Q-SYS Corner

[Steve Guttag]

Feeling nostalgic for some traditional test tone? Try this one out (no scripting license needed).

DolbyTone240924.zip

[Steve Guttag]

Q-SYS For Cinema Blog-2 QDS–Part-1
_9/30/24

Introduction

QDS or Q-SYS Designer Software is the program one will be using to design, implement and support any Q-SYS system. It is the place where you, the installer, designer, or support person will live but the end-user will, likely, never see.
As mentioned in Blog-1, it is best to work and think about Q-SYS in the most broad and general terms and then move towards the specifics of the design elements needed. This is how I will be treating the subjects in this blog. This is the first part, of what will likely be many parts, that relates to QDS. So, if you are already familiar with Q-SYS and have worked with QDS some, this is probably a blog you can skip as I plan to just go over the very top layer with a very broad paint brush with sweeping strokes. Very little detail will be gone over at this stage. But one has to start somewhere and QDS is at the heart of Q-SYS so it makes the most sense to me to start here.
Additionally, since we’re talking about software, there will be changes over time. As such, the topics I will discuss in this and other blogs may become inaccurate, over time, but were (hopefully, mostly) accurate at the time I wrote them.

Disclosure

I do not, in any way, work for QSC/Q-SYS. These thoughts are my own based on my own interactions with the product(s) and implementing Q-SYS within actual cinema environments. I do work for a dealer that has sold QSC products since the 1980s, including Q-SYS and its predecessors. For the purposes of this blog, I represent only myself and not my employer(s) or any other company.

Q-SYS Designer Software (QDS)

Hence forth, I’m only going to refer to the software as QDS. The software runs on the Windows platform with the current versions (9.4.8 LTS and 9.10.2) requiring Windows 10 or later. They will work on Macs with a suitable Windows emulator (e.g. Parallels) running Win10 or later.
You can download a copy of QDS here (you will need to register):
https://www.qsys.com/resources/softw...gner-software/

Which version of QDS do I want?

Q-SYS is maintaining two branches of QDS. A Long-Term Support (LTS) and a latest-feature (aka Main) branch of QDS. At present, 9.4.8 LTS is the LTS version and 9.10.2 is the main branch.
I have, generally, recommended that the LTS branch be used for cinema. Why? Because we rarely need the latest features. Often most of the new features relate to more traditional A/V spaces that might have a zoom or huddle rooms. Sometimes it could be scripting or UCI (User Control Interface). Most things in cinema are pretty static, once installed. LTS offers stability.
The LTS branch does not get updated as often and when it does, it is for bug fixes, not features. In fact, when looking at a QDS version number the third digit is the bug-fix digit. So, the LTS branch is on the 8^th revision for bug fixes.
However, Q-SYS has shown a continual resistance to revising the LTS branch to accommodate hardware changes in previously supported equipment. That is, if a product like the DCIO gets a hardware change due to part obsolescence, they won’t put the needed change in QDS to work with the updated part without changing the second digit. So, as of February of 2024, if you are putting in a new DCIO/DCIO-H, you HAVE to use 9.10 or later (this does not affect any existing systems with existing DCIO/DCIO-H). Just recently, the same fate happened to the Core Nano (and there are other major pieces) so, sooner or later, your new systems are going to need to use 9.10 or later. I have not had any issues with 9.10.2, myself, but it does allocate resources (e.g. DSP processing) differently so you should check your designs before migrating to see if you are going to bump into any processing ceilings.
So, to sum up, if you have an existing system, 9.4.8 LTS would be my first choice. If you have a new system going in as of this writing, welcome to 9.10.2 (and beyond).

