Shiny Stone Digital

Project "AXS"

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About

THIS PRODUCT IS CURRENTLY IN "PROTOTYPE/ALPHA".

Table of Contents

Foreword

General Information

This document is meant to help you operate your AXS system with a minimum number of problems and a minimum expenditure of time. Although we don't expect you to have a Computer Science degree, it is our expectation that the people who install and operate the system have reasonable knowledge of computer operations, engineering practices, and the way the station operates.

We realize you are anxious to get the AXS system up and running. But after years of experience with our products in all kinds of stations, we ask that you follow our instructions and take your time. There is a plan behind it all.

If you follow our carefully organized instructions and take your time to follow this plan, set up and understanding of the AXS system should go smoothly.

Shiny Stone Digital is not responsible for any errors, omissions or typos in this document. This document does not define the performance or specifications or contents of the software. We reserve the right to make additions, delete or change products without notice.

Setting Up the System

Shiny Stone Digital has assisted stations in setting up their systems since 1991 with over 95% of our stations having been set up without our support people coming to the station. The system works!

We want to make the process as EASY as possible for you. However, in that time period we have found several ways that stations manage to cause themselves unnecessary problems and frustrations during set up. Over the years we have encountered a few recurring problems so lucky for you, we can share some guidelines to avoid frustrations:

DON'T SET UNREALISTIC DEADLINES: It takes TIME to set up a system, whether you have someone come in to help or not. There is a LOT of work, both clerical and decision making in setting up a system. Don't be in a hurry.

READ THIS DOCUMENT: The information is in here. If it is not, then we will correct the problem as soon as possible. If you don't understand what you are reading, ask someone else in the station. If they don't understand, then feel free to contact us. In a large, powerful computer program like this, we cannot possibly have an example for every situation or a copy of every computer screen. Our support people are here for if you get stuck and cannot find the answer in this documentation.

THE TRADE OFF: By doing the installation yourself, rather than having one of our support staff coming to your station to do it for you, you are saving a lot of money. The ONLY way this will work is if you call whenever you need to in the beginning. Contacting us is cheap compared to the cost of an installer in your station for several days.

THE BEST WAY to set up your system: The ideal people to do this are the station engineer and the people who will use it the most. You really need to have someone that knows about the operation of your station and who is knowledgable of computer and the peripherals that need to be installed.

THE SECOND BEST WAY to set up your system: If you really feel after getting started that you need someone to help you in the station, then we will be glad to schedule someone to come in for expenses plus a very reasonable per-diem. The average stay in the station is only about two or three days. OR, it is quite possible that we may be able to find someone in your geographic area that has set up our systems in the past. If we approve them then you may be able to have them come in to help you on a private contract.

THE WORST WAY to set up your system:

CONTACT US IF YOU HAVE A PROBLEM. If you have a problem, please contact us. Don't spend time trying to figure it out. We can probably have the problem explained long before frustrations set in. Our support people are paid to help you. The only dumb question is the one you failed to ask that caused your station to go off the air and lose money. When you do call, please follow the instructions of the support technician. Failure to follow instructions or second guessing the technician will only complicate matters.

We try to supply sufficient people, equipment and phones so that you have a reasonable chance of getting through to us in most cases. There are some cases where we will call you, but they are very limited.

If you don't get an update or a fix that has been promised, contact our customer service director. If someone fails to return a call, contact our customer service director. Don't wait and get mad. We believe support is a two-way street so we provide ample means by which to contact us. If you don't want to call, then send us a FAX at our FAX number (817-???-????).

JUST THE FACTS: Support cannot help you if they can't figure out what, where and how you are having problems. It is not enough to say that you have a problem. Write down everything that is happening before you call. We don't expect you to know technically what is wrong. Just where and what seems to be the problem to you and the logical sequence how that it occurred.

TRUST YOUR PEOPLE: If you have a problem, we want to talk to the person operating the system. Working through second or third parties is inefficient and frustrating for everyone involved. In fact, support is authorized to refuse to try to help in situations like this, if it becomes too difficult. We want to speak with the person(s) using the system so we can teach them in the best way to utilize the system. When working with our people, take your time and explain everything. Listen carefully to the explanations and suggestions from the support technicians.

TRUST US: We've been around since 1991 and have hundreds of systems just like yours in the field so we must be doing something right! Follow the instructions of the support technician and things will go faster and smoother!

LEARNING TAKES TIME: The first few weeks of setting up any system from any supplier is time consuming, no matter whether you have on-site help or not. There is some learning, some decisions to be made and a lot of clerical-type work to do. There is no way to avoid it. The best way to handle it is to plan ahead, read this document and contact us with questions.

WHERE'S MY UPDATE: Occasionally someone finds a bug that needs a "fix". If support says that they will send out an update as soon as they can, that doesn't always mean the next day or even a few days. Sometimes other pressing occurances intervene, or the fix takes a long time to figure out. We don't mind your contacting us to see about the progress, but please exercise some patient with us.

THE GOLDEN RULE WORKS: Nobody likes to have a problem. And it is even more irritating to have a problem that doesn't offer a solution rapidly, however, please be respectful of our staff. They are authorized to terminate calls where clients are not co-operating, are rude or are abusive.

WE KEEP TRACK OF WHO YOU ARE: Every support interaction that comes in is logged; there is a complete support file on your station and we look at all of them periodically.

WE NEED YOUR HELP: If you are asked to try something on your system and then contact us back with the results, then please call back! Or, if you are asked to send a backup of your station data files so that we can recreate the problem on our systems, then please send us the information! Sometimes this is the only way. If you don't, then we cannot help!

Software Support Policy

It is the intent of Shiny Stone Digital to support all of the computer software that it provides as fully as possible. The following statements detail the current software support policy. Shiny Stone Digital may change this policy from time to time without prior notice. A copy of the current software support policy statement is available upon request:

In lieu of a direct remedy, Shiny Stone Digital reserves the right to offer a substitute program as part of a general update. If the customer does not accept the update offered, then no other attempt will be made to fix the operational error in the existing program.

Sensible Precautions

Uninterruptable Power Supply (UPS) systems (highly recommended): Many stations are now guaranteeing that they will not have the problems caused by either microsecond or long-term power failure by installing a UPS. We highly recommend that a UPS be connected to every device on a network. A UPS provides enough battery storage time for you to shut down all attached devices without losing data.

Error Codes: You are likely to get some error code on the screen occasionally. The system will "pop" a box on the screen that has the error code, an error description and ways to get out of the situation. You should always write down the error code and description. Then when you contact us for assistance, we can help immediately. There are several things that can cause these codes:

Summary: Don't hesitate to contact us! We would like to talk to the person who is operating the machine. We promise that we will not talk computerese to people with problems. Most of the time, simple questions can produce answers to error codes and other problems. Customers calling for support must do so on our 817-631-3266 number or will be asked to call back.

Suggestion a Feature: We are always open to possible improvements, ideas that will make the program run faster, or give better information or be easier to use. Please remember that this program is provided for general use by many stations and that we may not be able to use an idea that would be great for you alone but might be a disaster for others. But don't hesitate to bring them up. We can't say yes to everything, but we aren't able to ever say yes if you don't ask. We are always interested.

Station Start-Ups: It would help if you would contact us in advance and let the support people know that you are getting ready for initial startup. We might have some suggestions as to the best days, times, etc.

Customer Service Director: If at any time you feel that your needs are not being met or if you have a complaint, please contact our customer service director. Our support people are not equipped to nor are they allowed to handle non-support related issues.

Chapter 1 - The AXS System

Overview: AXS is a premium level digital automation controller that can be used in both live broadcasting and as a limited live assist partner. AXS combines digital recording to hard disk with a log event sequencer that replaces the paper broadcast log. Like regular audio cart operations, the production room equipment is used to record audio cuts of all kinds. AXS can run in any of several modes and may switch between them on command.

Start Screen

When not in operation mode (main screen), the start screen...

(TODO)

Main Screen

This is the screen you will use to run and monitor your station. If you are a single computer (control tool only) system, leave this screen only when absolutely required as doing so will (most likely) "take you off the air".

Production Screen

The Production screen is used to create, edit and maintain your audio cuts and the "cut index".

Log Editor

This is the screen you will use to create and maintain your logs. While editing may also be accomplished from the Main Screen, it is better to edit your logs ahead of time using the log editor.

Time Record (Optional)

You will use this screen to record the audio cuts that will be used for the optional time announce feature.

Real-Time Scheduler (Optional)

This screen is used to control the Real Time operations of the AXS system. It allows you to establish a specific time for an event to take place within AXS.

IOMAP (Optional)

View and modify the "virtual patch panel" (configurable input/output) used in AXS.

The EWC.INI

Proper setup of this file is crucial to the smooth operation of your AXS system. Editing this file should not be done unless absolutely required and only under the supervision of someone on AXS support. The potential for serious system lockup or failure is high if errors are made in editing this file. Make your entries very carefully, as the wording and spelling must be exact. It is a good idea to make a backup copy of your EWC.INI file when you receive your system and immediately after any changes are made. A copy of a typical AXS.INI file is included as part of APPENDIX 2 at the end of this documentation. It is not intended to reflect your file, it is strictly for familiarization.

Keyboard Controls

By using individual keys and key combinations on the keyboard, the jock or AXS operator may perform various operations. A full description of key combinations is included as a table at the end of this chapter.

Setup Guidance

The following is a simple set of guidelines and suggestions that will help make setting up your AXS system a little smoother. They are not intended to walk you through the entire setup procedure and should not be used as a final setup checklist. Please read this entire section in advance so that you have some idea of the sequence you must follow and so that you can do some preplanning. Be sure to read the material in the rest of this documentation as well. AXS has been designed for installation by the customer. However, it is a mistake to assume that this system can be installed by novices with no knowledge of broadcasting, broadcast programming, some basic computer literacy, or without a certain amount of competent technical help. In addition, the installation procedure and testing involve a good deal of data entry, audio recording and dubbing, some time for wiring, and time for testing before placing it on the air. Do not expect to setup AXS overnight or even over a weekend. Careful advance planning is necessary, and enough time should be allowed to get the system on without pushing it to the last minute.

Traffic & Billing

If you are attempting to install a Traffic & Billing system at the same time, then allow a lot of extra time to get everything running. Traffic systems take far longer than Digital Audio Systems to install and if you are using a Traffic Interface to load AXS, then the system must be at least able to produce a log for the interface to use.

Music Scheduling

Long before AXS is to be used, all the work of loading hard disk music database into a computer music play list generator program should have been done. Each music selection should have had proper cart numbers assigned and sample play lists should have been generated. The log interface that combines the Traffic log and Music Log into an AXS log should have been tested to be sure that they log is exactly what you want in terms of a format and that can be aired by the AXS system.

There is a correct order in which AXS should be setup. Don't skip around. If your AXS system consists of several computers which are linked together over the local area network, then certain parts of the setup can be done simultaneously. However, we suggest that you avoid wasting time by following these steps exactly. Please contact AXS support at any time with any questions during setup. We will assist in every way possible short of setting the system up for you.

AXS Setup Guide

[ ] Read the Installation and Technical Manual thoroughly. It has specific information about how to wire your audio sources and other components to AXS. This technical documentation is provided separately from this reference documentation and is the guide to the technical portions of the systems which will be covered very generally in this reference documentation.

The Technical Manual is specific to your system. There are at least two optional audio mixer/switchers plus several other combinations of equipment that may make up an AXS system. If there are any questions, please contact AXS support.

Note: AXS is designed to be set up and operated by the customer. While some basic programming has bene provided with the AXS system for your convenience, it is not the function of our support staff or our company to totally program the system. It is the responsibility of the station management to provide enough competent people that will read the documentation, learn the system by example and to gain enough experience to operate the AXS system effectively on a day-to-day basis. Because there is so much variety in station formats and operating procedures, Shiny Stone Digital can only help those that are willing to help themselves.

[ ] About RF

All the broadcast engineering good practice requirements apply to AXS. There is no magic bullet to avoid RF or noise or control interruption on overly long cables. If you have RF near the installation, then use exercise good engineering practices during installation. If you don't know what "good practice" usage is, then consult a broadcast engineer.

We do not recommend the installation of any AXS components next to, or in the same rack with, a powerful transmitter. Audio cable runs should be shielded wire and good practice terminations. Control cable should be as short as possible and well terminated. Flat ribbon cable should be as short as possible and certainly not over about 6-10 feet long.

Remember that PC components emit RF and care should be taken with placement around consoles and other devices with high gain inputs.

[ ] Computer System Assembly (Customer supplied computers)

Customers that have elected to supply their own hardware must be sure that these units have been properly set up and tested. It is recommended that care and consideration should be given to whether to keep the system "clean"; meaning no other software other than the operating system and AXS be installed on the machine.

[ ] Local Area Network (LAN)

If you are going to use the system in a network configuration, verify that your local area network configuration is working as intended (separate of testing with AXS).

[ ] Digital Audio Device(s)

The AXS system contains one or more digital audio devices.

[ ] AXS Software Installation

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The installation will create several directories under C:\AXS.

[ ] Designated Computers

The customer should determine which machines will be utilized for which purposes (Control, Production, etc.).

[ ] Audio Cabling

Test the level and phase of the audio cable from the outputs of the AXS Control and Production systems and the audio cable from the console to the recording inputs of the AXS Production system. If the sound is tinny or distorted, it is probably out of phase. Don't assume that all audio inputs and outputs of your audio chain are in phase. Test each one carefully. Check your audio ground plane for loops and avoid grounds of any kind.

[ ] Cable Installation

Audio cabling from the AXS outputs and to the AXS recording inputs is supplied by and installed by the customer. Specifications are included in the Installation and Technical Manual. Pay attention to phase, impedance and level. When setting up the recording output from your console or other source give careful attention to the output level requirements as detailed in the Technical Manual. Any digital audio system is critical about recording level. Over modulation cannot be tolerated. If the record level is not set correctly, then the system will sound bad.

