels assigned to it (the Link groups) without changing the fader positions. This allows you, for example, to remotely control channels as a group without affecting their individual processing.

The DCA group control is from the Links/DCA layer faders rather than from individual faders on the mixer layer.

A DCA fader applies an even-gain offset to all the faders assigned to it. When the DCA fader is set to zero, the channel faders under its control are unchanged.

Its advised to check the Link button state when using DCAs, as the Link may cause paramter chanegs on memeber channels, while DCA only creates an offset.

When a DCA fader moves, the linked faders do not physically move. Instead, a “ghost” fader indicates the combined gain achieved by a channel’s faders and the DCA offset. This is similar to the behavior of analog VCA faders.

The DCA faders also provide a Mute function that behaves like a Mute group.

When DCA is moved on the Link/DCA Layer, the faders for Linkd channels do not move, but “ghost” faders indicate the offset created by the DCA gain.

DCA faders range -144 to +10 dB offset on the Faders assigned.

The Spill layer displays all the channels in the selected Link Group, regardless of the channel types. Linked controls can be adjusted and a DCA can be used to trim all faders in the group.

The Spill button is located on the Layers panel. Click the Spill button to access the view. Select a Link/DCA channel on the left side of the mixer to view its associated Spill pages.

Navigate between Spill pages with the Custom layer buttons on the right. Double-click on a button to rename it.

Each Spill page (shown below) has 16 channels: the DCA fader is on the left, and 15 linked channels are to its right. If a Link group has more than 15 channels, then multiple pages will be displayed.

The Link On/Off button does not affect the Spill function. It only reflects the status of the Link group.

Channels of any layer type can be combined in user-created Custom layers. This enables control of a specified assortment of channels in one view, without changing mixer layers. Channels can be organized in any order within a Custom layer. Each of the eight Custom layers can contain up to 16 channels.

To populate a Custom layer, click “Custom” and choose one of the eight Custom layer buttons. The layer will initially be blank.

Use the menu items at the top of the assignment menu to populate and manage each Custom channel.

Click the ALL window tab button to toggle the All Overview on or off. The ALL view is useful for single-display configurations, since you can easily go from an overview of all channels to a Channel or Mixer view, and back. Undocking the All window to an external screen enables you to work with two or more displays and see an overview of all channels on one display, while working on single-channel or mixer views on the others.

The layer types are labeld, while each channel displays its selected color.

When selecting an Aux Sends Flip from the menu, the relevant source faders will get the Aux Sends label and will set the send levels. The Flip mode can be turned off by clicking on the label.

When Link is turned on for a pre set Link group or for Temp Link, the group memebers will be indicated by small orange charachter next to the channel name, moving the fader for one member will relativly move the entire group.

The All window can be set to provide full fader control as well as mute and cue, alternatly it can be set to display meters only with no gain indication (Mute and Cue will still be indicated), and an interm mode where fader position is visible but cannot be modified from this window. These options are avaiable in Mixer Settings page in the Setup window.

The entire chain of the selected channel—input and preamp control, plugin processing, aux sends, routing, and outputs—is addressed in this window.

The Channel window is divided into sections that represent the signal flow through a selected mixer channel. Workflow from section to section generally progresses from left to right.

The selected channel is focused across LV1 Mixers and Channel windows. The selected channel name is always shown in the Name box on the left side of the Top Bar. To name a channel, double-click on the box. The channel name can also be changed in the Mixer and Patch windows.

A channel can be selected in several locations:

Channel presets are managed in the Preset menu in the Top Bar. These presets allow you to immediately load all of a channel’s settings (i.e., audio routing, assignments, plugins and their parameters, aux sends, and control groups) and then adjust its parameters. You can save these settings as a new preset.

Complete sessions can be created from channel presets, or you can copy/paste channels to use as starting points for other channels. You can copy all or part of a channel’s parameters from one channel to another.

Preset Menu Items

The remaining Preset menu items relate to sessions and templates. These are discussed in the Top-Bar and Show chapters.

When pasting or importing presets a Preset Scope dialog pops up to set which functions to import from the selected preset.

Channel names can be copied within a session. Channel names and colors cannot be imported from another session.

To copy channel settings between sessions, use Save to File to create a channel preset file. This file can be saved at any location, including removable media.

Select a target channel and choose Import from File. This replaces all channel parameters. It does not alter the number of input channels.

Copying and pasting channel parameters within a session is very similar to saving and importing files between them. There are, however, important differences:

The stereo/mono status of a channel is determined by the current state of the target channel, not by the pasted/imported channel parameters.

By default, channels are color-coded based on types of channels (e.g., channels, groups, FX, monitors). You can also assign a custom color to any channel.

The Channel Input section is used to patch external sources to Input and internal busses (Group, Aux, Matrix channels). It is also used to link together mixer controls (Link/DCA). Input section function and appearance differ between input, mix, and control channels.

The Device Channel selector sets the I/O source for a selected input channel. Choose an I/O source from the drop-down menu. The list is organized by device and then by I/O channel. Unavailable devices and channels are grayed out.

Flip to Mono or Flip to Stereo changes the mode of the channel. When a stereo channel is flipped to mono, the top (left) channel becomes the mono input. When flipping from mono to stereo, only the left channel will be patched. The right channel can then be assigned manually. Stereo input assignment of I/Os is usually in pairs. Ctrl + menu enables independent channel assignment for left or right sides.

Selected input channel: click to open I/O selection menu I/O devices list I/O channels on the selected device

The mixer has two independent sets of inputs: A and B. These inputs can share the same I/O devices and channels or use different ones, as long as all I/O devices are in the system inventory of this eMotion LV1. Define input sets in the Patch page.

Refer to Patch >Patching Mixer Inputs Options: Input A or B

Links the left and right channels for all Input section controls. Parameter value offsets between left and right are maintained when linked. Default: On

Activates the preamp 48V phantom power. Independent left and right controls. Options: On or Off, default: Off

I/O preamps can be controlled from the Input section. These controls are active only when a preamp is available.

The Preamp section is used to adjust the analog (hardware) gain and the digitally controlled output level of the I/O device’s preamp. There are two modes for controlling preamp gain: Preamp and Local. Select a mode with the button above the preamp control knob.

Preamp mode (left) adjusts the preamp’s analog gain, just like the preamp gain control in the device’s control panel. Preamp analog gain value is displayed above the knob. Characteristics when sharing preamps in Preamp mode:

In Local mode, the Gain knob becomes the V-Gain knob (Virtual Gain). V-Gain is a digital gain stage that always delivers the user’s requested input gain, regardless of the preamp’s analog gain setting.