Let’s look inside QDS

Here is a training video on QDS by Q-SYS (you do not need to register to view the video) it will be able to go into more detail than this blog as well as provide video showing some of the concepts. There are bound to be some overlap in topics/discussion. Again, my goal is to provide a very broad stroke overview of the QDS software in this blog.
https://training.qsc.com/mod/book/view.php?id=880
This is what QDS looks like when you first open it up:

Schematic.png

Let’s take a quick tour and, again, hit the high points. There are 4 general areas within QDS:

1. Menus/hot buttons
2. Left-Hand Pane
3. Right-Hand Pane
4. Schematic.

Menus

The menus are like you would expect in typical programs with the File menu being the place to open new designs, Save, Save As…etc. The File Menu is also where the four most popular items live:

1. Save To Core & Run.
2. Load from Core & Connect.
3. Emulate.
4. Disconnect.

Menus.png

And, you should notice, there are Fn buttons assigned to them so you need not mouse up to the menu to do them.
We’ll explore the other menus and the hot buttons when we have call to use those items throughout the various blogs.

Left-Hand Pane

The best way I can describe the Left-Hand Pane is that it is the demising line (the red line below was added by me to emphasize the point, you will not see that line in the actual program) between the real-world and the DSP world within Q-SYS. Things in the Left-Hand Pane either represent physical devices like amplifiers, speakers, touchscreens, and other input/output devices (on-ramps and off-ramps), or some form of interaction with the real-world like Ethernet communication with a cinema server.

LHPane.png

Notice that QDS starts you off with a Core (Core 8 Flex is the current default but it is changeable in the Right-Hand Pane). And since that is a physical device, it is a Left-Hand Pane device. It is located in the “Inventory” section, as will all of the other Q-SYS devices, speakers, amplifiers, video devices, control devices, voicing components…anything that relates to a physical thing or an outside interaction. Of note, the Core itself is the only item that you can only have 1-piece. At present, each design can only have one Core (in Core mode…more on that in another blog). The slight exception to that rule is if you are using your Core in a dual-redundant installation. However, from the design’s perspective, you are only really working with one Core as both Cores are running the same design.
There is another key concept to Left-Hand Pane items, they do not, in-general, copy/paste to other designs. They tend to be very design-specific items. So, if you are thinking that you will design your ideal sound system and can just copy/paste it for as many screens as you have, there will be some roadblocks there (but they can be overcome…it just won’t be as easy as a simple copy/paste).
Note, anything added to the Left-Hand Pane has to be deleted from the Left-Hand Pane. If you delete a component from your design in the schematic section, it hasn’t left your design yet. It will still be in the Left-Hand Pane until you deleted it from the Left-Hand Pane.

Right-Hand Pane
RHPane.png


The Right-Hand Pane are were all of the DSP goodies live (and more). Notice that they are all called components and that is the lingo. Things that go into the schematic that connect to things are components. We’ll dive into various components in a later blog but suffice to say, that is where things like EQs, gains (faders), video, control, logic, and the like live. Additionally, there are:

• Plugins (special components that are designed to work with specific devices, like projectors or even to give Q-SYS additional functionality). Plugins require a scripting license.
• Scripts (LUA programs that you can create to interact with things, like servers…a plugin is just a script that has gone through additional steps of finishing). Scripts require a scripting license.
• User Components (how you store a script or even complete designs such that they can be passed from design-to-design or even exported/imported). It is your personal library of things/designs.
  Key Concept: user components (and plugins) have to load each time QDS opens so it is not always best to have everything you’ve ever done as a user component. Just keep key stuff around that you will need access to in various designs.
• Properties. The properties section will populate when a component is selected to allow additional configuration.

[Steve Guttag]