[ ] Cabling the computer and other hardware

Using the Technical Manual and any necessary help from AXS support, be sure that any of the computer hardware that is supplied with AXS is setup and operating properly. If you have multiple AXS units that are interconnected through the LAN, test the operation. Using the sample audio cuts supplied with the AXS system, be sure that the connections to external program lines and/or consoles are correct. Test the incoming Record lines from the dubbing source or console for proper operation.

[ ] Audio Quality

The AXS system is shipped to you with a couple of audio cuts that have been recorded for test purposes. Please route the audio outputs into a reasonably good monitoring system and listen to the cuts at a normal level.

[ ] System Setup

If you purchased the complete system, then your AXS system has had a preliminary setup for defaults and for the use of correct "paths" between multiple AXS units (if used) according to the information that was supplied to Shiny Stone Digital. However, it would be a good idea to call AXS software support and have them review the setup before you get started.

If you are supplying the computer hardware, then you must check to be sure that everything is set up correctly according to the instructions.

[ ] Program Format

It is the responsibility of the user to enter and maintain its programming format. One or more persons should be able to handle major and day-to-day changes. This will require thorough reading of this documentation and hands on work with the AXS system. The AXS system that was shipped to your station has been set up to have a sample format installed on the Log and Cut Indexes. Major programming changes can be quite complex to visualize and very time consuming. Please allow adequate time for the changes. If you need help, it may be necessary that we have you provide your format information to us upon request.

The following steps will begin the actual process of entering all the audio, data and other information that will be required to get AXS on the air. This will be done on the AXS Production system and then transferred via LAN to the Control or On-Air system. Stand-alone Control systems must do their setup work on the integrated Production screen.

[ ] The Cut Index

Each audio cut in the AXS system must have an identifying "cut" number. In addition, specific cut numbers are used for control purposes and for identifying "rotations" of related audio cuts or spots. A "cut" number can be related in some ways to the "cart" number you may have used, expect that each audio cut is handled individually with its own Start and End as well as other characteristics. Each audio cut must have a "cut" number before it can become part of a Sub or Rotation table. A suggested "cut index" or audio cut number scheme is included in the end of the documentation and is in place on the AXS system when you receive it.

Important Note: It is necessary that each user follows the Cut Index numbering scheme that is listed elsewhere in this documentation and in the Installation Manual. We will not be able to provide effective AXS support to stations that will not follow the numbering scheme.

[ ] Dubbing Spots

Record or dub all your existing audio cuts into AXS using the Cut Index numbers. The AXS Production screen is the fastest way to do this. You will probably want to just dub from your existing carts through your console to AXS. Record all commercial cuts, promos, PSA's, liners, jingles, drops and all other audio that will air on the station. Read the section on the AXS Production screen and all the options that can be used.

[ ] Audio Cut Titles (Cuts 2000-9999)

The only cut numbers that can be used for recording digital audio cuts are those above 1999. All the cut numbers below this are used for control, user or rotator cut numbers. Please follow the suggestions in this documentation for arranging the audio cut numbers and for the best speed and control avoid throwing audio cuts in far flung locations. Try to keep as compact a group of audio cuts as possible. Try to plan ahead and group all the audio cuts for one client or sponsor together for convenience.

[ ] Rotation Tables (Cuts 0450-1999)

Once all the audio cuts have been recorded, it is time to consolidate all the commercial spots together under one cut rotator number for each sponsor and to assemble the user Schedule cuts, the Sub Fill cuts and all other non-commercial audio cuts into groups in Rotators. This is accomplished by creating Spot, User, and Fill rotation tables. Rotators are essential to easy operation of any digital audio system and provide great power and safety to the system.

NOTE: Even as flexible as Rotators are, Rotators may not be used inside Rotators.

NOTE: Satellite stations MUST NOT ignore this step. While the use is optional, these Sub cuts are crucial to the correct operation of the AXS system, particularly with Satellite program services. Without "Sub" tables, the AXS system will return to SAT channel if fill material is not present or due to a lack of legal program material.

[ ] Cluster Markers (Cuts 051-0075)

(Optional for Live segments or users that do NOT "time" their spot sets) Cluster Markers are "control" titles from the Cut Index that identify the beginning of a timed spot set. Read the reference section in this documentation on Cluster Markers. When cluster markers are used, the AXS system can control the exact length of the spot set by using the optional set fill routines of AXS. You may edit the cluster marker cut numbers to fit the station needs as to spot set length, if necessary. If possible, however, use the ones that are already assigned to keep uniformity and aid in AXS support help. The standard cluster markers should fit almost every spot set length available.

The use of cluster markers if required on AXS systems using satellite formats with fixed length or precision length spot sets or if an external interface is used to a Traffic System and may be required by certain formats. This is done from the AXS Production screen. While some AXS formats may not require the use of cluster markers, it is generally a good idea to use them to define the spot sets to allow some Music systems to plot music layout more carefully.

[ ] Create Macros (Cuts 0350-0449)

(Optional) If you have complex program requirements that could be solved by creating repetitive segments that can be called from a single entry on the AXS Log or in the Real Time Scheduler (RTS), then define your needs, read the section on MACROS in this documentation and call AXS support if you have any questions.

[ ] Adjust Traffic Logs

Make any changes that are necessary in the cart our source number schemes in your Traffic system (if any) to produce a correct list of the cuts to play.

[ ] Backup

Be sure that you have a complete backup of all the audio cuts on your AXS hard drive when you are finished dubbing. Transfer all the cuts from your Production AXS system to the Control room or On-Air system via the LAN. This can also be done on a cut-by-cut basis by selecting a cut number, pressing the (F2) key to display the "Transfer" menu and then sending the cut to the proper AXS system. However, the fastest way to do this is to copy over the network. If you don't know how to do this, please contact AXS support during regular business hours.

CAUTION: If you don't have a backup AXS hard drive system, then this is the time to decide what you are going to do if the On-Air computer fails, as it may at some time. Plan now, don't wait until you are losing money by not getting your spots and programming aired.

[ ] User Titles (Cuts 0300-0399)

(Optional) Create any User Titles that you need to make your daily log more descriptive to the AXS operator. These are not audio cuts, they are for cosmetic use on your daily log only. They may also be passed to the AXS log by some traffic interfaces. The cuts give form and structure to your AXS log, especially if you do lots of Live or Live Assist.

[ ] Create Master Logs

If your staff has decided to handle the creation of AXS logs by hand without use of an interface from a Traffic system, then you will need to create Master Logs as templates that spots and other programming can be loaded daily. After all the above information has been completed, follow the steps below to assemble your master logs.

NOTE: It is not practical from a time stand point to attempt to load an AXS system by hand through master logs. While it can be done, it is necessary that the Log Edit program be on either the Traffic or Production computer and connected by LAN to the main Cut Index.

While some AXS systems come with a generic Master Log, editing is generally necessary for periods of Live Assist or when secondary audio programming sources are used. In a few cases, the station may not have a generic format and may need to build Master Logs from scratch.

This editing is done from the Log Editor. Using the supplied Control and Avail cut numbers, your Cluster Marker Cut numbers and any User Titles or markers that you have created, assemble a series of Master Logs that accurately reflect the on-air programming that you want. Follow the guidelines in this documentation.

NOTE: The AXS Log Editor is reached by selecting "Log Editor" on Start Screen. Please read the reference material on Log Editing thoroughly before building your Master Logs.

NOTE: If you are using a Traffic and Billing system and have the optional traffic interface software package, it is NOT necessary to create any Master Logs. The entire Traffic Log is transferred to the AXS Daily Log. The Master Logs in the Traffic system may have to have some minor formatting changes.

At this time, there are some other Traffic system vendors that have developed interfaces to AXS that should eliminate most of the Log building work. However, Shiny Stone Digital is not responsible for the accuracy of these third-party interfaces, nor for support of the interfaces or its interaction with AXS.

[ ] Special Programming Requirements

AXS is a very flexible system. When you inquired into the system you were asked as to any special requirements that your system might require. The system shipped to you is equipped to handle those requirements as they are explained to us. However, if this information was not provided, then in some cases either addition components or software or both may be required to meet your needs. If your station is using an alternate News network audio source, taking programming from more than one satellite audio source, using a program source that does not use a standard satellite receiver/decoder or if you have purchased the system with known special requirements of any kind, then the Logs and some of the AXS programming may have to be adjusted to accommodate these requirements. This work must all the done before you place the AXS system on the air. Quite often special work like this is time consuming so please leave plenty of installation and testing time for this. Contact AXS support during regular business hours to go over these special requirements.

[ ] Create a Daily Log for Testing

Most AXS systems are supplied with a sample Daily Log in the generic format of the programming service being used or in the general spot set format. This is generally perfectly adequate for testing the functions of the AXS system and its integration with a satellite receiver, and automation system or a live operator. Specific AXS logs will have to be created to adequately test the system.

Another approach is to use a Traffic system with an AXS interface and produce the Test Log directly from this unit. Loading this log will help you tune the Traffic system log to meet the needs of the AXS system.

If it is necessary to build a test log, either modify the log with the AXS system or use the Log Editor and a Master Log / Template Log and a current Traffic Log for the date, entering some commercial audio cuts into the avail positions. Save this Daily Log under any convenient date.

[ ] Test the Daily Log from the AXS Screen

Before any testing is done, double check to be sure that all audio cuts have been entered, rotators created, substitution spots created and loaded and that any Jock Schedules (if required) and other setup requirements have been completed. It will do no good to "test" a system with an incomplete setup.

From the AXS screen, load the test Daily Log, place the output of AXS into an audition source on the console and then run the Log. This will give you both a visual and audio test of the operation and will disclose any areas that have not been setup or have been overlooked. Call AXS software support with any questions.

[ ] Satellite Operation

If your station is using a Satellite programming service, test the operation of the audio cuts or rotators that are linked to the control closures to be sure that they are interacting correctly. Obviously, the physical installation of the computer, display, audio switcher, the satellite receiver closure wiring and the audio wiring should have been checked and double checked before this test is run.

[ ] Music Operation

Be sure that you have all the audio and music (if any) cuts made and placed in rotators, that all Jock Cuts (if used) are available and that the interface from the music scheduler system is producing an AXS log that looks correct when it is loaded.

Take Your Time!

It is a serious mistake to try to rush the installation of a system like AXS. This system is going to be expected to duplicate and perhaps improve on an operation that is sometimes difficult for live persons to do well. In fact, AXS may be asked to perform functions that are almost impossible to do in live operations. There is a definite "learning curve" that the operators must go through and the system should be "fine-tuned" in order that it is operating in exactly the way you want it to before it is released for long term operation. Throwing the system on the air with untrained people and in an unprepared manner will only reflect on the way that your listeners perceive your station.

[ ] Final Testing

With all audio cuts loaded and accurate daily logs in place, monitor the entire AXS operation for long periods of time to be sure that all the programming is accurate, that your audio cuts are tight and that they are of the right length, and that the overall "sound" is exactly what you want. This is the time to "fine tune" the operation before it goes on the air. Contact AXS support during regular office hours with any questions.

[ ] On-The-Air

When you are ready, place AXS on the air for extended periods of time under supervision. Make whatever corrections are necessary before you let the system operate unattended for any long period of time.

AXS "Hot Keys"
F1 F2 F2 F3 F4 F5 F6 F7
Gets Help Screen Jock F/X Box Appears Displays Load Templates Window in Edit Blank Log Mode Quick F/X Box Appears Toggles Between Sweep and Live Mode Start Play in Green Play Panel Stops Play in Green Play Panel Stops After Even in Green Play Panel
F8 F9 F10 F11 F12 C E I
Fades Event In Green Play Panel Activates Edit Mode for Air Log Select Digital Audio Windows Appears in Edit Mode Select Song Windows Appears in Edit Mode Allows a GoTo in Edit Mode Toggles Entry of CD or Digital Audio Toggles Edit Air Log Mode ON Toggles Info Screen ON/OFF
J P Q S space space T tab
Activates Jock F/X Pages Activates AXS Production Screen Activates Quick F/X Box Toggles Sweep Mode ON/OFF Toggles Expanded Log View 1 ON/OFF In Jock F/X Mode Allows Direct Page Selection and GoTo Returns Air Log to a Point In Line with Current Programming Toggles Between Expanded Log View 1 and Log View 2
V Z up down pgup pgdn esc
Toggles Expanded Log View 1 ON/OFF Gives Expanded Information On Highlighted Event Moves Black Bar Up One Event In Edit Mode Moves Black Bar Down One Event In Edit Mode Moves Black Bar Up 17 Events In Edit Mode Moves Black Bar Down 17 Events In Edit Mode Exits Current Screen or Activity and Returns to Main or Production Screen
CTRL +
F4 F5 F6 F7 F8 A C S
Toggles System Between Live and Sat Mode Starts Play in Blue Play Panel Stops Play in Blue Play Panel Stops After Even in Blue Play Panel Fades Event in Blue Play Panel Permits Auditioning of Audio Cuts and Live Copy/Text Copies Selected Line to Edit Buffer Swaps Selected Line with Line in Edit Buffer
T V X pgup pgdn home end
Time Reset To Include CMOS Clock Pastes Line From Edit Buffer Cuts Line To Edit Buffer Page Up 100 Events In Edit Mode Page Down 100 Events In Edit Mode Move To Top of Log In Edit Mode Move To Bottom of Log In Edit Mode
ALT +
F2 F3 F5 F6 F8 F9 F10 F11
Load Log Window Pops Up Exits to Real Time Scheduler (RTS) When Allowed Start Play in Red Play Panel Stops Jock or Quick F/X By One Event Kills Current Jock or Quick F/X Event Brings Up Log Editor Screen Brings Up Production Screen Exits to Music Manager When Allowed
F12 1 2 3 4 5 6 7
Exists AXS to Program Defined in EWC.INI Toggles AS-28 Channel 1 ON/OFF Toggles AS-28 Channel 2 ON/OFF Toggles AS-28 Channel 3 ON/OFF Toggles AS-28 Channel 4 ON/OFF Toggles AS-28 Channel 5 ON/OFF Toggles AS-28 Channel 6 ON/OFF Toggles AS-28 Channel 7 ON/OFF
8 A D I P T X
Toggles AS-28 Channel 8 ON/OFF Saves Edited Log Toggles Device Separation Column ON/OFF On-Air Log In Edit Mode In Edit Mode Inserts 0030 Cosmetic Space Into Air Log. Log Must Then Be Saved. Toggles Protection ON/OFF In Production Mode Toggles Time To 12 or 24 Hour Format Quick Exit
SHIFT +
F1 F2 F3 F4 F5 F6 F7 F8
Plays Quick F/X 1 Plays Quick F/X 2 Plays Quick F/X 3 Plays Quick F/X 4 Plays Quick F/X 5 Plays Quick F/X 6 Plays Quick F/X 7 Plays Quick F/X 8
CTRL + SHIFT +
F1 F2 F3 F4
Stops Audio Playback On Card 1 Stops Audio Playback On Card 2 Stops Audio Playback On Card 3 Stops Audio Playback On Card 4

Chapter 2 - AXS Main Screen

Overview

The AXS main screen is displayed below. On the computer screen, the three play panels on the right side are green, blue and red from top to bottom. The log panel on the top left is grey with the three lines as green, blue and red which reflect the play panel status. The control panel at the bottom left displays a series of buttons which are used to access the system. These buttons are identified by familiar icons which make operation easier. The clock at the top of the log panel displays the current system and system mode of operation, SWP for Sweep Mode, LIV for Live Mode and SAT for Satellite Mode.