Characteristics when sharing preamps in Local mode:

Preamp state (Preamp or Local) and Gain values are saved with the session and are recalled when the session is loaded. The Gain and V-Gain values can also be stored with scenes. When recalled, the value will be applied to Gain or V-Gain, depending on which mode is active. When moving from Local to Preamp mode, the V-Gain value is sent to the Preamp control, and the preamp takes on the V-Gain value.

I/O Sharing

Multiple eMotion LV1 systems can be connected through an Ethernet switch to create a networked “super system.” Users throughout this super system can assign any available I/O device to their eMotion LV1 system. For details, refer to the Setup window chapter.

Reverses the polarity of a preamp input channel. Independent left and right controls.

Options: On/Off, default: Off

Controls the channel’s pre-processing digital input level. When input does not provide gain control, as in digital input, the Trim is used to adjust gains. Independent left and right controls. Range: -INF to +10 dB, default = 0 dB.

Displays the meter’s peak level. Red indicates that the user-defined clip threshold is exceeded. Click on the meter or value box to clear. Meter behavior is set at Settings>U/I Settings.

Displays peak input level.

Range: -INF to 0 dBFS

Sets the user-defined delay between input sources. This is primarily used to align two or more microphones placed at different distances from a sound source. Input delay is not associated with plugin/buss delay compensation.

Options:

On/Off, default: Off, Range: 0–250 samples

The Channel ID Box displays the user-defined name of the selected channel, as well its channel index number within the layer. This color-coding helps identify the selected channel, regardless of which layer is currently displayed.

A mix channel gets its input from its associated mix buss. The channels that route to this buss are mixed together and end up in the mix channel for processing and for further assignments or sends. eMotion LV1 provides different mix busses for different applications, such as Groups, AUX/FX, AUX/MON, Main LRCM, Matrix, and Cue. All inputs are latency compensated and aligned by default. Below you can find the Input options for Aux Mix channels.

The Open List button opens a panel for adding channels to the buss. Click Add to open a drop-down menu of assignable sources. The list of available channels and busses varies according to a channel’s place in the signal flow.

Channel Config – Set Mono, Stereo, IEM. IEM requires active eMo-IEM license.

Map Fader to Input – Toggles the Mix Buss control between Trim and Fader.

Import Mix from Session – opens a browse popup to select a session, and consequently opens the Import dialog, that enables importing mix levels from the selected source.

Copy Mix From – Select a reference Mix and copy its mix levels.

Change All Sources – Set the same pick off source for all the Mix Buss inputs.

Input, FX, Monitor – Add more inputs to the mix.

Groups input section resembles Aux Mix channels with some exceptions. All inputs are latency compensated and aligned by default.

Main Mix Input provides similar control to the Aux Mix with some exceptions. All inputs are latency compensated and aligned by default.

The Cue Input list reflects the Mixer channels whose Cue/Solo buttons are activated. Deactivating a channel strip Cue button removes it from the Cue Input list.

The “Alternate Input” provides a fallback source when no Cue channels are selected.

Link / DCAs control several channels together, the Input Lists all the assigned channels, however, Note that link channels are for control only, not sound. The assignmnt to the Link / DCA group can work either for DCA fader control as an offset on the channel's output gain or as a Link group for global parameter update in multiple channels from teh Mixer interface, providing the Link mode is turned on.

The Matrix is used to create alternate or zone-specific mixes and to apply independent processing per zone. All mixer busses as well as individual channels, can be sent to Matrix mix, and each Matrix channel can support up to 12 channel inpus. Navigate to a Matrix channel to assign and control sources.

The Matrix Input section provides a List control that allows for selecting up to 12 mono or stereo Inputs for each of the Matrix mixers. When this limit is reached, the ADD button is disabled until one or more source busses are removed. Inputs pick off sources and mono and stereo options and their trims, are avaiable as part of the Matrix Input Mixer.

The Cue buss can be assigned to a Matrix channel. Note that in these Matrix channels, Cue is not available for audition, as this would cause a loop. By default, Cue rack latency is not reported to the Matrix. When Cue latency compensation is off, no latency is reported to the Matrix. When Cue Rack latency is set to On in the Rack menu, the Cue buss will report latency to the Matrix Mixer, which will be automatically compensated if required.

Plugins are processors that shape the sound of a channel. Some plugins tame or enhance the dynamics of a sound, while others adjust frequencies. There are plugins that control the sound within a space and others that tune a singer’s delivery. If you want to process your mix, you need plugins.

eMotion LV1 Classic ships with a wide selection of plugins. Together, they cover most live sound mixing needs. To learn more about these plugins, visit waves.com and search for the plugin by name to access its dedicated plugin page

Three plugins, eMo-F2, eMo-D5 and eMo-Q4, provide comprehensive filtering, EQ, and dynamics, are automatically inserted on the first three plugin slots of every channel and buss. These plugins together work as the channel strip main processing and will cover most of your regular mixing needs, while allowing to add more plugin processors before, after or in-between the channel's processing chain.

The Plugin Rack is a processor chainer that hosts up to eight plugins per channel. Plugins inserted in this rack are also displayed in the Rack section of the Mixer window. Signal flow is from top to bottom of the rack.

A plugin rack can be stereo or mono, depending on the channel state. If a mono-to-stereo plugin is added to a mono rack, the rack becomes stereo from that point on in the signal flow. You can drag a plugin up or down to change its position in the rack signal flow.

The Plugin menu is used to insert, remove, assign, and manage the selected plugin. It is also used to copy plugins and plugin parameters between racks and between rack slots. Plugin menu settings affect only the selected plugin slot.

Bypasses the plugin while keeping it in the processing chain. This serves the same function as the IN button on the rack slot.

Opens the plugin user interface as a seperate floating window. This is the same action as clicking the undock button in the plugin view tool bar.

Once a plugin is floated, it can be Pinned to stay in that window when selecting another plugin to float. Its advised to place floating plugins on a separate screen, as these windows are always-on-top and may hide LV1 UI.

Removes the plugin from the processing chain without deleting it from the rack. Disabling a plugin removes its latency from the rack. It also frees up processing power. You can re-enable the plugin without losing its settings, controls, or automation assignments. When a plugin is disabled, its name will remain visible above the slot and its icon will be replaced with DISABLED. You can also disable and enable a plugin by clicking its rack slot while holding down the Control key.

Deletes the plugin from the rack slot. All parameter settings and control assignments are lost.

Adding, removing, disabling, or moving a plugin changes the structure of the rack, which may result in a brief audio mute. Do not make these changes when an audio interruption is unacceptable.

