Shiny Stone Digital

Project "AXS"

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About

THIS PRODUCT IS CURRENTLY IN "ALPHA".

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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 to have a reasonable knowledge of computer operations, engineering practices, and the way your 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.

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 add to, delete or change products without notice.

Setting Up the System

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

However, in that time period we have found several ways that stations manage to cause themselves unnecessary problems and frustrations during set up. We want to make it as EASY as possible for you. Here are some guidelines:

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 get in a hurry.

READ THIS DOCUMENT: The information is 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 know, then call and ask 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. Do NOT expect to have EVERYTHING spelled out for you. That's what our support people are for if you get stuck.

THE TRADE OFF: We make it clear in our advertising, our sales conversations, and our approach that you are trading the services of a support person in your station to do the installation for the much lower cost of doing it yourself. 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 a person in your station for several days.

THE BEST WAY to set up your system: The ideal persons to do this are the station engineer and the people who will use it the most.

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 stat 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 feel they are competent then you might 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. We can't read your mind. If you have a problem, then you must contact us. Don't waste time trying to figure it out. We can probably have the problem explained long before your people get frustrated and mad. Remember, if you are resistant to your contacting use when you are setting the system up, then you are letting yourself in for real trouble. 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.

Our support people are human. They do make mistakes. In fact, they are just about that perfect as the stations and people they support. If you don't get an update or a fix that has been promised, then contact our customer service director. If someone says they'll get back and then doesn't, then contact our customer service director. Don't just sit there getting mad. Support is a two way street. 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. It will save everyone's time. 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 that it occurred.

TRUST YOUR PEOPLE: If you have a problem, we want to talk to the person operating the system. It is really very tough for our support people to try to work through second or third parties. In fact, support is authorized to refuse to try to help in situations like this, if it becomes to difficult. Our support people are not impressed with "authority figures" that call and try to explain problems "second hand". We want to speak with the person(s) using the system. How can your people learn if you don't let them?

TRUST US: We've been around since 1991. We have hundreds of systems just like yours in the field. We wouldn't have been around this long unless we are doing something right. You will make a mistake if you accept the advice of a local "computer person" instead of ours where it comes to our product. Follow the instructions of the support technician and things will go much 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 just some learning, some decisions to make 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.

THIS !@#$#&*%! SYSTEM DOESN'T WORK! This is a very convenient "crutch" for anyone that won't read this documentation or contact us or that really doesn't want to spend the time to set the system up correctly. You're just deluding yourself. If you're having problems, then write down everything that you think is going wrong. Then contact our support technicians. Don't have the manager make the call. It should be the person installing the system. Take your time. Explain everything. And, listen carefully to the explanations and suggestions from the support technicians. Write them down.

WHERE'S MY UPDATE: Occasionally someone finds a bug that needs to 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 things 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 patients 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. But you won't gain anything by being irritable, abusive or offensive to our support people. In fact, they are authorized to terminate calls where you or your people are not co-operating or are abusive.

WE KNOW WHO YOU ARE: Every support interacting that comes in is logged; there is a complete support file on your station. We look at all of them periodically.

WE NEED YOUR HELP: If you are asked to try something on your system when you have a problem and then contact us back with the results, then please do it. Or, if you are asked to send a back up of your station data files so that we can recreate the problem on our systems, then do it. Sometimes this is the only way. If you don't, then how can we 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 much rather to talk to the person that is operating the machine than a second-party. We promise that we will not talk dirty or talk computerese to people with problems. Most of the time, simple questions can produce answers to error codes and other problems. Customer calling for support must do so on our 817-631-3266 number or they will be asked to call back.

What-Ifs: We are always open to possible improvements, wrinkles 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 a large number of 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 that you have a complaint, please contact our customer service director. Our support people are not equipped 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 is capable of running 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 typicall 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 involves 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 take 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 or not 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

Install the AXS software on each computer. Each computer uses the same software set. To install the software, click here (requires Microsoft Edge or Microsoft Internet Explorer). The installation will create a number of 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 absolutely necessary that each use 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. Make a 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, specially 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 into on a daily basis. After all the above information has been completed, follow the steps below to assemble your master logs.

NOTE: It is not really 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 of 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"

Single Key

(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 + Key

(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 + Key

(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 + Key

(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 + Key

(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 at the moment.

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 count down 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 markers 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 length 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 at this time. 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 a number of 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. At this time, only a single index is available at any time.

WARNING: Both the music edit 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 are 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.

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 count down 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

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 count down 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 into 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 actually 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 hand 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 macros 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 cuts. (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 into 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 count down 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 or not 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 into 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 Not 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 count down 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

Chapter 5 - Optional Features

Appendix 1 - Sample AXS Files

Appendix 2 - Master Log Setup

Appendix 3 - AXS Satellite Programming

Appendix 4 - AXS System Maintenance

Appendix 5 - Using a LAN

Appendix 6 - Using Multiple Switchers with AXS

Appendix 7 - Using Intro/Outro Link Codes with AXS

Appendix 8 - Power-Fill Programming Aid for AXS