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The AXS system does not limit operator control. While almost everything except event entry during system edit can be operated by a mouse, each function has a keyboard equivalent and many functions may also be operated by and optional external button box using physical logic closures. AXS will also fully supports touch screen operation. We suggest the monitor be at least 17" or greater for easy operation.

The Play Panels: There are three play panels stacked on the right-hand side of the AXS screen. They are the event or cart NOW PLAYING (top green panel), followed by the NEXT TO PLAY (middle blue panel), and the READY PANEL (bottom read panel). This design is meant resemble the classic three stack cart playback machine. The top two play panels have individual operator controls. The look of each play panel changes slightly depending on the type of cut or event that is cued now.

As each event is completed and the next is started, the panels change rapidly, moving toward the top or NOW PLAYING position. The panels shown are fora typical station operating in the Sweep Mode. The information fields can be changed by the user through the EWC.INI file. For example, the TITLE field can the changed to read SONG TITLE.

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CAUTION: Contact AXS support prior to making any changes to the EWC.INI file.

The Digital Audio Display

If the event in a panel is an audio cut, as it is in the bottom ready panel, the panel shows the cut title, the cut number, the cut length, the cut type, and the EOM or End of Message. If it is "00" seconds long, it means that on this cut there is no end of message to trigger the next event while the spot is still on. While there is no Sponsor name listed, this may be changed to read OUTCUE to provide the Jock with additional cueing information. With digital audio, a representation of a VU meter is shown.

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Event Timer

The box to the right of the VU meter is the Event Timer. Before the event starts, it displays the total length of the audio cut. When the event is started, then it becomes a countdown timer showing the minutes and seconds remaining in the cut.

Panel Buttons

There are four control buttons on both the NOW PLAYING and NEXT TO PLAY panels. The desired action can be started by pressing the button with a mouse, by pressing a function key or a remote push button.

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Pressing the (CTRL+F5) keys will start the event in the blue NEXT TO PLAY panel either fading or overriding the digital audio cut in this panel.

Pressing the (ALT+F5) keys will start the event in the red READY panel if it is cued and will skip over the event in the NEXT TO PLAY panel.

WARNING: The stations with more than one card capable of play back operation, moving an event out of the NOW PLAYING panel by pressing the play button in the NEXT TO PLAY panel, (CTRL+F5), or (ALT+F5) will cause the two events to overlap and should be avoided unless this effect is desired.

The Air Log Panel

The upper three quarters of the left-hand side of the AXS screen contains the AXS air log panel. The log display panel is placed just under the AXS logo and the system time display. The log is the list of events that will be aired by the AXS system under operator control. AXS simply plays what is on the log, in sequence. The log can be viewed in two optional expanded formats that will be discussed later.

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The log can come from a lot of places. You can edit in to a blank log on the fly. If you don't have a traffic system with an interface, then the AXS log can be created on the log editor that is supplied with the AXS Production room. It's even possible to use nothing at all in the way of a log. Edit in cuts as you go or just work out of the Jock and Quick F/X boxes as you go. The point is, that you are in control. AXS does what you want it to do, without much compromise.

This log can be loaded in through an interface from many popular traffic and billing system. Or, the log may be created by hand on the AXS log editor that is included with the production room system. In addition, the log may be created on-the-fly from the control room using the (F9) key or by pressing the edit icon on the control panel.

Notice that the three horizontal colored bars are placed on the event NOW PLAYING (green), the NEXT TO PLAY (blue) and the READY (red) event lines. As you may notice, they correspond to the colors of the play panels. Any spaces or events in between these lines will not be aired but are there to give form to the log. The events shown on the log are also color coded according to the following scheme:

Not only does the AXS log panel mirror the status of the events in the three right hand play panels, in the edit mode the log may be scrolled by the operator to check on upcoming or previous events and is used by the log edit and goto control buttons below to act as a work space. No matter what else the operator may be doing with the AXS system, the three play lines (green, blue and red) of the log are always available on the display.

The log displayed is in the Sweep mode. In the Live Mode the log shows a distinctive marker for the cosmetic space separations. If the space is a red cube in it, this is a signal that event sequencing will end after whatever is playing before. If the space has a green downward triangle in it, then events will sequence through. This lets the log designer create space without creating problems. Any of these spaces may be overwritten with spots or music inserts at any time.

Loading an AXS daily log

Pressing (ALT+F2) will bring up a window that can be used to change the currently loaded daily log or to import a new daily log to the list of available logs that can be aired. The log that is currently running is displayed in the loaded window. The bottom window shows the number of logs available and which log is highlighted by the cursor.

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General Log Editing

We assume that you have loaded or created a log and that it is now in the AXS system and is showing on the left side of the screen. In this case, just assume that your traffic person has loaded it last night, before you came on duty. By pressing (F9) or the edit icon, you can edit that log. The only things you must remember are that you must either use an empty space on the log, insert a blank line or overwrite an existing event. If you want to pick a digital audio cut or edit into the log, press (F10) to display the Select Digital Audio window. Then use the mouse or the (up) or (dn) keys to highlight the digital audio cut you want to place onto the log. Press (enter) or click the SELECT button in the window to place it onto the log. Rotators and Macros may also be entered in the same way. Press (esc) or the right hand button on the mouse to close the window. If you have hard disk music in your system and have a database from a compatible music play list generator, you can edit in new songs or cuts by pressing (F11) to display the select song window. The information in this box can be sorted and then displayed by Title-Artist, Artist-Title, or Length-Title by selecting SORT with the mouse and highlighting the option you wish to sort by and then pressing (enter). Then use the mouse or the (up) or (dn) keys to highlight the song you wish to select. Press (enter) or click the SELECT button in the window to push the song onto the AXS edit log. Press (esc) or the right mouse button to close this window.

You can flip back and forth between the scrolling edit screen and select digital audio / select song screens by just pressing the tilde (~) key.

Direct editing is even easier: If you know the audio cut or song title number that you want to place on the log, then go into edit (F9) and just type the cut number and press the (dn) or (enter) key to go on. Even the real time at the far left of the log screen can be edited by using the (tab) keys. Another method of direct editing can be accomplished by finding a cosmetic space or song avail, pressing (c) or (+) and then entering a song number. DO NOT select an event on the log that is already filled. Doing this will cause an overwrite and a digital audio index number will be entered in place of the song.

WARNING: ALL editing of the log currently running must be done utilizing the air log in (F9) edit mode. Editing the current log through the production computer and then transferring the edited log over the LAN or by importing it from a disk or by using the control room log editor will result in severe problems with AXS.

  1. Adding Time: Any event or line on the AXS log can have a time (hours, minutes and seconds) tag added to it. When in the edit mode on a line, then press (tab) to move the editor into the time columns on the far left. Enter the time that you want, then press (tab) again to return to the regular edit mode. In normal operations, the time display is for reference and may have been downloaded from the traffic system. However, in the Sweep and SAT modes of operation, these times may be used for update points to control the flow and content of the music or other program features.

  2. AXS Cut Index Codes Reviewed: AXS uses a set of numbers called a Cut Index ranging from 0001 to 9999 to identify audio cuts, pieces of copy, user log titles, and control codes. Don't worry too much about these, there' very easy to use. Here are a few of the most used:

    • Spot Avails (0004-0009): This is basic. Reserved Avail markers are the locations on the log that are reserved for spot sets. These avail sets can be placed at random with only relative time or they can be displayed with a time on the Master Log. However, most users will place a cluster marker with a time entry at the beginning of a spot set. At the beginning, just use cut number 0004 as a standard avail marker on the log. Spot or cut avail codes of various priorities. In most cases, just use 0004 unless you need a special avail marker.
    • 0010: (Form Feed) (Optional) This cut is totally ignored on the log screen but forces a printer to a new page when it is encountered during printing. If you are not going to print your AXS logs, then this cut is not necessary. This code is produced and used by the Traffic-to-AXS interface as well.
    • 0011: A standard cosmetic space. Also used as an implied sequencing stop when in the Live mode. Shown on the log as a red cube.
    • 0030: Cut number "0030" is a special cosmetic space used for log formatting that is ignored by the system in the Live, Sweep and Auto modes. It is used primarily for spacing out the log and to leave spots to edit into if required. In the live mode, it is shown as a green downward triangle.
    • Cluster Markers (0051-0075): These reserved titles define the beginning point and length of each spot set for use in the AXS system. They can be located on the AXS log with or without a time as desired. Cluster markers should always be used in automated segments. There are two types of cluster markers: the most common is the option type (MK) which may or may be filled and the must fill type (MF) which requires that the AXS system automatically fill the spot set to avoid the consequences of a dead break getting on the air. These designations are placed in the type field of the cluster marker. These cluster markers are used to show spot set length. Useful, but not always required for AXS. They will however, be used in some advanced versions of AXS for better format control. Cluster markers are required for Satellite systems for spot set time control.
    • Control Titles (0001-0299): These reserved titles are used to send signals to external controls or to make some special operation happen inside AXS. For example, control titles 0013 to 0015 are used on the log to switch modes between Live, Satellite and Auto modes. Control Titles are not always required. Before adding any control titles, always check with AXS support for advice.
    • Jock Schedule Sensitive Cuts (0291-0299): These cut numbers are reserved for Jock Schedule Sensitive cuts. When one of these cuts is placed on the AXS log, these control cuts essentially duplicate the effect of the satellite closures or other programmed cuts. For example: If external closure #1 has been programmed into the system to start a rotation of ID audio cuts, then this same action will result when the cut number 0291 is encountered as an event on the AXS log. These special calls or cuts are especially useful in automated music operation because the cuts will follow the jock schedules to bring up the right voice at the right time.
    • User Titles (0300-0399): These titles which are in the cut index area from 0300 to 0399 are for any non-audio or non-copy use you wish. Generally, they are used to create a title that can be displayed on the AXS screen. These titles are just for use by the operator. They can be names of programs, reminders or for any other useful purpose. User titles are NOT required and need only be used if the station wants them. They add depth and readability which is especially important in Live or Live Assist periods of operation. They are not necessary as you begin to learn to create logs.
    • Macros (0400-0449): Essentially a macro is a mini-log that can have up to 20 events. In general, anything that can be run on a regular log may be part of a macro. A macro can be used any number of times. Macros are ideal for handling complex switching from one audio networking to another, for involved transitions from music to satellite or vice versa, and for the special group of real time events that must be executed with precision. Macros can be in rotations on jock schedules and jock f/x too.
    • Special Fill Rotators (0450-0499): These rotators are used to set up rotations of commercial, promo or PSA spots to eliminate the necessity to track multiple cut index numbers when assembling a daily log. When used as substitute tables, they can automatically replace a spot that is out-of-date or doesn't exist with one of the same lengths from a special set of substitute files. They may also be used to "fill" spot sets that don't have enough spots to meet the minimum set length time requirements.
    • Cut Rotator (0500-1999): Any related group of audio cuts may be placed into a rotator with a specified ID number. When this number is played on the log, the next legal audio cut will be aired or displayed. Rotators are created and maintained in the AXS Production system.
    • Audio Cuts or Live Copy (2000-9999): These numbers are used as the locations for all audio cuts and live copy recording during production. These cuts may be on several different hard drives or even on a different computer connected to the LAN.

  3. Expanded Log Panel Views: The way events are displayed on the log panel can be changed by pressing the (space) or the (tab) keys. These views provide expanded information such as the song titles. The information displayed is taken from the Music Manager and Music Log databases. As a result, to take full advantage of these two expanded views you must have the above-mentioned programs as part of your AXS system. Interfaces for other vendor system are not available currently. However, upon request, a file specification sheet will be provided if your vendor wishes to provide you with an interface.

WARNING: Support for vendor supplied interfaces is the responsibility of the vendor and not Shiny Stone Digital. Nor is Shiny Stone Digital responsible for any adverse effects the interface may place upon the station operations. Users of vendor supplied interfaces must be prepared to remove the interface upon request of the AXS support technicians.