Wait until there is a pause in the performance.

Copies the plugin and its parameters. This enables pasting the plugin and its current settings to another rack slot. There are two paste options: Paste [plugin name] and Paste [plugin name] Preset.

Pastes the copied plugin and its parameters to an empty slot or replaces the plugin that occupies the slot. In certain circumstances it is possible to paste a preset into an existing plugin. (See Paste [plugin name] Preset below.)

Update Plugin State to Scene(s)

Updates the current plugin’s settings in selected scenes. Choose the scene(s) you want to update.

You can add external inserts to a plugin rack. An external insert follows the same routing path as plugins and can be moved up or down the rack to change its position in the processing chain.

Follow these steps to add external inserts:

If no send is assigned, then the insert will be bypassed. It remains in the rack and its place in the processing chain is unchanged. If no return is assigned, then any other source assigned to this insert return will be heard.

A mono/stereo full-scale meter shows the level of the return signal This helps to maintain proper levels on sends and returns.

The Latency knob is used to adjust the amount of delay to and from the external insert device. Unlike a plugin, an external insert doesn’t declare its delay to the plugin-buss latency compensation engine, so this must be done manually.

For more information, please refer to www.Waves.com/support.

The latency of an external insert is determined by its path, which depends on the type of processing being performed. The diagrams below illustrate how latency is calculated in three different situations.

1: Processing with an External Device An external insert is sent to and from an external device, via one or more SoundGrid I/O devices.

This view displays a plugin’s standard user interface in a floating window and shows all plugin controls. Certain plugin interface graphics have been modified to fit the Plugin user interface.

LV1 Rack supports hundreds of plugins for various type of processing, from EQ and Dynamics to Reverb and Delay Effects, to Saturation and Modulation, to problem solvers and pitch correction and feedback suppression. Every plugin has some unique workflow in its interface, that makes using it easier and get to the point quicker. The most immediate control for these plugins is by using the large touchscreen interface and directly accessing the pliugin parameters.

In addition to the touchscreen the tactile faderbank with its encoder and faders can be usful for many hands on tasks.

Touch & Turn

For immediate control of a specific assigned plugin, use the Touch & Turn knob. Select a control—whether with the touchscreen or fader bank—and turn the knob to adjust. You can instantly move the mapping from one control to another.

Encoders - Edit Parametrs

Select the “Edit” on the encoder panel. The Channel will be auto-mapped to the Fader Bank 16 Encoders, with the Main controls of the Channel Strip aggregating the mapped Filters, Dynamic and EQ plugins, more on this in the next chapter.

While in Channel Edit mode - Knob 15 'Rack' - will take you to detailed mapping of teh plugin in teh Rack. Choosing this mode will start with a plugin select page, once seelcted, this maps each encoder to a parameter control on the plugin, which can be a variable control or a two-step switch. The control name and value appear in the channel’s scribble strip.

Controls are organized in layers of twelve:

Touchscreen

Use the touchscreen to directly adjust controls in assigned plugins. Click on a control and slide the Touch & Slide control at the bottom of the window for quick, precise adjustment.

Floating Plugin User Interfaces

You can undock the plugin interface and position it anywhere on your display.

Click the Expand button in the upper-right corner to undock the window. When another plugin interface is undocked, it becomes the front-most window. Click on a plugin’s icon in the rack to bring its floating interface to the front.

Controls for the frame are at the top of the window.

Close a floating window to return the plugin interface to its docked position. Up to five windows can be opened simultaneously.

Floating plugin window preferences (dock/undock and window location) are saved with scenes. Window settings are also part of a session. Floating windows recall safe and scope status and are set in the Show window.

Click “Back to Main” to return to the Main Control section.

The Main Control Section enables you to view and control important plugin parameters. A compatible dynamics processor, a multiband EQ, and an HP/LP filter can be assigned to these controls. This is the primary mixer section for sending channels and busses to Aux channels. Send level, send source, and pan/rotation are controlled here. Controls in the Main Control Section map to the fader bank set to Edit mode to provide quick access to the most used parameters such as Dynamics thresholds and EQ gain and frequency, further it enables mapping for individual plugins and all Aux sends options.

If you are in a plugin user window, click on the Back to Main button to open the Main Control Section.

Set encoder mode to EDIT in order to access the selected channel quick controls.

The Main Control section provides control over each section of a dynamics plugin processor. Threshold, ratio, makeup, and other critical parameters are mapped to dedicated controls. Additional processing adjustments can be made in the plugin user interface. The display and controls vary by plugin. The example below shows an eMo D5 Dynamics processor mapped to the Main Control section.

While the Main Control page provide quick acess to the main parameters, The eMo-D5 plugin user interface can be accessed for more controls and options over each process function.

Assigned EQ and Filter plugins controls are mapped to the Main Control section. Mapping may vary from one EQ plugin to another.

Assigned Plugin can be mapped in detail from the Plugin interface.

An assigned filter is controlled from the Channel window EQ section. In this example, an eMo F2 filter is mapped to the Input section and its graphic display is shown in the Main Control section. Mapping and graphics vary among plugins.

Plugin assignments are made in the Plugin menu. If a plugin is already assigned to a set of controls, the menu item will display Unassign [category]. If no plugin is assigned, you can select Assign [category].

One plugin from each category (filter, EQ, dynamics) can be assigned at the same time:

Assigned plugins can be controlled in several ways:

Sections of filters, EQ, and dynamics processors can be switched on and off from the Mixer window (DYN/EQ Channel Strip mode). These assignments are also mapped to external control surfaces.

The Aux Sends section is used to send a channel’s signal to an auxiliary buss while providing a dedicated set of gain and pan controls for that specific route. This is independent of the channel’s main output and pan. These auxiliary busses converge in Aux channels, which can serve many functions, such as effects or monitor mixes.

In both cases, each source channel sent to an aux buss can have its own gain and pan settings. Aux channels are controlled in the AUX layer of the Mixer window.

Input Channel, Groups and FX/Monitor auxiliaries can send to the Aux FX/Monitor busses, with some exceptions, The Aux FX/Monitor can only send to a Aux bus with a greater index. Group Mix busses can be set to Post FX.

Aux busses can work in IEM mode, which uses eMo IEM to create an immersive mix for In-Ear Monitors. This results in a monitoring experience that is more comfortable for most musicians, especially after long exposure. eMo is intended for Aux Mon channels. The mode can be activated in the Aux Channel window or Mixer window.