-Continued-

Some notes about licensing.
Q-SYS has, starting with QDS 7.0 (and anything made since that version), been a bit licensing-happy. The various licenses allow functionality to the Core(s). Thus far, they are perpetual; meaning that they last for the life of the Core. So, as noted above, if you plan on using Scripting, in any of its many forms, including plugins, you will need to purchase a scripting license for your Core(s). If you have dual-redundant Cores, both Cores will need the same licenses.
The cost of the licenses varies by the capability of the Core (lower horsepower Cores have lower-cost licenses than the larger/more powerful Cores).
For most any design in Cinema, I would plan on UCI (User Control Interfaces, like a touchscreen or even a web-based version of one) and Scripting and just build the cost of those into your pricing/costing of a Q-SYS system.
Depending on the Core, you might need a scaling license to increase the horsepower of the Core. For example, a Core Nano, out of the box, has 64 x 64 (64-channels in and 64-channels out) capability; with a scaling license, that jumps to 128 x 128 plus more Media Streams and other processing. The scaling license, essentially, makes the Core Nano (one of the smallest Cores) as powerful as a Core 110, for less overall money, if you don’t need the Core 110’s analog I/O capabilities. But, clearly, a single screen 7.1 cinema system does not need more than 64-channels of input or output so the license is, likely, not needed. If you are running multiple screens on a single Core (or are using it in an immersive sound system, like Dolby Atmos^®), then a scaling license will be needed, at some point (probably around screen 3, depending on your design). The Core 610 (a medium-large) Core starts with 256-channels of input/output. With a scaling license, that climbs to 384-channels…enough to handle most any multiplex cinema. The concept of multiple screens on a single Core (with redundancy) will be covered in a future blog.
Another type of license can be for using a USB port of say a touchscreen as an AV bridge. So, let’s say you have a lectern in your theatre (or one you can wheel in, when needed). You might put a touchscreen in that lectern to give the presenter some controls over the system for their event. The TSC-70-G3 touchscreen has a USB port that can function as an AV bridge, which could come in very handy for something like a Zoom call as the presenter’s (or the house’s) PC could be the interface while utilizing the Audio and Video capabilities of Q-SYS to put the Far End up on the screen and send audio to their respective places (with echo cancellation).
Licenses can be added at any time (at the prevailing rate, at the time of purchase of the license).

The Schematic

The Schematic is that sad looking, off-blue (in light mode, you can run in dark mode too), empty field in the middle of the page where you will build up your creation. At first, if can seem daunting but really, creating a functional design should go pretty fast. Most everything is “drag-and-drop.”
Key Concept All signals flow from Left-to-Right. They could be Audio, Video or Control. So, put your inputs on the left side of your design and your outputs on the right side of your design. The processing goes in the middle.
Key Concept You can have as many schematic pages as needed. Do not feel you need to put everything in a complex design on one page. Break the design up into smaller, more manageable, pieces. There are plenty of ways to get signals between the pages (“signal names”/wire tags and snakes).
So, how might a basic cinema system look?

BasicCinema.png

That’s pretty basic. Just the inputs from a cinema server to a DCIO’s AES3 inputs. Then I placed a Gain to allow us to control the level. This was tied to the Level Knob and Mute button on the DCIO. While, clearly, this shows how fast one can get up and running with a functional system, there are some missing pieces to this design. For instance:

• No EQ is provided. While all of the speakers in the design do have Intrinsic Correction (QSC’s way of applying corrections to the responses after they measured their speakers to properly voice them and provide speaker protection in the form of power limiters/compressors), the odds are, depending on the room, additional tuning components will be needed.
• The method of balancing the system is cumbersome. That said, you can adjust the levels on either the DCIO component:
  
  DCIOInputControls.png
  
  Or the Amplifier/Speaker component (or a combination of both). Normally, one would provide discrete and visible gain controls for each channel so one could balance it out. [*=1]There isn’t a method of handling various formats like 5.1 versus 7.1.
• What test signal is one to use to calibrate the speakers? That should be in your design too.
• Key Point note when I connected up the DCIO’s fader and mute controls to the actual multi-channel gain component in the design, I provided connections as well as feedback connections. This will ensure that if the user uses the knob/button on the face of the DCIO or if one uses the Gain control in the design (or, more likely, when you automate the system so a server can send a cue for a volume change), that both controls are updated with any change made. Making these sort of feedback connections can be essential to designs were there are multiple points where one is accessing control of something.