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The Control Panel

At the bottom left-hand side of the AXS screen is the control panel. It contains several buttons that add a lot of power to the system. The panel buttons are activated by using a mouse. The button actions can also be duplicated by pressing the appropriate function or keyboard key. The panel also contains four card status lights, an intro timer and other informational cues. (pic)

WARNING: ALL editing of the log currently running must be done utilizing the air log in the (F9) edit mode. Editing the current log through the production computer and then transferring the edited log over the LAN or by importing it from a disk or by using the control room log editor will result in severe problems with AXS.

WARNING: This feature requires that a dedicated production audio device be set up in the EWC.INI file. It should not be used on the control room on-air system as audio overlap will occur during auditioning.

As a convenience when selecting music, you may sort the music database by either title or artist and then may go to the general area of the database by pressing the first letter of the artist or title name. This seek is fast and efficient. Currently, only a single index is available at any time.

WARNING: Both the music edits and database functions are dependent upon using a music selector system that can produce an interface file that is compatible with AXS and its log. It is up to the music database supplier to produce these compatible files to the standard specification which we supply.

NOTE: AXS may be placed into Live, Sweep or Satellite mode by special cut numbers placed on the log. Cut 0013 is the Sweep mode. Cut 0014 is the Satellite mode and Cut 0015 is the Live mode. These commands can modify the effect of the Live/Sweep button if it is used.

Obviously, the system should be running in the SWEEP mode when the info screen is in use, or the system should be halted. Otherwise the system may stop because of lack of program material.

The audio record/play device used for Production should be provided with its own audio input from the console or other source and the output of the record device should be attached to a monitor amplifier with its own speakers and/or headphones or a separate board channel with a cue capability.

TECHNICAL NOTE: The Production window may be used to maintain the cut index if a dedicated record/play device is not installed in the control room system. It is not possible to record or playback any audio cuts, but the maintenance capability can be very useful.

WARNING: It is assumed that the AXS system is in the sweep mode or that it has been stopped programming is originating from other audio sources the Production screen displayed. Only limited control of the background log events is available from the Production window if the system operator tries to use Live simultaneous operation.

At the top of the Production window is a monitor panel that displays the three current events to play, a count-down timer for the current event, the real system time, and four device status lights.

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There are three special key combinations for controlling background log events:

Limitations: Because AXS is running many procedures simultaneously, there are some limitations to this kind of operation as compared to a simple stand-alone Production room system.

If the independent Production record/play devices is also used for PBR (Programmed Background Record), then any foreground record will be aborted if the PBR event starts. One solution is to install an additional independent PBR audio device to separate the functions. An AXS system can handle any combination of record/play or play only devices up to four audio devices maximum.

Unless the system is stopped, it is not possible to create audio cuts and then transfer them to another Production or Control room over the LAN.

No other overlay screen like the Jock F/X, Quick F/X, RTS, log editor, load logs or other similar screen may be displayed while the Production window is being used, although external button boxes will continue to operate without a problem.

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Pages may be flipped rapidly using the (pgup) and (pgdn) buttons at the bottom of the screen to reach a new location, or by pressing the (space) and entering the page number you wish to jump to. Once a page is selected, it is automatically displayed each time the Jock F/X button is pressed. This page will remain active even if the Jock screen is not up. This allows the use of pre-programmed keys, button boxes, or external logic controls to play any cut at any time. Jock F/X may also be operated by touch screen if desired.

Alternate Jock F/X Activation: The Jock F/X buttons are designed for live operation. It wouldn't make much sense to use it during a sweep session. However, it is available, but only if you have two audio devices with playback capability. We assume, however, that the AXS system is in the Live mode. There are several ways to start the Jock F/X buttons even when the screen is not visible.

1 2 3 4 5 6 7
Q W E R T Y U
A S D F G H J
Z X C V B N M

WARNING: To avoid conflict with the Jock F/X, the (scrlk) key should be toggled OFF.

Live Copy Text

When the system is in the Live mode, AXS can schedule and display live copy text that has been created in Production for the jock on the screen.

Not only is the live copy displayed, it is previewed as it moves up through the play panels. The jock has plenty of time to prep for phrasing and length.

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The copy appears first on the bottom READY panel and will move up as the event progresses to the top panel. Regardless of the length of the copy file, the copy display is scaled to take up only the space occupied by the panel it is currently in. When it progresses to the top panel it will cover all three panels regardless of the actual length of the copy.

When the copy reaches the top play panel, a countdown timer running in the intro box lets the jock place the copy to time. Press (F5) or (enter) to start the next event and (esc) or press the right mouse button to clear the copy screen.

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Copy may be scheduled on the current AXS log in the same way that audio cuts or music are placed. The type "CP". A cut with this type can also have an audio file. If AXS is in the LIVE mode, the audio will play, and the copy will be displayed. If AXS is in the SAT or SWEEP mode and the cut is schedule, only the audio will play.

Live Tags

In addition, for digital audio cuts that require live TAGS, the AXS screen will display the tag for the jock to air at the end of the spot. Again, the jock has control of the switch away to the next event. Tags are also created in Production. (pic)

Press (F5) or (enter) to continue the sequence after the Tag has been "aired". Then press (esc) to clear the tag from the play log.

The Audit Log

The AXS system writes its audit log to a file as it goes. The audit log is dated and saved indefinitely. It can be displayed or printed on the Production room system in the log editor. The Audit Log tries to provide a record of events that are missed when the system reboots after a power failure or when a long update is done. However, careful manual checking should be done to verify this record.

Chapter 3 - AXS Production Screen

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Overview

The Production window is capable of audit cut production, cut index maintenance, cut rotation creation, and the entry of live tags and copy. We recommend that all people who are going to use AXS Production sit down with the computer, display the Production window and follow the procedures described in this chapter. The Production window is the central point of any AXS Production Room operation. Nothing can go on the air if the audio hasn't been recorded here. Each new AXS system that is factory assembled comes with a complete cut index and some sample audio cuts pre-installed, so it is ready to go as far as running the system. From the Start Screen, select "Production". From the Main Screen, press the (P) key to launch.

Production Screen

This is the primary cut maintenance and audio cut production area. All spots and other digital audio should be produced from this screen. This Production system is designed to be used on a separate computer connect to the Control room via the LAN. The Production window has the following features:

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Note: It is possible for the main Production room to work either as a stand-alone unit using its own local cut index and saving to its own hard drive or to connect to the hard disk of any remote (LAN) machine.

Overlay Production Screen

Stand-alone AXS systems with only one computer must use this screen for audio cut production. Some AXS control room systems have an independent record/play device installed that can be used for audio cut production instead of the production room system. From the AXS Main Screen press (ALT+F10) or (P) to display this Production window which "overlays" the main screen. This overlay Production screen has all of the features offered with the standard Production screen. The main difference is that at the top of the overlay version you have an events window showing the events currently in the play panels, an on-air countdown timer, a system time clock and four device status lights.

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Selecting an Audio Cut

Preplanning and organization of audio cuts is important. You may wish to subdivide categories by specific criteria. For commercials, you may wish to put :30's and :60's in separate defined sections. For satellite liners, you may want specified cut number ranges for certain announcers. In formats that use links or intros of any kind, special care should be made to keep all the audio cuts for one jock or operator together so that they may be cut in sequence. Also, sweep intros that are placed on the log should be in sequential order so that the jocks may cut them by voice in order. Separate sweep liner sets for specific days may be used so that liners may be cut in advance.

To do any audio work, a cut must be selected before the cursor can move to the audio section. When AXS Production is first loaded, cut 2000 is on the top line and is selected automatically. Any cut index line may be displayed in the following ways:

Note: Spot recording of audio cuts is not allowed on cut numbers under 2000. In most AXS systems all audio spots including commercials, ID's, liners, PSA's and promos will be recorded between cuts 2000 and 9999. The cut index has been organized so that specific cut numbers store specific kinds of information.

The Cut Index Header

Each cut number that is used for digital audio has a header attached to it that describes the cut completely. The cut header is a separate file from the audio cut itself. An audio cut cannot run without the cut header. Movement of the cursor bar within the header box is accomplished by pressing the (enter) key or by clicking on the field you wish to be in.

NOTE: Some of the information entered to the header fields is displayed in the production screen columns. These items are indicated by BOLD type.

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CAUTION: The cut type is used by the AXS system as a control device. It is very important that all cut numbers have the correct type in place.

NOTE: By editing the "tfn=" parameter in the EWC.INI file, the TFN description can be changed to any combination of 8 characters.

Recording an Audio Cut

After creating or editing the cut index, the audio production can take place. Be sure that you have highlighted the cut number that you want to record or audition. Be sure that the cut index header has all the information necessary to identify your cut. Follow the sequence below:

NOTE: If you enter the record mode on an existing audio cut and escape prior to recording, the existing audio file will not be altered.

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WARNING!

Never peak over zero db! Digital audio is level critical. Over modulation will cause a very bad sound from the system. If you feed the AXS system input audio channels from the console, the "zero" level output at the console should actually be about -3 db to avoid over-driving the AXS audio device.

NOTE: You will need to practice a little to get the "rhythm" and "timing" to make good, tight dubs or original production. It's just like working with any new device that has an unfamiliar set of buttons. Once you get the hang of it, it's no harder than using any other recording device.

Playing and Audio Cut

After the recording is done, or if you just want to listen to any audio cut, press (F5). If you wish to stop the audio cut play back before it is finished, press (F6), click the STOP button or press the (space). If you wish to stop the audio playback on a specific device, press (CTRL+SHIFT) and (F1), (F2), (F3), or (F4) keys. The device status lights may be used to determine which card is currently in use. Red indicates that the card is active.

Cut Index Utility Keys

The keyboard function keys (F1) through (F12) ad more features to the Production screen. Here is a quick description of the keys and their function:

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After selecting the transfer option, you wish to use press (enter) and the destination window will appear with another options menu. The options listed on this menu are determined by selections entered in the ProdPath.INI file. Select the desired destination option and once again press (enter). (pic)

The items on these menus allows complete flexibility in the movement of important data and in the maintenance of the cut indexes headers and sound files. When AXS was set up each machine received a predetermined location and "name" on the LAN.

If a LAN is not being utilized, then data like cut indexes or audio cuts (sound files) may be copied to or loaded from floppy disk, thumb drive, etc. However, this form of operation is limited by device size and is very limited in its practicality.

WARNING: We do not recommend (therefore support) the use of floppy disks, thumb drives, etc. for this kind of operation except in emergencies and will not be responsible for operational errors or limitations.

Cut Rotation Tables

Most stations find that it is necessary or desirable to be able to deal with digital audio cuts in groups rather than as individual cuts when they are scheduled on a log for air play. For example, it is much easier to specify just one cut number for an ID or liner set rather than going to the trouble of placing each individual cut on the log.

In addition, the use of rotation cut index numbers for spots allows some very sophisticated control of copy flights that will eliminate a lot of hard work and the possibility of errors.

Cut # Cut Title Type
0501 Sears Weekend Rotation RT (Rotation Index - No Audio Cut)
2005 Sears #1 (Wed-Fri ONLY) CM (Audio Cut)
2006 Sears #2 (Wed-Fri ONLY) CM (Audio Cut)
2007 Sears #3 (Saturday ONLY) CM (Audio Cut)

Remember, however, that cut 2007 is allowed by its "skip days" set up to play SATURDAY only and that cuts 2005 and 2006 are allowed by their "skip days" set up to play Wednesday through Friday only.

When the 0501 cut rotation runs on the air, a curious and wonderful thing will happen. Because AXS always checks for the "skip days", on every audio cut, the Saturday cut (2007) will be ignored Wednesday through Friday. The Wednesday through Friday cuts will not play on Saturday. So finally, the age-old problem of getting the right spots on for the right days is solved. Just load them up for the flight and go. Even through the spot flight may run several weeks, the right spots will always run at the right time, every time!

Another extension of this approach is to include any number of spots into the rotation table and let them rotate on the basis of legal date ranges (start date and end date). This coupled with the "skip days" restriction can make an enormously powerful package.

If spot rotations for commercials are set up and not kept up to date, the system will finally fall through to a "sub" table. If a valid "sub" file cannot be found, then AXS will fill. This is especially important in SAT Mode for accurately covering local breaks.

PROPER SET UP AND MAINTENANCE OF "SUB" TABLES IS CRITICAL!

NOTE: When checking the length of the audio cut that is to be substituted for, if the cut is not exactly one of the lengths in the table above, the substitute table will look for the next length value, either higher or lower depending upon how "close" the length is to the next value.

NOTE: Regular "Sub" tables are "jock schedule sensitive", if suitable include codes are used. 

The substitution rotation numbers are arranged like this:  

- Cut #460 - Substitutes for LESS than 10 second audio cuts.  
- Cut #461 - Substitutes for 10 to 15 second illegal audio cuts.  
- Cut #462 - Substitutes for 20 second illegal audio cuts.  
- Cut #463 - Substitutes for 30 second illegal audio cuts.  
- Cut #464 - Substitutes for 40 second illegal audio cuts.  
- Cut #465 - Substitutes for 50 second illegal audio cuts.  
- Cut #466 - Substitutes for 60 second illegal audio cuts.  
- Cut #467 - Substitutes for 70 second illegal audio cuts.  
- Cut #468 - Substitutes for 80 second illegal audio cuts.  
- Cut #469 - Substitutes for 90 second illegal audio cuts.

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NOTE: Cuts may be entered in any sequence, but you must fill the first table (1-10) prior to entering any cut numbers into any other table. Don't worry about leaving spaces in the table, when the table is saved it will automatically condense into the correct form. You may also change the order in which the cuts will play by using the (space) to select the "next" cut to play in the rotation (the current next to play cut will be yellow in color) from this screen. You may also use (CTRL+D) to delete a cut or (CTRL+I) to insert a cut into the list.