IEM immersive monitoring is indicated by the “head” icon in the sends section of the AUX channel. The green dot indicates the orientation of immersive panning.

eMo IEM requires a separate license. The software must be installed and activated to be available to LV1 and Mobile apps. Use Waves Central to purchase and manage all Waves software products.

When the Fader Bank encoders are set to Edit mode, they will automatically map the most important main controls of the selected channel to the encoder set.

The Cue function enables auditioning/monitoring of a channel or buss. When the Cue/Solo button is pressed on a channel or buss, that source is sent to the cue buss, which can then be sent to an I/O for monitoring. When Cue is not pressed on any channel, the cue buss takes its input from an alternate source, typically the main buss. A muted channel will still send its signal to the cue bus.

The Cue channel provides all the functions of other mix busses, including a plugin rack. Its output is typically connected to the operator’s headphones or monitors.

The Cue control panel is located in the Channel window. To access this page, click the Gear icon under the Clear Solo button on the Top Bar.

The Cue control panel consists of six sections.

The Cue plugins rack can hold up to eight plugins. There is no Main Control Section on the Cue Channel page; plugins are controlled directly from the plugin user interface. Refer to Channel Window > Plugin Rack Section to learn more about using the plugins rack.

Toggles between Cue and Solo-in-Place modes.

Cue Mode: The cue signal is sent to the Cue buss for monitoring. Main mix outs are not affected.

Solo-in-Place Mode (Cue button becomes Solo button): Setting a channel to Solo-in-Place will mute all other tracks when the Solo button is pressed. Tracks that are fed by the soloed channel, or those used as sources for the soloed channel will not be muted. Default: Cue.

In Single mode, only one channel at a time will be in a cue or solo state. Latch mode allows multiple selections. Click the button once again to deselect it.

Selects cue source send points. Each channel category (input channels, groups, aux, etc.) can be assigned specific sources, and all member channels of that type will exhibit the same source behavior.

Options include: Input, PFL, AFL pre-pan, AFL post-pan.

Configures cue output assignments in the same manner as channel direct outputs on any channel. Select Open List and add output assignments. This section includes fader, pan/balance/rotate control, and mute, as well as direct output assignments. The Cue buss can also be sent to a Matrix channel.

The Talkback function sends the signal of an assigned I/O to selected busses, which are then routed to I/Os. Talkback is used primarily to communicate between the operator and the artists or staff. It can also be used to distribute a reference signal for calibration or to check that stage equipment is working properly. Click the Gear icon under the Talk button on the Top Bar to access the Talkback channel page. This button is not latching.

Talkback is activated with the non-latching Talk switch. It must be held open to talk. When Talkback is On, the top part of the button is blue. Click the Gear icon below TALK to directly access the Talkback channel page from any window.

Talkback On/Off can also be mapped to a control surface or assigned to user-assignable keys, which are set up in the U/I Settings window (Setup > U/I Settings > User-Assignable Keys).

Since Talkback can be sent to any I/O or buss, it is a convenient way to broadcast a reference tone or other test signal. Insert a signal generator into the Talkback plugins rack. This signal will be distributed to all selected busses and I/Os.

The Link / DCA groups in LV1 provide two multi-channel control options. The first one is 'Link' which is about using one channle's parameter control to affect multiple channels with the same parameter. For example, changing Gain in one channel will change gain in multiple channels as they are Linked.

The second is DCA which is a 'remote control' gain fader that offsets multiple channel's output fader by its value.

We use the same group assignment for these two functions, where DCA fader is always available, and Link can be activated on demand per Mixer window.

Links allow for global control of fader levels and other mixer parameters across multiple channels. When channels are assigned to a link group, their controls move together. Changing one control automatically adjusts the corresponding controls of the other channels in the group. Existing offsets are maintained but can be changed.

The mixer supports 16 link groups, and a mixer channel can be assigned to any number of these groups. There is no limit to the number of channels that can be assigned to a link. Link assignments are made in the output section of the Channel window, Mixer Route and Channel Focus Modes, and in the Link input section. Any mixer channel can be assigned to a link, except for Cue and Talkback.

The Link button is in the upper left corner of the Mixer window. When Link is on, activated links are identified by small numbers next to the Channel strip Name.

Linked parameters can only be controlled from Mixer windows.

A drop-down menu allows you to select which link group will be used. A channel that is a member of more than one link group uses only the currently selected link. The Spill button displays all channels in the selected link.

Only the selected link group is active. Deselecting the Link button disables all link groups. This action affects only links and does not impact DCAs. A DCA remains active regardless of the link group selection or the status of the Link button.

Links and DCAs are discussed in detail in the Mixer chapter of this user guide.

A DCA is a tool for remotely controlling the trim values of a group of faders. A DCA is not an audio path like a group buss. Rather, it is a fader that trims other faders assigned to it. This concept is a development that originates from classic mixer VCAs.

When a DCA fader is moved, the controlled faders do not move; they stay in their original positions.

Ghost faders indicate the current level of each channel, reflecting the offset introduced by the DCA fader. So, if the DCA fader remains at zero, it has no effect on the controlled fader and the channel gain remains unchanged.

A DCA fader move of +5 dB (for example) will result in a corresponding +5 dB change in the position of the ghost faders. Still, the channel fader itself does not move. In this example, channels 3 and 4 are assigned to Link Group 1, so their levels change along with that Link fader. Channels 1 and 2 are not members of Link group 1, so they are not affected. DCAs are defined using the Link Group assignments buttons in the Channel window output section or the Internal section of the Patch window.

A channel can output to any of the main outputs and to all available I/Os. It can be assigned to mix groups, mute groups, matrix, and Link/DCAs. I/O properties, such as signal source, trim, and delay group assignment are set here. Output sections are similar for Input channels and mix buss channels, the difference is only in avaible internal destinations.

The Output section is divided to two main parts, the first part is internal routing buttons array with the Fader Pan/Mute section, and the second is the IO assignments list with its per output settings.

This panel is used to assign I/Os to the channel’s direct outputs. Hide or unhide the panel view by toggling the Direct button

The window has three pages:

Use the tabs on the left side of the window to navigate between these pages

The System Inventory page is used to assign and manage I/Os, servers, drivers, and controllers. The top portion of the page deals with network status, while devices are assigned in the racks below.

This section describes the controls and menu items on the System Inventory page, followed by examples of how to use the System Inventory page in order to set up the mixer (Setup > Configuring a Basic Mixer Setup).

When you start LV1 Classic, the 16-channel onboard I/O is automatically assigned. Additional external I/O devices, such as stageboxes, can be added manually or by using the Start Assignment routine:

(Setup > Using the System Inventory Page > Configuring a Basic Mixer Setup).