Creating Macros

Macros are a very powerful tool for creating complex repeatable lists of events that may be called from the log or through the RTS with a single instruction or cut number. Macros are ideal for handling complex switching from one audio network to another, for involved transitions from music to satellite or vice versa, and for a special group of real-time events that must be executed with precision. Macros can be in rotations on jock schedules, Jock F/X, and Quick F/X too. Essentially a macro is a "mini-log" that can have up to 20 events, allowing a complex series of events to be run by AXS with only one cut index number being required on the AXS log or in the RTS. In general, anything that can be run on a regular log may be a part of a macro and a macro can be used any number of times. Cut index number 0400 through 0449 are reserved for use a macro cut. (pic)

Limitations on MACRO sequences

Macros are extremely flexible and powerful. However, inventive users may be able to create macro sequences that are "impossible" for the system to handle. We do not imply or guarantee that any conceivable macro will work simply because it is entered to the macro sequence. If it doesn't work, then try something else. Every digital control system has limitations.

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Fill out the descriptive macro name, cut type, start date, and end date. You may then enter up to 20 events of almost any kind. You may enter actual cut numbers, rotator cuts, pauses, time announce calls and any legal control cut numbers in any order. Macros may also be placed in the RTS real-time schedule jock call field and may be used as a digital audio control cut.

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Live Copy Text

Live copy is a very powerful tool for those stations utilizing the live mode of AXS. With this feature you can create your own commercial copy and assign it to a cut number or you may add the copy to an existing digital audio cut for added flexibility. You may want to time the reading of your copy and enter this information into the time field so that when the copy reaches the top play panel, the timer will start a countdown that can be used by the jock for pacing. This feature may also be used in the production of text for weather reports, news, sports, or anywhere text can be used as an aid to enhance the presentation.

Creating Live Copy

To create copy, you must be in Production. Once you are in Production use the following steps to create your copy:

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NOTE: You must (enter) through all fields whether changes are made for the header to be accepted.

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Deleting Copy

The time may arise when you feel it is necessary to delete copy from your cut numbers. To accomplish this, go to Production and perform the following actions: (pic)

Live Tags

Live tags can be a great way to expand your ability to use your commercial cut by allowing the jock to add additional information to the end of a spot. The same rules that apply to live copy also apply to live tags. The big difference is that you are limited in how much copy you may enter to the tags window.

Creating Live Tags

To create tags, you must be in the Production screen. Once you are there, use the following steps to create tags:

Deleting Live Tags

When the need to delete a tag arises, go into Production and accomplish the following actions:

Production Cut Index and Text Maintenance Feature

AXS has a special feature in Production that allows a station to install a limited production capability on any computer not having audio devices that is connected to the LAN. It is limited in that you will only be able to perform maintenance on copy text and tag text. This feature is accessed in the same way as the standard Production screen, but the record/play section is disabled and the (F4) / Play End, and (F12) / B-Bus Sel Utility keys are inactive. The remaining utility keys however are available for use.

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WARNING: Because of the potential for abuse, careful consideration must be given as to what computer(s) will have this feature installed. It IS NOT a passworded feature and as such access to computers with this feature installed must be controlled. Shiny Stone Digital IS NOT responsible for any damage or destruction to the station cut index or text files caused by misuse and/or abuse of this feature by unauthorized station personnel.

AXS Cut Index Reservation Guide

Please copy this for use as you work with your AXS system.

0001 AXS Index Header Identifier
0002 Solo Mode (plays jock calls only, but no log plays)
0003 Reserved
0004-0009 Spot Avails
0010 Form Feed
0011 Cosmetic Place
0012 Reserved
0013 Music Mode
0014 Satellite Mode
0015 Live Assist Mode
0016-0020 Time Announce for jock in jock type JX or DC = Scheduled Jock
0021-0028 Switcher 1 Channels 1 to 8 ON
0029 Switcher 1 All Channels ON
0030 AXS Cosmetic Space
0031-0038 Switcher 1 Channels 1 to 8 OFF
0039 Switcher 1 All Channels OFF
0040-0050 Reserved
0051-0070 Cluster Markers (MK or MF)
0071-0075 Must Fill Variable Length Cluster Markers
0076 Reserved
0077 Traffic Seg Markers Toggle
0078 Do Not Return to Satellite Audio
0079 Do Not Seg to Log Event from Macro
0080 Seg to Next Log Event from Macro
0081 Start (F5)
0082 Stop (F6)
0083 Sweep (F7)
0084 Reboot Computer
0085 CMOS Clock Slave
0086 System EOM Output (1/2 sec)
0087 Screen Saver Set #1 (00:00 sets it to OFF)
0088 Screen Saver Set #2 (00:00 sets it to OFF)
0089 Reserved
0090 Log Update Forward
0091 Log Update Closest
0092-0100 Reserved
0101-0110 Pause Cuts
0111 Reset Computer Clock
0112-0126 Music Avail Category
0127-0130 Reserved
0131-0138 Aux 1 to 8 ON
0139 Aux All On 1 to 8
0140 Reserved
0141-0148 Aux 1 to 8 OFF
0149 Aux All Off 1 to 8
0150 Reserved
0151-0158 Aux 9 to 16 ON
0159-0160 Reserved
0161-0169 Aux 9 to 16 OFF
0169-0170 Reserved
0171-0178 B-Buss 1 Channels 1 to 8 ON
0179 B-Buss 1 Al Channels OF
0180 Reserved
0181-0188 B-Buss 2 Channels 1 to 8 ON
0189 B-Buss 2 All Channels OFF
0190-0200 Reserved
0201-0216 Simulated AUX Inputs 1 to 16
0217-0220 Reserved
0221-0228 Switcher 2 Channels 1 to 8 ON
0229 Switcher 2 All Channels ON
0230 Reserved
0231-0238 Switcher 2 Channels 1 to 8 OFF
0239 Switcher 2 All Channels OFF
0240-0280 Reserved
0281-0296 Jock Call Emulators 1 to 16
0297-0299 Reserved
0300-0349 Log Titles
0350-0449 Macros (20 steps each)
0450-0459 Jock Substitute Spots
0460-0469 Commercial Substitutes
0470-0479 Promo Substitutes
0480-0489 Spot Set Fill Spots
0490-0499 Reserved
0500-1999 Rotation Tables (50 cuts each)
2000-9999 Digital Audio Cuts (CM, HD, etc.)

Reserved Cut Types

Type Description Notes
AL Audio Length Use with Audio Cuts (Except HD Music)
CM Commercial Message Cuts 2000 and up (Selects standard sub fills)
CD CD Music Track
CP Copy (No Audio Cut) Cuts 2000 and up
DC Device Control Cuts less than 0050
FX Sound Effects Cuts 2000 and up (suggested)
HD Hard Disk Music Track Cuts 2000 and up (intro time countdown enabled)
HL Audio Length Use with Hard Disk Music Only
ID Station ID (On AXS Log)
JG Jingle Cuts 2000 and up (suggested)
LD Load Next Days Log Cut 0003
LN Liner Call (On AXS Log)
LV Live Cuts 0200 to 0499
LI Link Intro Link Code (CD Musing Intro)
LO Link Outro Link Code (CD Music back announce)
MC Macro Call Cuts 0080-0100
MF Must Fill Cuts 0051-0075. Option to Must Fill the spot set.
MG Magic Call (On AXS Log)
MK Marker Cut/Title Cuts less than 0500
MU Music Cuts 2000 and up
NW News Copy
PR Promo Cuts 2000 and up (selects special sub spots)
RC Record To Cut Number Cuts less than 0200
RT Rotation Table Cuts Cuts 0500-1999
SP Sports Copy
SU Substitute Cut From Sub Rotation Tables
WE Weather Copy



The most important cut types are the CM (commercials), PR (promos), RT (rotator), MF (must fill) and MK (markers). Most of the control cuts will have been loaded onto your system during setup and will be used only if program changes are necessary. New additions may be made in the future.

Chapter 4 - Extended Features

Overview

AXS comes with several extended features that contribute to the overall flexibility offered with the system. They are Log Edit, RTS (Real-Time Scheduler) and IOMAP. When used, these features give you the ability to expand the capabilities of AXS. They also allow you to tailor AXS to your wants and needs.

Log Edit

AXS systems will be delivered with the ability to create or modify past or future AXS logs or audit logs while the main system continues. Copy and Tags may be created or edited in this program. This editor is in addition to the (F9) edit function in the main control room system which operates only on the current log. To access Log Edit, you must be in the AXS Main Screen, then by pressing (ALT+F9) a blank editing screen will pop-up. This screen does not have any field descriptions. You must be familiar with your log fields or this screen will be useless and can cause confusion with new people.

In addition, a log verify report which can produce a detailed list of all unfinished elements of the log in question will be included as time permits.

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Selecting a Log to Edit

Press (Alt+F2) and a pop-up screen will appear that has a list of all logs that have been created for use. The buttons within the load log box are inoperative and you will need to scroll down to the log that you wish to edit and press (enter). The only restriction is that you may not edit the log that is currently running. The selected log will now appear on the log edit screen. After you have finished editing the log, save the log by pressing (ALT+A) and select (D) (daily) or (T) (template). Enter the date (DD/MM/YY) for a daily log or a name (a-z) for a template log. Press (enter) and the log will be saved.

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WARNING: DO NOT edit the current log running with Log Edit and then attempt to transfer it across the LAN to the control room AXS computer. This will create conflicts within the program and cause your log to become useless. Editing of a log that is running must be accomplished from the main screen air log using the (F9) edit key.

RTS

Any advanced AXS system that requires more than simple update times and daily log loading must use the Real-Time Scheduler. RTS is a very sophisticated scrolling list-based system that contains all the real-time instructions that any user might need. RTS totally replaces the simple timed update and automatic log loading features that are included int he base system.

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Certain elements of RTS are not intended to be used in LIVE mode so unless there is adequate dead time to the system be sure that any changes are entered while the system is set in SWEEP mode. You may view RTS from the main screen by pressing (ALT+D) and use the (pgup) / (pgdn) / (up) / (dn) keys to scroll through the entries.

Entering RTS

RTS is entered by pressing the (ALT+F3) keys or by selecting the RTS option from the start screen. Since the RTS editor must follow some strict rules when entering and leaving the module:

Editing

The RTS editor has several commands that are controlled by pressing the capital letter that identifies the button or by selecting the desired button with the mouse. The exception to this rule is the "clone" tool. With this button, you must select the letter (L) to avoid a conflict with the "change" tool.

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Using the RTS Editor

Select "insert" from the RTS screen to display the event type menu. Select the type and enter the requested information.

It is not necessary to scroll to the insert point on the screen before selecting the type. When you leave the type entry screen, the event will be placed in the proper time order position automatically. Each time a type is entered, deleted or adjusted, the entire RTS screen order is sorted by time.

When RTS is displayed from the control room screen, it makes a temporary copy of the current RTS schedule and all the editing work is done on the copy until the final edit is made. Then, the new RTS file replaces the old file. This file is then re-scanned automatically and returns to the sequence.

CAUTION: It is not a good idea to make changes to an RTS event when you are close to the time that an event is going to happen. Or, if you do make changes in the schedule, do not return to the main AXS screen from RTS until the event has concluded, otherwise the change may cause problems with the event that is running or about to run.

Common RTS Fields

The first six fields of the RTS editor are the same for all RTS event types. In addition, each event type will have several additional fields to enter that are specific to its own specialized task. Each entry line has a help prompt at the bottom of the screen to aid the user. After the six initial fields are entered, then each event type will display one or more fields below them that are specific to its needs.

Jock Schedule Editing

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May users will want to link jingles, ID's, liners, time announce and other audio cuts to specific dayparts or time periods. This is particularly important for stations that are taking highly formatted music services from satellite feeds. These services want the local audio (except for commercial sets) to match the voice of the jock or operator that is currently "on-the-air".

When you insert this RTS entry into the system, it will establish a daypart or time period in which a certain group of audio cuts will be used. While the most common usage is for voice matching, there is nothing to keep anyone from using it any way that is useful or beneficial.

Modifying the Return Channel When you set the return channel you are setting a default for the channel that is normally in use. Remember that many AXS systems may modify the return channel through another RTS instruction that essentially says: "For the next hh:mm:ss, the return channel will be __". If RTS has changed the default return channel in this way, then the channel that will re-open will not be the one in this default instruction field. The default return channel is set up in IOMAP.

Example: Assume that switcher channel #1 is your satellite audio source. If this jock time period is used almost entirely for satellite programming, then when the system returns from a spot set or other event during which the satellite channel is turned off, the system would "return" or open channel #1 after the spot set. Use the (lt) or (rt) arrow to select the return channel.

Background Record (PBR) Editing

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Some AXS systems with an independent record/play device are equipped to record on specified audio cut numbers for later replay. Recording start on either an external closure received within a specified time window or on a time signal alone. An external closure is the preferred way to do this because of the generic inaccuracy of most PC clocks.

Example: IF you are expecting a closure at about 08:10:00, then you would set a start time (see above) of about 08:08:00 to give a few minutes leeway for an early closure reception. Then a 05:00 (five minutes) wait window might be entered which would begin at 08:08:00 and extend until 08:13:00. If the closure was received within that 5-minute window then it would proceed normally. If the closure was not received, then the PBR would not occur.

Log Update Editing

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An RTS entry of this type can establish up to eight (8) update times in any hour, per RTS update schedule. Essentially an update triggers at a specific time on the CMOS clock and then looks forward to find a legal time marker (cluster marker, etc.) that matches the CMOS clock. The system programming is then advanced or reversed to that point being cued for play. Update times are used to assure that a satellite system remains in sync, to bypass deliberate music or event programming in order to let the system make a legal ID and for any other reason that time relation is important. It is unlikely that any will use all 8 update times, but they are there for use if required.

Ignoring an Update Time

If the update is triggered in any hour, but there is no corresponding time marker on the log, then the update is ignored.

Log Load Editing

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The only extra entry on this type is the name of the log to load (excluding the extension). If a name is not specified, then the next day's log will be loaded, if it exists. If the log does not exist, then the current day will be reloaded to keep the system in operation.

Output Control Editing

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If the AXS system is equipped with a suitable logic device which has been programmed through IOMAP, then entry of the output # and an action is all that is necessary to generate this time-based closure.

Input Emulation Editing

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If an AXS system is equipped with a suitable logic device, the IOMAP function described elsewhere will handle external closures. However, it is often desirable to "emulate" these closures for specific purposes. Entry of a specific I/O type from the IOMAP will trigger the system at a specified time just as if an external closure had been received.

CMOS Clock Editing

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The CMOS clock on most PC's are very inaccurate. It is possible that this clock can be updated from an external source through closures. When the time compare is reached on this type, the clock is updated to match.

Power-Fill / Dead-Roll Editing

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This type allows an AXS system that has an accurate time source and that is running music to fill short time periods before a real-time join (news network feed, etc.). There are several ways to do this, the classic method being a dead-roll function that starts a fill selection at a predetermined time and brings it on the air at the end of the event that was running when the fill selection started.

IOMAP

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IOMAP is a module that is a "map" or definition or setup scheme for all the true logic and emulated inputs and outputs of the system. AXS can handle many kinds of I/O. There are at least two different logic devices available, each with I/O in and out. In addition, there is the DMX-4 audio switcher which has 8 logic in and 8 logic out plus channel on/off switching. The AS-28 audio switcher can require as many as 16 logic closures to handle the dual audio busses. An LPT port may also be used as a limited I/O port in some cases. In addition, AXS can internally emulate closures that are handled as if they were from external closures.

IOMAP - The Virtual Patch Panel IOMAP is just like a large patch panel. In this case, both audio and control circuits are patched through several routes to configure AXS to the exact needs of your operation. IOMAP does require a little knowledge of the control circuitry of your satellite receiver, your transponders, other incoming and outgoing control lines and the audio routing in your operation. If you don't understand these things, or if you don't have good drawings of your operation, then try to find someone that can help. While we will give you as much help as possible, we are not there, we can't see your gear and will not act as a long-distance substitute for your technician. Before you go too far with your system, please be sure to have someone available that knows something about your operational layout.

IOMAP makes it possible for all these incoming, outgoing and switching closures to be "software" configured to do the exact task or job that is required for a specific application. It also makes possible the simultaneous use of several of these separate I/O sources. For instance, it might be possible to control two AS-28 switchers and one DMX-4 switcher running in cascade or in any other combination. When the software IOMAP is complete, the control functions are invisible to the AXS system. It doesn't really know where anything is, it is just hooked by standard conventions to the right place. There is not physical wiring involved with IOMAP. It is all software. And, it will never become obsolete, since it can change as your system requirements change and as you add or delete components to or from the system.

NOTE: Many of the RTS entries require the use of information from IOMAP, so it should be set up before RTS, and early in the installation process.

WARNING: IOMAP is designed to be set up early with the system and then altered infrequently in the future. Because of this, it is recommended that you make changes to this while not "on-the-air".

Starting IOMAP

It is possible to start and display IOMAP and scroll through the screens by using the IOMAP View option, editing is "password protected". We have placed a simple password on IOMAP to discourage casual changes that may become disastrous in regular operation.

IOMAP Description

From the AXS control room screen press (CTRL+Esc) to leave AXS and return to the start screen. From this screen, choose IOMAP. The module will load and display the main screen. To enable the IOMAP edit functionality, you will need to press (CTRL+E) and enter the configured password.

There are currently 60 possible input and 88 possible output connection points available to IOMAP. The number available depends upon the configuration of the IO devices and/or the I/O of the DMX-4 switcher if used. You will not use nearly all of these. Most users will very seldom connect very many of the output lines, since they are mostly used for controlling remote devices. The most typical use is turning audio channels on/off in an audio switcher. Some users send closures to switch transponders and to control other electronic equipment such as recorders, etc.

Multiple Log Inputs IOMAP does not limit the AXS system to just one set of I/O control. For instance: A system with an AS-28 switcher that is run by a PCL-720 logic device may also have one other PCL-720 device mapped for other uses and still map the logic for the DMX-4 and its I/O ports. There are limitations to the total number of I/O devices and duplication of types. Contact support for more detailed information.

The most common use of incoming closures is for stations taking programming from satellite sources that supply decoded closures from their satellite receiver to trigger spot sets, liners, jingles, ID's, etc. Other uses include triggering clock updates from standard time sources.

System Configuration

Determine which I/O device(s)are installed, whether your system will use LPT for I/O or whether you have a DMX-4 audio switcher with built-in I/O. The most common choices are:

Editing IOMAP

It is generally possible to connect the I/O's in the system without going through and naming them on the IOMAP editor. But to do this, you would have to keep a paper list somewhere of what each of the 160 possible inputs was and what each of the 160 possible outputs are. It is much easier to go through the editor and just name the inputs and outputs with something recognizable so that the next time a change is made, there won't have to be a big hunt for the paper list. So, let's try it that way:

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Linking I/O Lines to AXS

Once the inputs and outputs have been defined, then return to the main screen display, press (tab) or (F4) to toggle the screen to the input display as shown here.

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Reports

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In the reports section, AXS has many special features available that make tracking and editing the on-air material much easier. These special programs are especially useful because they are LAN enabled and may be used by almost any workstation on the network, including these that do not have digital audio capability. To activate this feature, select Reports from the start screen and bring up the Reports window. The tools available are listed across the top of the menu and can be activated by clocking on the selection you wish to use.

Edit Log Selection

Selecting this tool brings up the Log Edit window. A powerful editor for master, daily, special and affidavit logs. It is used to create master and special log templates, to edit in spots onto a master or daily log, to edit daily logs created by a traffic interface system and to edit affidavit or audit logs created by AXS. This editor features insert, cut and paste as well as a number of tools that speed log handling. In addition, there is a log verify routine for daily logs that will check for the existence of audio cuts and copy to avoid loading missing log elements. A scrolling cut index and music file are also available to speed the editing process. Logs may also be printed from this menu selecting. The operation of the Log Editor was explained full in an earlier section of this documentation.

Log Selection

Any of the master, special, daily or affidavit (audit) logs may be printed either to the display screen or to the printer. Select the type of log that you which to print or display from the menu above. A box containing a list of the log type that you have selected will appear. Select the log date you which to work with.

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Since the audit/affidavit log contains every single event that was run on an AXS system in a given day, displaying or printing this log can be tedious. Several filters are available from the sub menu that allows specific types of information to be extracted without including the entire detail.

Index Reports

These reports produce an analysis of the cut index(s) for any station. These reports are currently sorted by the following options:

Tag / Link Reports

Two separate reports detail the interconnections between various audio cuts and the way that tags are linked to audio cuts. These reports may be run at any time and give a very clear picture of the sophisticated relationships that exist.

Discrepancy Reports

An analysis of various possible conditions that might cause a problem in the system. These reports include:

Copy Report

A complete report on all available copy sorted by client number.

Rotation Reports

Reports on the exact audio cuts that are tied to any cut rotation number. When selected, a window will appear asking you to specify a start and stop point. It is presented in a horizontally scrolling two-across format. This report is very detailed and probably should be printed for greatest clarity.

Utils

The Reports module of AXS may be loaded on any workstation or computer that is connected to the main system via LAN. This allows these remote workstations to write copy, edit logs, or produce printed or screened reports.

Each individual copy may be set up to access the data file of few AXS machines. For instance, a traffic computer could work with both the AM and FM cut indexes to print and edit logs and to produce reports.

When the AXS system is delivered, each workstation or computer has its reports module set up to "default" to itself. However, if a traffic or copy workstation computer is involved it may not have been available during setup. These workstations as well as the workstation used for production quite often need to access more than just one set of the data. So, we have made it possible for each workstation that has the reports / log edit modules loaded to access remote cut indexes, logs and copy on other workstations on the LAN. Here is how to setup the reports.

CAUTION: The reports/logs module must know where the log program for each AXS computer is. Because AXS is capable of LAN operation, it is possible for a central computer holding the reports module to access multiple stations. Please contact support for help in setting up the names and drives since they must agree with the names and drives on the other computers in the system.

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NOTE: Some versions of AXS that can run music will want to be able to edit and create an AXS daily log that contain a music playlist. This music log path is designed to tell the system where the music specific data or playlist is located.

Using the Report and Log Edit modules on Remote Workstations

This set of modules was designed to be used on any computer workstation that can be attached to the AXS system by means of a peer-to-peer LAN. In addition, Log Edit can be used in a limited way on any computer.

It is difficult to find time to load a daily log or edit a master or special log directly into an AXS system that is operating on-the-air. Most of the satellite networks are throwing more and more closures into their programming on a random or "wild card" basis. Music systems have very narrow windows available when running. This means that the time available to work with an on-air AXS system is very limited. In addition, it is often necessary to be able to use reports to check on the station of various cut index numbers, to verify tag rotations and cut linkages and to provide lists of the audio cut numbers. Again, this is all difficult to do when working with a single on-air AXS machine.

For this reason, AXS was designed to be interconnected by a peer-to-peer LAN so that many departments of a station could be tied together in such a way that the necessary data could be read from the on-air AXS system and be displayed or printed on any other workstation on the network. Here are some examples:

NOTE: When an external computer workstation uses data from a control room AXS system workstation on the LAN, there is no interruption to the work on the main AXS system in the control room. Files may be transferred, logs edited, reports sorted, printed and displayed all without conflict. This eliminates the problems of dealing with a single workstation. To load the reports/log edit modules on external workstations, contact support.

Chapter 5 - Optional Features

Overview

AXS offers several very useful features as options to the system. These optional features include Time Announce. If you have purchased any of these options, continue reading this chapter. If you have not purchased any of these options, you may still want to see just what is available with AXS.

Time Announce

This optional feature can announce the time, in hours and minutes, or simply minutes, depending on the level programmed into the feature by the end user. In hour-and-minute mode, the time is announced like "It's two-twenty-three at KMGT." In the minute only mode, only the minutes are announced like, "It's twenty-three after the hour at KMGT." The mode you choose depends on the complexity you desire and the amount of disk space you care to dedicate to the time announce feature. Not only does this feature announce the time, but it will do so with the proper jock voice that is "on-the-air" in the given time period. This is a self-maintained feature, as the cuts are selected by the AXS RTS. There are several ways to implement the time announce into your station agenda. Several cuts in the AXS index are dedicated to time announce. Cuts 0016 through 0020 are time announce cuts. If the type for the cut is "DC" (device control), then when that cut appears in the rotation table, closure setting, or on the daily log, the cut will trigger a time announcement when it is encountered. If the cut type is J0 through J9 or JA through JZ, the jock associated with that letter or number will be used. In AXS, when you program a jock into the RTS, you need to associate the jock with a letter A-Z or 0-9 for this feature to "know" which jock to use. The jock schedule refers to jocks 0-9 and A-Z, so the association is already established.

Directory Structure

For the sake of programming, explanation, and ease of support we will assume a fixed structure for the time announce directories. Our support team can assist you if you need to vary from this scheme, as it is programmable. The main time directory is C:\TIME. Under this directory there would be thirty-six sub-directories named JOCK-0 through JOCK-Z (C:\TIME\JOCK-x). Under each "jock" folder there are twelve more hour folders 01 through 12 (C:\TIME\JOCK-x\01). There are 60 sound cuts for time named 00.WAV through 59.WAV under each of the hourly folders. When it is 3:12 AM or PM, then the cut used will be C:\TIME\JOCK-x\03\12.WAV.

When it is 4:23, then the cut used will be C:\TIME\JOCK-x\04\23.WAV. That's simple enough, except that means that you will have a total of 60 cuts per hour and 12 hours for a total of 720 sound cuts for one voice. Another variation is to have cuts that just say, "It's twelve after the hour", or "it's 10 till the hour." If you want this simple protocol, then you will only record cuts 00.WAV to 59.WAV directly under the C:\TIME\JOCK-x folder. Notice that no hour was used. Also, the "x" can be substituted for any of the 36 valid jock codes (0-Z).

At this point you can see there is some flexibility or options for the station that cannot afford a lot of disk space for time announce. Not only can you short-cut by not using the hour, you can also only use 1 or 2 folders only. If JOCK-M is the male voice and JOCK-F is the female voice, and then only minute cuts are used, you have only a total of 120 sound cuts for your time announce.

Here's another variation that could conserve drive space but yield nearly the same results. Time announce can "round up" to the nearest even or odd minute. You could have the jocks just announce all the even minutes, or all the odd minutes. When the time feature looks for 7:01, if it doesn't exist it will grab 7:02 (if you used even minutes). The number of cuts or the male-female only scenario is cut down to just 60 cuts. But it gets better (in terms of flexibility) or worse (in terms of drive space). If you also want each jock to announce AM or PM, then let's say jock Fred is JOCK-A. We also assign Fred to JOCK-P. In Fred's JOCK-A time cuts we announce AM specific times and in Fred's JOCK-P time cuts we use PM. All his other liner, magic, jingle and ID cuts remain the same. When Fred is on in the AM, we use JOCK-A and when he's on in the afternoon and evening we use JOCK-P. You can see how easily you can expand this feature to work for you.

Log Programming

If in the cut index of AXS, cut 0016 is set for type DC then every time cut 0016 is referenced on the log, it will force a time announce if it is available (skipped if not), using the jock voice that is currently scheduled on-the-air. However, if you used the male-female approach to disk conservation, you might assign index number 0017 to type of JF for JOCK-F (female) and cut 0018 a type of JM (JOCK-M) for male and place them on the log where required. It couldn't be much simpler.