Identifies and displays the LV1 Classic system you are using. This is relevant if you are working on a multi-LV1 super system, where several LV1 Classics share a network. You can change the system name in the Admin Kiosk.

Reports the status of the internal Ethernet connection to the computer running the eMotion LV1 software.

Options: UP / DOWN / INVALID Speed (view only) Reports SoundGrid network speed. Options: 100 Mb/sec, 1 Gb/sec, N/A.

Controls whether the mixer is the sample rate master or a slave. As such, it determines how the sample rate of a system is established.

Sets the system sample rate when the mixer is the sample rate master. The Sample Rate window displays the sample rate of the system. The menu is disabled when the mixer is a sample rate slave, since it can set the sample rate only when in the master mode.

Supported sample rates: 44.1Khz, 48Khz, 88.2Khz, 96Khz

The sample rate of the clock master device can always be set from its control panel, whether the mixer is in Sample Rate Master or Slave mode. Sample rate is discussed later in this chapter (Setup > System Inventory > Sample Rate Master vs. Sample Rate Slave).

Device Racks are used to assign and control the hardware and software I/Os, servers, and controllers available on the network. Use these racks to set up a new configuration or to modify an auto-configured setup.

Racks A and B assign hardware and software I/O devices to the mixer. Racks A and B can be used interchangeably and are separated only for convenience. For example, some engineers dedicate one rack to FOH and the other to monitoring.

A rack consists of eight slots, each of which can hold one I/O device. The arrow in the rack slot opens a drop-down list of devices that are part of the mixer’s SoundGrid network.

Available devices are shown in regular type. Devices that are not available for assignment are grayed out.

Network Devicee List displays the devices in the connected SoundGrid network, select a devcie to assign to the Devcie slot.

Offline Devices are used for preproduction or for any need to prepare routing and patching for a device that is not yet conected. In the list you will find all SoundGrid compatible devices.

The rack slot number determines the device’s order in the Patch window and in certain drop-down menus. While device sequence is not important, but some engineers choose to dedicate one rack for PA devices and the other for monitoring.

The ID button next to the device name activates a changing-color LED on the device front panel to help identify the physical unit.

There are several status indicators and buttons on the icon itself and just below it. The color of the text in the slot indicates the master/ slave status of the device.

(Blue=Master, Green=Slave, Red=Device not available, Orange=Shared Device)

Once an I/O device has been assigned to a rack slot, additional menu items are available.

LV1 Classic appears in three places in the System Inventory.

When you remove a device from a slot, you have two options concerning how to treat the existing patches for that slot.

Keep maintains the internal patching from any I/O that will be assigned to the slot.

Remove clears all patches for the slot.

This configuration is saved as part of the session.

All computers on the network should have the same up-to-date versions of eMotion LV1 and SoundGrid driver installed. Download the latest version from Waves Central.

The Classic onboard I/O provides 16 channels of mic/line input on XLR/TRS combo connectors and 12 line-level outputs on XLR connectors. There is also a stereo AES3 input and two stereo AES3 outputs on XLR connectors and two independent headphone ports. The specific I/O, including its preamps, is managed from the control panel.

Certain additional features, such as HMX and impedance selection, can only be accessed here.

Click the small Gear button at the bottom-left of the Classic I/O slot to open the control panel.

The Clock, Input, and Output pages are used to configure and manage the unit. The About and System Info pages provide information about the unit, such as MAC address, SOE network master, firmware version, and more.

The Input tab is used to configure the device’s 16 analog mic/line inputs.

Controls the gain of the Classic preamps. Small values are used for line inputs and large values are used for mic inputs. Range: -3 dB to 60 dB (in steps of 1 dB)

A setting of 0 dB allows a +24 dB input without clipping. A setting of +20 dB allows a +4 dB input without clipping. The channel number appears on the left of the control, and the current gain is indicated in the box above.

Use the Clip Level drop-down menu to set the level at which clipping will be indicated by the LED in the meter. This does not affect the audio level, only the point at which clipping is indicated.

Range: -6 dB to 0 dB

There are 12 line outputs, a stereo AES output, and 2 stereo headphone outputs.

Clock Tab

Use the Clock tab to manage the clock relationship between the Classic I/O and the SoundGrid network. The following image shows Classic locked to the SoundGrid network via Sync Over Ethernet (SOE). The device can also serve as the SoundGrid network clock master.

The About page contains a description of the device. The System Info tab contains technical details about the device, including MAC address, firmware version, and module version. This information is useful for troubleshooting. Please have this information handy if you contact Waves technical support concerning the device.

You can save and load presets of device settings. A saved preset includes all parameters in the Clock and Control panels. Save Classic presets to use in future sessions or copy them to another computer to duplicate a configuration.

Device sharing enables networked LV1 Classic systems to share I/O channels with devices anywhere on a multi-user network.

Device sharing in a multi-LV1 system is best demonstrated with an LV1 Classic that becomes larger and, through device sharing, more flexible as needs increase.

This single-LV1 system consists of a Classic console with its internal Classic I/O and an Ionic 24 I/O. The Ionic is onstage and is used for mics, DIs, and monitoring. The onboard Classic I/O covers PA and other FOH needs.

Because of Classic’s 4-port 1 GB Ethernet switch, you do not need an external one. Connect the console’s switch directly to the I/O devices.

As your monitor needs become more demanding, you may want to add another Classic console that’s dedicated to the monitor mix. Device sharing is enabled. The FOH console can share its I/O devices with the monitor system, and the monitor console can share its Ionic 16 and Ionic 24 with FOH.

The 64 onstage I/O channels can be shared with either systems.

Connect the consoles via a 1 GB Ethernet switch. Do not use the onboard Ethernet switch to connect systems.

You can add a third console for purposes like broadcast or streaming. Since the streaming system has few I/O needs, you can likely assign I/O channels from other systems and use the 16-channel LV1 Classic I/O in this console.

This combined system now includes 136 I/O channels that can be assigned from any of the consoles.

Once a device is sharing enabled, any system can assign it to the inventory. The device appears in the device rack and behaves like an unassigned device—except that it can be anywhere on a multi-LV1 network.

The three-console network in example three has 136 assignable input channels that can be shared and used on any of the Classic consoles. Note that the actual number of shared I/Os may be less, due to network considerations.

An unshared device that is assigned to an LV1 Classic console’s inventory and that is not share-enabled is available solely to that console. Once the device is available to other users for sharing, the console is the manager of the device. Other systems (clients) can now assign free I/O channels from the managed device. A client can assign free I/O channels to its inventory, but with less control.