Rotations

In your liner, jingle, ID or magic call rotations, you could consider intermixing some time announce calls. That way during the day-to-day operation, the time announce won't occur at the same time each day. You could even take the ID call rotation, and have it call cut 0018 which is assigned a type of JI or JOCK-I, that gives a full legal ID and the time.

Another option is to assign a cut (0016 to 0020) to a closure so that every time the closure is received, the time is announced. Some satellite music networks supply a time announce closure. This all may sound quite simple or complex depending on your understanding of the concept. In the simplest of forms, time announce can be implemented with only 30 audio cuts, and i n another form as many as 1440 cuts per jock. Notice we didn't say the most complex. You could assign the same jock different cuts for week-days or week-ends!

If you plan to implement the time announce feature on a jock basis, have your jocks record the minute cuts, 00 through 59. Get those on the air first. So you can audition how they sound. Then proceed with the recording of each of the hourly minute-by-minute cuts. Do not erase these cuts, if you did not record all twelve hours for the jock, unless you don't want them used. More on that in the discussion of recording cuts a little further below.

The Time Recorder

In order to organize and implement the recording of the time cuts, a special recorder has been constructed that manages the time cuts, with great ease. The time recorder allows you to record cuts for the minute mode, or the hour-and-minute mode, with little effort. You simply select a jock and the hour and minute. After that select RECORD or PLAY. It sounds simple... and it is. There are, however, other functions available in the time recorder. The ability to transfer the cuts to a remote studio is probably the most important feature aside from the record and playback functions.

Before you can implement the time recorder, you must set up some options located in the time recorder initialization file. This file is named TR.INI. The file allows you to set up the sound device, mono or stereo, switcher channel operation, language and other features.

For example, in spanish play is Jeuno, so you would want to assign J for play instead of jock. Although some of these keys have programmable 'metaphor keys' or alias', the permanent keys are still available regardless of what those keys were assigned by the user. The support people will always use the "permanent" keys when discussing the options or trying to troubleshoot problems with you.

Recording the Cuts

Since recording of cuts could be time consuming, it is recommended that you implement it gradually, as you have time. For instance, record the minute only cuts. Next record the hour cuts only for the hours that a jock is on. Do this for each jock. If the jocks become shifted around on the schedule, then the minute only cuts will be your fallback for that jock until he or she records cuts to cover those hours. Eventually, it might be advised that each jock completes the entire twelve hour cut sequence and then remove the minute only fallback cuts. These are all options however and are at your discretion as to how you want it all to sound.

To record a cut, route the output of the console to the audio device input (this is probably already done). Select the correct jock using the (lt) and (rt) arrow keys, then select eh hour you wish to record using the (pgup) and (pgdn) keys and then select the minute using the (up) and (dn) arrow keys. To check to see if the cut already exists, then press the (F8) key. If "NO HEADER FOUND" is displayed, then no audio exists, otherwise information will be displayed.

If audio exists, press the (rt) arrow key to play the cut. Pressing the (lt) arrow key or the (space) key will halt playback. If you wish to record, press the (F7) key and recording will begin immediately. Press the (space) key to stop recording. Then press the (rt) key to audition the cut you just recorded. If you like it, press the down arrow to select the next minute. Once you have recorded the 59-minute cut, when you are using the arrow keys to select the next minute, the hour will increment or decrement in the proper direction based on which key you are using. Everyone has their own idea of what they want their time cuts to sound like, so other than our preceding example, we won't ever attempt to give you a script. It's always nice to see how our clients integrate a system like this to work for their station, so we'll be happy to update this documentation with any ideas that can be shared.

Transferring Cuts to Another Machine

If your production machine is connected to other machines via the LAN, it si quite simple to send the time cuts to the other machines. You must set up the paths in the RT.INI file. These paths are associated with the (ALT+1) through (ALT+8) keys. If, for instance, you assigned your AM studio to (ALT+1) (H:\TIME) and your FM studio to (ALT+2) (I:\TIME), you would simply press the (ALT+1) keys to transfer all the time cuts to the selected jock. We assume that only one jock will be recording at a time, so transfers only involve the currently selected jock. Also, to reduce the transfer time and to conserve network resources, only cuts that are new or changed will be sent. If the time directories do not exist on the destination machine, they will be automatically created as the transfer occurs. If no sound cuts exist at the time of the transfer, the destination directory stucture will be built anyway. Transfers are only one way. You cannot "draw" or "pull" cuts to you. You must send them.

Appendix 1 - Sample AXS Files

EWC.INI

;EWC.INI (2-01-95) ;AXS v1.08.x Initialization File.

[STARTUP]

OpMode=SWEEP ; Start up mode: SWEEP, LIVE, SAT.
LiveEOM=YES ; Output an EOM tone at each stop after while in LIVE mode.
EOM@EOM=yes ; Output an EOM tone at each EOM, or at actual stop. Use with satellite.

[PATHS]

Main=C:\AXS ; Directory for DATA, DTA, and .IDX.
Sound=C:\AXS ; Directory prefix for sound files 2000 to 9999 (.WAV).
AirLog=C:\AXS\LOG ; Directory for air logs (.LOG).
AffLog=C:\AXS\ALG ; Directory for digital audio audit trails (.ALG).
MscLog=C:\AXS\MSC ; Directory for music audit trails (.ALG).
Copy=C:\AXS\CPY ; Directory for copy files (.CPY).
Tags=C:\AXS\TAG ; Directory for tag files (.TAG).
Macs=C:\AXS\MAC ; Directory for macro files (.MAC).
ImportLog=A: ; Directory or pathing to receive *.LOG's from.
TimeSND=C:\TIME ; Directory or pathing to sound files for use with time announce.

[ADDRESSES]

COM1Address=3F8H ; COM port #1's address (3F8H).
COM2Address=2F8H ; COM port #2's address (2F8H).
CDIPort=0 ; COM or LPT used for CD Control. 0=No CD Interface. ; Will "DEMO" run CD's from log. 1 or 2 = COM1 or 2.

IOPortAddr1=0 ; Port address (dec or hex) for closures and external control.
IOPortAddr2=0 ; Default=672 (dec) or &H2A0 (hex) for PCL720, DMX-4, LPT
IOPortAddr3=0 ; addresses are either 1, 2, or 3 for LPT port number the actual
; address will be read from your computer's bios. You cannot use
; the same LPT port for both CD control and closures. Setting an
; address without a control card will cause "lockups". IOCardType1= ; Select closure and external IOCardType2= ; control card. Current types IOCardType3= ; include: PCL-720, DMX-4, LPT.

SwitcherIOCard=0

[AUDIO CONTROL]

SwitcherType= ; AS-28 or DMX-4
Ch1name=Sat Net ; Defines eXternal control titles
Ch2name=News Net ; DMX-4 allows on-screen titles to use 6 characters
Ch3name=Talk Net ; If AS-28 12 characters are used
Ch4name=Telco
Ch5name=Dig Audio
Ch6name=Rem XMTR
Ch7name=CD Audio
Ch8name=Remote

DMX1Preset=250 ; DMX-4 Audio Level Settings. DMX2Preset=250 ; Valid values between 0 and 255. Is used to automatically set
DMX3Preset=250 ; levels when the channel is turned on for audio routing.
DMX4Preset=250
DMXFade=6 ; Stepping amount for fading up or down using the auto-fader
; feature in the DMX-4 dialog box.

[AUDIO CARD]

SampleRate=44100 ; Default Sample Rate (44100, 32000)
DefaultMode=Stereo ; or Mono, what new header will default to. PlayCard=1 ; Main digital audio playback
OverlapCard=0 ; Digital audio overlap
ProdCard=1 ; Digital audio production
PBRCard=0 ; Digital audio background record
JockCard=0 ; Primary card for Jock F/X
DACOverlap=1 ; Default digital audio EOM, if cut has no EOM FadeAudio=YES ; Begin fade of all digital audio at EOM point

[OPERATION]

MacroToLog=No ; must have this line if you wish to use macros on the log
AdvancedReport=No ; control events and more info included with affidavit.
TimeAnnounceDefaultOverlap=1.2 ; seconds for EOM on time announce cuts.
LiveLoadLog=Yes ; allows log to be auto loaded when in LIVE mode.
DisableSweep=No ; allows the disabling of sweep mode. Forces LIVE mode.
LiveEOM=No

[KEYBOARD REDEFINE]

ChangeF5=No ; yes = when F5 pressed box 1 will stop and box 2 start. no = when F5 pressed box 1 continue playing and box 2 starts (w/2 audio devices)
F12RunKey= ; Allows exiting from AXS to a specified application.

[SCREEN]

24HourTime=Yes ; Selects 12 or 24 hour time display
Title=Song Title ; Air Box TITLE (10)
CutNum=CUT # ; Air Box CUT # (6)
SongNum=SONG # ; Air Box SONG # (6)
Length=LENGTH ; Air Box LENGTH (6)
Artist=ARTIST ; Air Box ARTIST (10)
Sponsor=Outcue ; Air Box SPONSOR (10)
Intro=INTRO ; Air Box INTRO (6)
CutType=TYPE ; Air Box TYPE (6)
Outro=OUTRO ; Air Box OUTRO (6) EOM=EOM ; Air Box EOM (6) TFN=T. F. N. ; What to use as "Till Further Notice" end date (8 chars)
CompressDisplay=No ; Will suppress non-play items between the "air buffer".

[AUTOMATION]
SubFill=No ; If a spot set is less than the cluster length, if yes = will fill to 0.
Precision=No ; When using sub fill, allows fill using cuts > 30 sec.
SpotSub=Yes ; If a spot is invalid, do you want a substitute cut to play.
MacroToLog=No
NewLogTime=23:59:00 ; time that the NEXT days log should be loaded (24 hr format).
UpdateTime1=9to10 ; Log update times. Format is MMtoLL where MM is
UpdateTime2=19to20 ; the minute in the hour to perform the update and
UpdateTime3=29to30 ; LL is the minute location on the logs cluster marker.
UpdateTime4=39to40 ; Updates only work in SWEEP or SAT mode. If RTS
UpdateTime5=39to40 ; is used, the log and log update settings here are IGNORED.
EOM@EOM=No
EomAtEndBreak=No ; For satellite, will turn on sat chan when break counter = 0.

[PRODUCTION]
RecThreshold=200 ; Start On Audio Threshold Level: Range = 0 to 32000 it may require a setting of 200 to 400 to operate.

TR.INI

Here is a general idea of what your TR.INI file should look like. Some settings could be different for your system. Once you have set up your system, it might be a good idea to print out your TR.INI file or to note the changes below.

Items in [brackets] are categories of settings that should be grouped together.

Lines with a semicolon (;) at the beginning are either remarks or settings that are remarked out (ignored). To make the items active, just remove the semicolon. Lines with the semicolon at the beginning are inactive or remarks.

Lines in ITALICS are optional and may not be included with your system.

Most lines contain commands like "PlayAddr=". The command before the = (equal) sign should never be tampered with. To disable a setting, just remark out the line at the beginning like ";PlayAddre=672" or "PlayAddr= ;672". Notice the placement of the semicolons. Never remove the = (equal) signs, as this will cause a file read error when trying to start your program. If an entry is int he file twice and neither is remarked out, then only the later item will be used. When in doubt, consult our technical support personnel. It is never a good idea to experiment with these settings since many of them effect your computer hardware and could lead to disastrous effects or could take a long time to trace down a problem. Capitalization is not important. Each line is processed by the program as if it were all capitals. We have used upper and lower case just for the ease of readability.

; TR.INI Time Recorder Initialization File.

[Switcher Address]

PlayAddr=672
PlayOnBit=32
PlayOffBit=0

RecordAddr=673
RecordOnBit=2
RecordOffBit=0

[Audio Setup]

MSMode=1
CardAddress=0
SampleRate=44100

[Local Pathing]

SystemPath=C:\TIME
SoundPath=C:\TIME

[Net Pathing and Alias]

NetPath1=H:\TIME
NetName1=AM Studio C:
NetPath2=
NetName2=
NetPath3=
NetName3=
NetPath4=
NetName3=
NetPath4=
NetName5=
NetPath6=
NetName6=
NetPath7=
NetName7=
NetPath8=
NetName8=

[Optional Program]

AltF12Program=

[Disk-Jockey Names]

JockName0=
JockName1=
JockName2=
JockName3=
JockName4=
JockName5=
JockName6=
JockName7=
JockName8=
JockName9=
JockNameA=
JockNameB=
JockNameC=
JockNameD=
JockNameE=
JockNameF=
JockNameG=
JockNameH=
JockNameI=
JockNameJ=
JockNameK=
JockNameL=
JockNameM=
JockNameN=
JockNameO=
JockNameP=
JockNameQ=
JockNameR=
JockNameS=
JockNameT=
JockNameU=
JockNameV=
JockNameW=
JockNameX=
JockNameY=
JockNameZ=

PRODPATH.INI

The following is a sample PRODPATH.INI file. It is intended as an example of how your PRODPATH.INI should look as far as format and content are concerned. It is not intended to match your PRODPATH.INI file as this file may vary greatly from station to station. The Pathing Info #9 section is required to activate the Delete Copy and Delete Tags tools.