Enable Sharing on an Assigned Device To enable other systems to share from a drive that you have assigned to your system, follow these steps.

A shared device can have multiple clients (within the limits of the device’s maximum output to the network). A device, on the other hand, can have only one master. Each destination establishes a direct connection from the shared IO device, increasing the total outputs to the network.

When an I/O device is removed from the manager’s inventory, it becomes free and it can be assigned by any other LV1 system.

Assign a Shared Device to Your Inventory (client) To share I/O channels from a sharing-enabled system, do this:

This is how a System Inventory might look in a large shared system. The font color (white or gray) and its type (roman or italic) indicates the status of the devices in the network.

Classic I/O - 1 B-Ionic 24/Free A-Ionic 24/free C-Ionic 16 / SGQA0 Classic I/O - 2 DAW / MPB16 DAW / System 2 DAW /JP.local DAW / MAT-10PC ID Locally assigned device (your device, assigned to you, not free)

Unassigned devices Sharing-enabled device on another system (italicized) Device assigned to another system (grayed out, italicized) Unassigned driver Sharing-enabled driver on another system

Driver assigned to local LV1 Driver assigned to another system

When the device manager selects Share Preamp Control in the Device menu, any client can adjust the preamp gain for any I/O channel on the shared device. All users sharing this device have equal control of preamp gain in any patched I/O channel.

Controlling gain in multi-system environments and retaining gain structure while other users are controlling preamp gain is described on the next several pages.

Patching Shared Input Devices

When a device is shared, its inputs are available to all users. Shared devices appear in the patch alongside non-shared devices.

Shared devices can also be patched in the Channel I/O menus of the Mixer window and Channel windows. In those windows, <share> indicates that the I/O channel is from a shared device.

When patching a mixer output, remember that a mixer output channel can route to only one I/O channel (unlike an input, which can be sent to multiple mixer channels)

Once assigned, a shared I/O device appears in the client’s Output Patch window. The label “I/O Sharing, Remote Device” is shown on its icon. Patching shared I/Os follows the same conventions as patching unshared SOE devices. There are, however, a few considerations when sharing devices.

When an output patch is made in one system, the corresponding I/O channel in the other system is colored orange to indicate that the I/O channel is in use. Channels in the black field are available.

The same patching considerations apply to the Channel I/O menus in the Mixer and Channel windows.

If the manager of a device patches to an I/O channel that’s already in use by a client, the preexisting client patch will turn red. The client is no longer patched to that I/O output channel.

A manager can always disconnect any I/O channel by repatching.

A notification alerts the client when the original patch is taken by the manager. Once the manager releases the patch, the connection will return to the client.

The manager of a shared device can remove the device from its inventory without interrupting sharing on the client devices by selecting Unassign the Device. The device will appear unchanged to the clients, and any client can become its master (if necessary). For the moment, the device is functioning, although it temporarily becomes orphaned (without a master). If the original system reassigns the device and reenables sharing, it will reestablish its master status.

If you choose to keep the device in your inventory but disable sharing, you will cut off existing clients from this device. Therefore, the manager cannot end sharing until all client devices are unpatched from the device.

Similarly, a client can remove a device by removing it from its inventory. Select Remove from the Devices drop-down menu. In most cases, this will not result in an audio dropout.

Even if the clock master has been removed from its owner’s inventory, the device will continue to operate and distribute clock. Only if the owner of the device choses to assign a new clock master, or another user claims Master status of the device and changes the settings, will other devices be affected.

If the manager of a shared device is no longer available to the network, clients of the device can still use it, and the shared device will continue to function. Below is a common example.

There are two systems and an additional Ionic Stagebox.

If, for any reason, System A is removed, System B can continue using the Stagebox. As long as the Ionic device remains powered on and connected to the SoundGrid network, it will pass audio, and current settings will be maintained.

The device is still owned by the missing System A, which means System B cannot access the device’s control panel or establish preamp sharing. If System B had been granted preamp control privileges beforehand, it will still be able to control shared preamps. If System B was not assigned preamp privileges, it will need to take over as the master of the Ionic.

Select Manage Device from the client’s Device menu and the device will appear in the client’s inventory as a local SOE device. The device can then be assigned to the new system.

There may be situations where a device is not managed by any LV1 system. If a system outside of the current group assigns the drive and claims manager status, the unowned device will reset to its default state and sharing will be disabled. Old connections are lost, but new connections can still be established.

Should you get this prompt, check other connections to the system.

When a device is shared by two or more systems, all systems must be locked to the same clock master. If a system enables sharing on a device that is part of another system, it must align with that system’s clock. In such cases, the prompt shown (left) will appear. Click OK to set the clock of the shared device as your system’s clock. This clock master then becomes the SOE clock master for all the devices in the shared SoundGrid network.

If the device that is being removed is serving as the SEO clock master, another device can assume that role.

A small “M” on the device icon of a shared device indicates that the device is the clock master for the entire super-network.

For example, let’s say you begin with an unshared system of four devices. One of those devices is the master of the SOE network and this status is logged by LV1. When sharing is enabled, the system may designate a new clock master. As the network evolves, the clock master may change multiple times. Should you decide to disconnect from the shared system, simply deselect Sharing and your system’s clock will be restored to its unshared configuration. eMotion LV1 Classic keeps a log of each device’s clock master status, whether the device is an individual system or part of a multi-system network.

To become the new master of a device and adjust its parameters, go to Set Master in the Devices menu and select the device.

To become the new master of a device and adjust its parameters, go to Set Master in the Devices menu and select the device. If the clock source is removed from a multi-system network, the network you can assign another device as the clock master.

It’s important not to confuse the clock master with the manager. Manager refers to the system that has admin privileges in a shared device. Clock master is the device providing clock for all devices in the network. Only the clock master can change the sample rate for the entire system.

The clock master device sets the sample rate for all devices in the system—everything locked to its clock adjusts to its sample rate. Although the clock master distributes clock at a specified sample rate throughout the system, it does not necessarily determine what that sample rate will be. This is fixed by the sample rate master, which could be the clock master, the mixer, or another system that provides clock. Almost any device with configurable sample rate settings can act as a sample rate master.

When set to Master mode, the Sample Rate menu setting instructs the clock master device to change its sample rate. This in turn changes the sample rate of all SoundGrid devices in the mixer system. The clock master supplies the requested sample rate from any of its available sources (e.g., AES, S/PDIF, Word Clock, Internal). The priority of clock sources differs according to the specific device. If none of these sources can switch to the desired sample rate, the clock master’s icon will turn red, as will the sample rate indicator. Audio will mute. At this point, you can choose to stay at the previous sample rate or find another means of clocking the system. Or remove yourself from the network.