; PRODPATH.INI

[Local Pathing Information]

LocalPathName=Production
LocalPath=C:\AXS\
LocalData=C:\AXS\
LocalSound=C:\AXS\
LocalCopy=C:\AXS\CPY\
LocalTags=C:\AXS\TAG\
LocalMacro=C:\AXS\MAX\

[Path Info #1]

NetName1=This Computer [C]
NetData1=C:\AXS\
NetSound1=C:\AXS\
NetDrive1=C:
NetCopy1=C:\AXS\CPY\
NetTags1=C:\AXS\TAG\
NetMacro1=C:\AXS\MAX\

[Path Info #2]

;NetName2=
;NetData2=
;NetSound2=
;NetDrive2=
;NetCopy2=
;NetTags2=
;NetMacro2=

[Path Info #3]

;NetName3=
;NetData3=
;NetSound3=
;NetDrive3=
;NetCopy3=
;NetTags3=
;NetMacro3=

[Path Info #4]

;NetName4=
;NetData4=
;NetSound4=
;NetDrive4=
;NetCopy4=
;NetTags4=
;NetMacro4=

[Path Info #5]

;NetName5=
;NetData5=
;NetSound5=
;NetDrive5=
;NetCopy5=
;NetTags5=
;NetMacro5=

[Path Info #6]

;NetName6=
;NetData6=
;NetSound6=
;NetDrive6=
;NetCopy6=
;NetTags6=
;NetMacro6=

[Path Info #7]

;NetName7=
;NetData7=
;NetSound7=
;NetDrive7=
;NetCopy7=
;NetTags7=
;NetMacro7=

[Path Info #8]

NetName8=FM Studio D-Drive [L] NetData8=L:\AXS\
NetSound8=L:\AXS\
NetDrive8=L:
NetCopy8=L:\AXS\CPY\
NetTags8=L:\AXS\TAG\
NetMacro8=L:\AXS\MAX\

[Path Info #9]

NetName9=This Computer [C]
NetData9=C:\AXS\
NetSound9=C:\AXS\
NetDrive9=C:
NetCopy9=C:\AXS\CPY\
NetTags9=C:\AXS\TAG\
NetMacro9=C:\AXS\MAX\

[Path Info #10]

;NetName10=
;NetData10=
;NetSound10=
;NetDrive10=
;NetCopy10=
;NetTags10=
;NetMacro10=

AXS Cut Index Reservation Guide

The following is a list and a description of the cut numbers used with AXS. Please copy this for use as you work with your AXS system.

0001 AXS Index Header Identifier
0002 Solo Mode (plays jock calls only, but no log plays)
0003 Reserved
0004-0009 Spot Avails
0010 Form Feed
0011 Cosmetic Place
0012 Reserved
0013 Music Mode
0014 Satellite Mode
0015 Live Assist Mode
0016-0020 Time Announce for jock in jock type JX or DC = Scheduled Jock
0021-0028 Switcher 1 Channels 1 to 8 ON
0029 Switcher 1 All Channels ON
0030 AXS Cosmetic Space
0031-0038 Switcher 1 Channels 1 to 8 OFF
0039 Switcher 1 All Channels OFF
0040-0050 Reserved
0051-0070 Cluster Markers (MK or MF)
0071-0075 Must Fill Variable Length Cluster Markers
0076 Reserved
0077 Traffic Seg Markers Toggle
0078 Do Not Return to Satellite Audio
0079 Do Not Seg to Log Event from Macro
0080 Seg to Next Log Event from Macro
0081 Start (F5)
0082 Stop (F6)
0083 Sweep (F7)
0084 Reboot Computer
0085 CMOS Clock Slave
0086 System EOM Output (1/2 sec)
0087 Screen Saver Set #1 (00:00 sets it to OFF)
0088 Screen Saver Set #2 (00:00 sets it to OFF)
0089 Reserved
0090 Log Update Forward
0091 Log Update Closest
0092-0100 Reserved
0101-0110 Pause Cuts
0111 Reset Computer Clock
0112-0126 Music Avail Category
0127-0130 Reserved
0131-0138 Aux 1 to 8 ON
0139 Aux All On 1 to 8
0140 Reserved
0141-0148 Aux 1 to 8 OFF
0149 Aux All Off 1 to 8
0150 Reserved
0151-0158 Aux 9 to 16 ON
0159-0160 Reserved
0161-0169 Aux 9 to 16 OFF
0169-0170 Reserved
0171-0178 B-Buss 1 Channels 1 to 8 ON
0179 B-Buss 1 Al Channels OF
0180 Reserved
0181-0188 B-Buss 2 Channels 1 to 8 ON
0189 B-Buss 2 All Channels OFF
0190-0200 Reserved
0201-0216 Simulated AUX Inputs 1 to 16
0217-0220 Reserved
0221-0228 Switcher 2 Channels 1 to 8 ON
0229 Switcher 2 All Channels ON
0230 Reserved
0231-0238 Switcher 2 Channels 1 to 8 OFF
0239 Switcher 2 All Channels OFF
0240-0280 Reserved
0281-0296 Jock Call Emulators 1 to 16
0297-0299 Reserved
0300-0349 Log Titles
0350-0449 Macros (20 steps each)
0450-0459 Jock Substitute Spots
0460-0469 Commercial Substitutes
0470-0479 Promo Substitutes
0480-0489 Spot Set Fill Spots
0490-0499 Reserved
0500-1999 Rotation Tables (50 cuts each)
2000-9999 Digital Audio Cuts (CM, HD, etc.)

Appendix 2 - Master Log Setup

Overview

AXS factory assembled systems are shipped with a completely formatted drive which includes the cut index with the standard reserved cuts already in place on the computers drive. They are clearly visible from the production screen. However, you may need to have some extra cuts or markers made that add clarity to your AXS log on the screen, particularly if you are going to run LIVE at some periods.

Master logs are created in AXS just as if they were being written onto a lined pad of paper. In fact, it might help to start listing cut numbers onto a sheet of paper before you start on the log. For stations with a production room computer, a full feature Log Edit module is used to work with master logs. For those stations with only a control room a simple log editor is available to work with master logs.

Getting Started

The first step to getting started is to get a set of master logs that can be used as a template or skeleton or form that will hold the general outline of your programming. A master log contains the following information:

AXS Log Guidelines

Currently there are two log editing programs used with AXS. The Log Edit module is supplied with systems that have a separate control room and production room computers. AXS systems that are installed on a single stand-alone computer have a simple log edit accessible from the AXS main screen. As a rule, great care should be taken in editing daily logs unless these logs are being created by hand and there is no alternative. Daily AXS logs that have been created may have had a lot of optimization inserted and if the log is edited without care, then any additions, deletions or changes may throw the programming off.

This is particularly important where a music play list has been integrated into the AXS log. While it is possible to edit music on some systems that have Music Log, any replacements or additions must consider the length of the music selection that was removed or moved.

Cut # Entry

The cut # is the primary source of information for the edit line. Entry of the cut # will establish this event line and allow the optional entry of a "time" reference.

NOTE: The AXS log is based on the use of cut numbers. To make an event display on the log, a cut number must be entered. The only exception to cut number usage is when the event line is occupied by a label that has been exported to the log by a traffic system interface.

Currently, it is not possible to just "type in" a description line. The cut number must exist as a control cut number, a user cut number, a rotation cut number, a copy cut number or as an audio cut number which comes from the AXS cut index file.

Cosmetic Spaces

Use cosmetic spaces as formatting tools to avoid running all of the events on the log together. There are two kinds of cosmetic spaces and each has its uses:

Real TIME Entry

Each event line in an AS log may have a "time" reference. In most cases these time entries are simply to give a "real time" relationship to the AXS operator so that the AXS's may keep track of where the system is if it is in AUTO mode or to provide location information during LIVE operations.

Most log events will not require a "time" reference. The use of "time" should be restricted to those events like cluster markers that define the approximate location of a spot set, or a program beginning at the top of the hour or at the half hour. Too many "time" references can clutter a log making it hard to read.

NOTE: Avoid using too many "time" references that are purely cosmetic in nature. They clutter the AXS log and there is a possibility that they can confuse timed updates if the cosmetic time is the same as an update by coincidence.

Timed Updates

Both the music and future satellite will use timed updates in parts of their programming. If a time (minutes only and alone) on the AXS log matches that of the update time in the RTS, then the AXS system will move forward to that event and play it following whatever is on the air.

Log Column Headings with Log Edit

Log column headings:

Log Column Heading with AXS log editor

The log editor will not display log column headings. The information will be displayed in the proper format after a cut index number has been entered.

Entering Log Titles and Cut Numbers

Simply type in the cut index number into the cut # field. The description, length and type fields will display automatically. If you want to key the title with a "time" then enter the hour, minute and second into the first field.

As you enter your format, take your time and experiment with the entry features. Leave plenty of room between events and use cosmetic spaces (cut 0030's) to make the log legible. Use your regular log (if you have one) as a guide. Try to think about the flow of events that make up satellite or music presentation.

Enter any live assist segments exactly like you would on a standard log. Cluster markers are not necessary but are useful as time markers.

Time Savers

The AXS Log Edit has a number of time-saving features. These include "block move" (mark a section and move it elsewhere on the log), "block copy" (mark and copy a section of the log and insert it at another spot), "insert" ("push" into an existing section of the log) and many other features.

Saving Logs

As you are developing the logs, they should periodically be saved as a precaution.

Copying Logs

The "save as" function also makes it possible to "copy" one master or special log to any other. This saves a tremendous amount of work since the master logs are very similar to day-to-day in most stations. It also allows transfer of a "standard" log to a special log for modification.

Preparation

Before you start building your master logs, you should have a general list printed on paper of the way that you want your after log to look. Or you may use your existing paper or copier master logs or the log from your traffic system. On each line item that you want on your AXS master log, place the corresponding cut index number. In addition, you should have a complete list of your cut index numbers. Be sure that all cut index numbers for cluster markers have been filled out with the correct descriptions and cluster or spot set lengths.

Log Edit

The Log Edit module is used to create and edit master logs and to edit daily and audit logs. This utility uses a fast, full screen scrolling display to work on daily, master, special, audit and new logs. From the start screen, launch Log Edit by choosing it from the list. The Log Edit window will load and display a "blank" or NONAME.LOG screen.

(pic)

Available Log Types

The Log Edit has five different log types available for creation or editing. Press the (F4) key or click the Load tool at the top of the screen and a drop-down selection box will appear. Here are the selections available:

Log Edit Keys

Since there are no master or special logs in existence, this is the point at which we will start creating a master log. Here are the simple editing and function keys:

Edit Keys

NOTE: The "event" numbers on the log edit screen are for editing reference only. They are not visible at any other point in the AXS system. They do not refer to the event numbers in any traffic system or in any other kind of automation system.

Function Keys

Pressing the indicated key will cause tools to become visible / active.

WARNING: Do not use this option to transfer an edited copy of the log currently being run across a LAN to the AXS system. This will create a conflict within AXS and will result in an incomplete log. Any editing of the currently running log must be done using the air log (F9) edit tool.

Selecting a Log to Edit

With the empty log edit screen displayed, you must now decide which master or special log you want to create. When starting from "scratch" with an empty log, you should always save to a log as the first step to avoid losing your work later. Otherwise select one of the master logs that you have already created.

New Log

If a new log is being created, select (F4) load and pick the new log entry. A blank screen will display. Then press (F5) to display the Save Log dialog. Select a master log (Mon-Sun). Do not select a daily log. The "blank" log form will now be saved as a master log for that day.

Existing Log

To load an existing log, select (F4) and pick the master, daily, audit or special log you wish to edit. It will load immediately. Log events may now be placed on the editor screen. The line covered by the highlight bar is active and a cursor will flash. This is called the edit line. All the fields may be edited. All other information is drawn either from the cut index or in some cases from extended description field if the stations logs are loaded from a traffic system interface file.

NOTE: The mouse may be used to quickly position the cursor on either the time, cut #, ref/description or type column which will allow direct editing of just those columns.

Creating a Daily Log

Once master logs are created and saved, then Log Edit can be used to make daily logs by simply entering spots from the paper traffic log into the avail positions. If the cut index header information exists, only the cut number (cut #) field needs to be entered.

Daily Log Creation

(Stations without a computer traffic system interface.)

These are the logs that will be used on the AXS screen. They contain all the formatting information from the master or special logs and have all the commercials inserted for use on a specific day. Daily logs are saved and loaded by date with a format of mmddyy.log.

AXS Affidavit or Audit Logs

All AXS systems create a log as they operate through the day. There is one AXS audit log for each day which is created either at sign on or at the midnight point when the new daily log is loaded. These audit logs are invaluable for checking that everything ran correctly on a given day and for validating times for affidavits of performance when billing from a traffic system.

The audit log is available for editing, display on a monitor and printing, but if you have only a single stand-along AXS system, then you may find that it is difficult to check the logs while the system is on the air. We suggest that the completed audit log be written to a floppy disk, thumb drive, etc. on the AXS machine or sent over the LAN and then edited and displayed on another computer which as the Log Edit tool.

Printing/Displaying the Audit Log

The AXS Log Edit has a print/display tool under the (F2) Verify menu selection using (CTRL+F7) to print log or (CTRL+F8) to print marked log.

Audit Log Notes Single stand-alone AXS systems will also find that portions of the audit log may be missing if the user leaves the AXS screen to go to production or to run a report. Special play items like RTS events, Jock F/X, and Quick F/X may not write to the audit log file.

Deleting Logs

A problem: As daily logs are loaded in and as audio or affidavit logs are created, the number may build up on the drive to a point where the operation of the entire system is slowed because of too many files in this folder. At this point it is necessary to use the "log cleanup" utility to remove the outdated and excess logs from the system.

Log Edit "Hot Keys"
F10 Esc Ins Del Home End Home End
Insert Delete Close Close Insert Delete Begin of Log End of Log
CTRL +
F1 F2 F3 F4 F5 F6 F7 F8
Song Index DJ Index Error Code Verify Print Log Print Marked Log
A B C E F P S T
Find Avail Mark Begin Copy Mark End Fix Line to Current Paste from Buffer Save Cut to Buffer
U V X Z H D Ins
Unmark Paste from Buffer Cut to Buffer Fix Log to Current "Hour" DOS DJ Index
CTRL + SHIFT +
A
Find Avail
CTRL + ALT + SHIFT +
E
Test Exception



Additional Information

Release Notes
End User License Agreement