When set to Slave mode, the mixer system sample rate is determined by another system. When the sample rate of the clock master device changes, the mixer automatically adjusts its sample rate to match.

The mixer system can receive clock from another system.

LV1 Classic comes with a built-in server responsible for running the console and performing plugin processing. This server is automatically assigned to the console upon launching and must always be assigned to slot 1.

You can assign up to three more servers for additional processing and up to four servers as backups. And you can also replace main server. ¹

¹ You can replace the onboard server with a different one if needed. Unassign the Classic server and reassign the replacement in its place.

The Servers Rack is used to assign, remove, and configure SoundGrid servers. Servers are assigned and removed in the same way as I/O devices.

Servers are organized into groups of two: A, B, C, and D. These groups are assigned to specific channels for processing, with assignments configured in the Channel and Mixer windows.

The server in Slot A is used for running the mixer and handling plugin processing. Regardless of how many additional processors are added, there must be a server in this slot.

The first server assigned to a group becomes the active server for the group and is labeled “Active.” The second server assigned to the group acts as the redundant server and is labeled “Backup.”

Servers are assigned and configured via the drop-down menu.

Server Groups B, C, and D are insert points to server A. Audio being processed in servers B, C, or D will be streamed round trip to/from the main server.

This additional round trip introduces a minimum latency of 64 samples. The actual latency will depend on the Server Buffer Setting.

The processing power of a server group is defined by the power of its active server. Since server A is the principal server, we recommend that you assign your strongest server to this slot.

Additional servers should be placed as close as possible to the main server. Ideally, they should also be connected to the same network switch as the main server assigned to Group A.

Server Assignment Notes

Server Status is indicated by the color of the text displayed on the server icon.

DSP Meters

The meter bars on a server icon indicate DSP usage of each of the server’s cores. There is one meter per core.

The solid bar areas display average DSP use per core. The yellow lines indicate peak usage, which is also displayed as a percentage above the line. Certain plugins can exhibit a high average/peak DSP ratio. This may cause overloads (momentary or constant) that result in audio drops. When adding many of these CPU-intensive plugins, the peak and average indicators will drift apart. In such cases, you may need to disable or remove certain plugins.

CPU Temperature Indicates the temperature at the server’s core, displayed in Celsius and Fahrenheit. Refer to the device’s user guide for temperature limits.

Operating ranges: ambient temperature is 0–35°C; Server CPU working temperature is less than 80°C.

Assign a second server to provide redundancy in case the primary server fails. The switchover to the second server occurs automatically and the switchover time depends on the session size. During this period, sound is muted. Redundant servers are labeled “Backup” in the Inventory.

The second server in a server group is used only for redundancy. A server group can have only one active server.

Test Redundancy

This test runs your session through the main and backup servers separately to confirm that each can handle the session without failure. If the backup server cannot meet the session’s processing needs, the session may not perform effectively if the main server fails.

The result of this test is either pass or fail. If the redundant server passes, then all is well. If it fails, you must upgrade to a faster redundant server or reduce the number of plugins in the session.

A server group can be assigned to any mixer channel—all plugin processing on that channel will take place on the designated server. This allows you to distribute your DSP load between servers to get optimal performance from them. DSP-heavy plugin racks can be assigned to different server groups to balance the load. You can assign these DSP-heavy channels to stronger servers, while assigning lighter racks to older or less powerful servers.

Server groups are assigned in the Patch Window internal Patch View (shown here at the left), which provides an overview of all or the server group assignments.

You can also assign a server group to the selected channel using the server-assign drop-down menu at the top of the plugin chainer in the Channel Window.

In the Mixer windows, the assigned server group is displayed beneath the channel’s name. You cannot set the server group assignment from the Mixer windows.

To access a controller’s control panel, assign the controller and click the gear button.

Fader Bank is a control panel for the onboard tactile controller. It provides a classic workflow with faders, knobs and toggles. Learn more about the fader bank in Appendix A in this user guide. This is the default controller.

MIDI Controller is an interface for remote control of functions using MIDI protocol. Refer to Appendix B for more information.

MIDIPLUS FIT is an external controller for LV1 that can be added to extend the tactile control options. Refer to the MIDIPLUS FIT user guide for details.

MyRemote is a control panel that enables global control over the mobile applications used to remote control all or parts of LV1 Classic and produce onstage-controlled monitor mixes.

Refer to the Waves Mobile Apps Startup Guide to learn about MyRemote and the following mobile apps that it runs.

The Routing View panel displays the status of network connections, showing how audio streams from one device to another. Each row represents a one-way patch between two devices or between a device and the main server. Note that a round trip between a server and a device is reflected in two one-way streams.

Routing View Columns

The origin of the network connection (I/O, server, driver).

The destination of the network connection (I/O, server, driver).

The number of SoundGrid channels in the connection. A SoundGrid network channel reflects a one-way trip between a device and the server or between two devices. This includes patches made in the Device-to-Device page in the Patch window, something that is not visible in the Rack or Overview windows.

Displays the count of the network packet errors for the connection. When an error occurs, the display flashes, and the count is increased by one. Click Reset to clear the error counts.

Other controls Reset Clears the Error count.

Un-docks the Routing View window

Use the Mixer Settings page to establish system-wide parameters and define how new sessions are configured.

The Mixer Configuration Panel sets the size and configuration of the mixer. The mixer can have 16, 32, or 64, or 80 or channels, and up to 16 stereo groups, 32 stereo aux channels, an L/R/C/M main buss, and an 8-channel stereo matrix channel, depending on the selected configuration. The maximum mixer size depends on your license.

If you are using an LV1 Classic, add an 80-channel license to enable two additional configurations. They are basically the same, except for these differences.

Option1: 80 input channels, 16 groups, 24 monitor aux mix busses Option2: 80 input channels, 8 groups, 32 monitor aux mix busses.

Each configuration provides an L/R/C/M main buss, and an 8-channel stereo matrix channels Changes made in the 80-channel configurations may be reflected in the Channel mode, Channel, window, navigation menus, side chain, user keys, and scope and recall safe panels.

Mixer size is normally established when a session is created, but you can change the mixer configuration of an existing session. Please note that if you reduce the number of channels in a session, the parameters in channels that are no longer part of the session will be discarded. Save a session under a revised name before you reduce its size. Mixer Layers without any channels are unavailable and their buttons are grayed out.

Refer to Appendix A of this manual for details concerning mixer licenses and configurations.

The Mixing Engine Performance panel sets the mixer’s internal processing priority, which affects DSP performance.

In the Latency Optimized mode, a processing cycle must include all signal processing paths, so there is no internal routing latency. However, processing in this mode can be less DSP efficient with certain plugin processors. In the DSP Optimized mode, processing can spread across several buffer cycles, regardless of signal path position. This parallel processing provides greater DSP efficiency, with increased latency on certain signal paths.

The network buffer is the amount of time it takes for audio to stream from the I/O to the server and back. This determines the maximum latency for a processing route. Set the Server Network Buffer size in the Server rack of the System Inventory page.

t = Determined by Server Network Buffer Example (Latency Optimized Mode) I/O Input Group Aux Monitor I/O Latency = 0 samples

In the Latency Optimized mode, processing takes place in a linear manner. All processing must be completed within one buffer cycle. There is no added latency in mixing, but plugins that exhibit large processing spikes can delay the entire processing chain beyond the limits of the network buffer. This is indicated on the DSP meter as a large average/peak DSP ratio (“B” in the image below).

The green area displays average DSP use. The orange line shows peak use. If this ratio is especially large, the processor may overload. A solid yellow meter (“C”) indicates that peak DSP load has reached 85%. To avoid audio drops, adjust your DSP use: (1) rebalance server assignments if you have more than one active server, and (2) remove or disable whatever plugins you can. If this doesn’t help, switch to the DSP Optimized mode.

t = Server Network Buffer + sum of all B paths Example (DSP Optimized Mode) I/O Input Group Master Aux Monitor I/O Latency = 16 samples

In the DSP Optimized mode, latency is determined by mixer internal routing. There’s better CPU headroom and efficiency, but processing paths spanning several buffer cycles can result in greater latency.

Certain paths will have zero latency, even in the DSP Optimized mode.

Example (DSP optimized Mode) The DSP meter displays the audio processing use in proportion to the DSP resources devoted to audio processing only.

I/O Input Aux Monitor I/O Latency = 0 samples

Sets alignment behavior of output I/Os.

Plugin/buss delay compensation is calculated automatically per group. See Appendix B for more on delay compensation.

Individual plugins can be excluded from compensation (Channel > Plugins Rack and Channels > Delay Groups).

Sets the rules for automatic saving.

Auto-save Options The mixer stores an unlimited number of auto-saved files. All eMotion LV1 session files use the emo extension.

These files are the same format as user-saved sessions but are stored in a separate folder. Access History files from the LV1 Admin section. Sessions and History files are stored here: Windows: Users\Public\WavesAudio\eMotion\sessions

History files are recalled in the Show window.

Show History Warnings Deselecting this button triggers a “Do not ask me again” selection for History Warnings.

The maximum size of the History folder is 17 GB. Once that size is reached, the oldest files will be deleted in 2 GB increments. Oldest files will be removed first. If Show History Warnings is selected, LV1 will alert you when the History folder has reached 10 GB. This provides ample time to save history files you want to keep. Manually delete History files using the Kiosk.

The entire mixer surface—or selected mixer actions—can be locked to prevent unintended structural changes in a session, such as adding, removing, or copying plugins, or changing external patches. Locking these controls does not affect parameters or internal routing. Activate the selected lock options with the Lock button on the right side of the Top Bar.

When Surface is selected and Lock is engaged, there are two ways to unlock the surface:

Fader bank: activate a user key that is mapped to the lock key.

Touch screen: press the Lock button.

You can also lock the application interface, with or without a password. This does not affect the mixer application, only the user interface. Locking the surface also prevents quitting the eMotion LV1 application.

Enable Logging

eMotion LV1 constantly logs its activity. Select Enable Logging to provide verbose logging for troubleshooting purposes. Click the Logs button to view or copy the log files. Send these files to Waves technical support if requested.

If more information is needed, a technical support representative may ask you to create and send a comprehensive diagnostics report of the SG operating environment, including certain details of your computer. To scan your computer and create a report, click Diagnostics. You will be presented with a privacy notice. If you agree to its conditions, a diagnostic report will be generated and saved to your desktop. When requested, send this file to Waves technical support.

There is a second tier of troubleshooting in the Admin kiosk Show Patch Warnings When selected, a warning is issued whenever any routing changes are made in the Patch window.

Legacy Send Pan

If you send a mono input channel to a stereo AUX Channel (or IEM) post pan (PSP), the send panner is redundant and so will not be displayed. If, however, you created a session with an older LV1 version using that panner, the session will open in Legacy Send Pan mode ON

When Legacy Send Pan is disabled, all the values of mono PSP panners in a pre-v16 session will be reset, and the redundant panner control will be removed from the interface. This action cannot be undone.

Update Plugin List - Scans the system for new plugins.

Channel Navigation determines which assigned plugin will open when moving from one channel to another.

Plugin Slot - The plugin slot number is maintained, regardless of the plugin. So, if you’re working on a plugin in slot 3 of channel 5 and you select channel 6, then any assigned plugin in channel 5/slot 3 will open.

Plugin Type - The type of the assigned plugin being edited will open, regardless of the slot number. So, if you are working with an eMO D5 and you move to another channel, the first instance of eMO D5 will open, regardless of the slot number.

Last Saved - Remembers the last plugin viewed on each channel. This information is stored in the session

The local media device is useful for recording input channels, stems, and board mixes. Any channel or mix can be patched to the recorder from the Output Route section.

Set Up the Local Media Device for Recording

Once the drive is selected, the available space (in MB) and time will be indicated. This time is calculated based on the maximum potential record channels.

For best results, we recommend using drives formatted in the exFAT format. We do not recommend using drives formatted NTFS.

To record console channel output to the Local Media Device From the Patch window

To record console channel output to the Local Media Device From the Mixer Or Channel windows

Each console output channel that is patched to a recorder channel displays a small red unfilled circle. This circle becomes solid red during recording. The recorder remains in standby whenever channels are patched to it.

Playback Media Player channels to the console

You can assign the Stereo playback using the Patch window or from a Channel Input menu

If Local Media is not available in the Patch, its driver may not have been assigned. If the recorder icon does not appear in the Setup–>System Inventory–>I/O Device rack, use the Network Devices menu to assign it to a device rack slot.

The eMotion LV1 Classic console features a built-in media player. You can use it to play music directly from the console for walk-in music, cues, background music, and more, without the need for external audio playback devices.

The media player is connected to the mixer using a SoundGrid ASIO device labeled Recorder, which is assigned in the mixer inventory by default.

Follow these steps to set up the media player and route the sound in the console.

Configure the Media Player