The list can go on and on but you get the idea. This is a basic, yeah, in a couple of seconds with a few clicks, one could put together a digital cinema sound system that would actually work.
In a future blog we’ll explore designing a cinema sound system and will start with the Q-SYS provided Sample 7.1 system because that can be installed on any QDS you download.
Okay. That is enough for now to get a bird’s eye view of QDS and its potential. What follows will be some “Cinema Fun.” Feel free to skip it, particularly if you came into cinema after Digital Cinema became the norm.

[Steve Guttag]

The CP50
(A-Chain)

Since we’re talking cinema, and I don’t know anyone in cinema that doesn’t like talking about things in the past (and I’m no exception), let’s take a hypothetical design of a stereo processor that was “state-of-the-art” when I started…the CP50.
How might that look in Q-SYS and how hard would it be to make? Here is my first pass at capturing the high-points of it:

CP50.png

It is far from perfect but it does have many of the key features of CP50 film processor and, I dare say, the few minutes it took to create were far faster than it took the real thing to be made. Furthermore, all that is in the rack is a ½-U Core 8-Flex and a 2U tall amplifier. Also, a 10KΩ potentiometer for a volume control (instead of the traditional 100KΩ of a real CP50).
Note the signal flow from left-to-right and how each element was built up.

The CAT108 optical preamp:

CAT108.png

Now, I’m using the mic preamp of the Core 8-Flex’s input. How well that would work with an actual projector, I haven’t tested. This is just for fun. I suspect that a loading resistor would be needed across the inputs to force the “cell” to drive more current and a DC blocking capacitor may be needed to deal with any offset, if an actual solar cell was used. The rest, however, should function pretty darn similar to the real thing, right down to the changeover and slit loss. The level controls are the input’s analog preamplifier gain. This is where you would want to get an outside system’s level up to the nominal levels used within the DSP processing of Q-SYS. So, when setting level with a reference tone loop, you’d adjust these controls for a -20dB reference level.
The Slit Loss uses a variable-Q low-pass filter with a familiar slit-loss boost that is adjustable to have it interact at higher/lower frequencies, based on the reader’s capabilities:

SlitLoss20K.png SlitLoss12K.png

CAT109

The CAT109 portion has a “Type-N” (Academy) filter applied via a High-Pass and Low-Pass filter. The meters are stock meters and -20dB would be the level one is looking for using a Dolby^® Tone loop. What I haven’t emulated are the noise reduction circuits. It may be possible to emulate Dolby-A as Q-SYS does have an expander component as well as High/Low Pass filters and crossovers. However, in this design, I decided that the noise reduction would be outboard (i.e. a Model 363 with suitable cards installed). The Core 8-Flex provides sufficient analog inputs and outputs

CAT109.png

Oh, and if you are feeling nostalgic for the old analog meters of the CP50, you can make those, if you wish:

109Meter.png

Just use a collection of “Custom Controls” for a bunch of LEDs shaped like the needle and use Control Functions to determine which LED should be lit based on the input level. The more LEDs you use, the smoother the needle movement will look. The point is, let you imagination go. If you want the system to perform a certain way or look a certain way or be interacted with in a certain way, the sky is the limit on where you can go with this.

CAT150

The CAT150 was the easiest part…Q-SYS has a decoder within the cinema audio components section on the Right-Hand Pane.

CAT150.png

Now, experimentation may show that one has to trim the outputs to get the same sort of levels as an actual CAT150, but you get the idea.

-To Be Continued-

[Steve Guttag]

CP50 continued
(B-Chain)
CAT85

The CAT85 pink noise card is emulated well enough with a Cinema Pink Noise generator. I opted to use a router and snapshot to allow one to Turn the Pink Noise off or send it to any of the channels. It is perfectly acceptable to skip all of that and use an “Injector” connected to the Pink Noise Generator and merely move that around while you are tuning.

CAT64

Then comes the equalization. This is where I also put the channel trims for balancing (technically, they should be on the CAT117 but this is my version of the CP50!). I also placed high-pass filters in there so the various speakers would never be asked to do what they can’t do. I then added 1/3-octave graphic EQs to each channel (including surrounds). Note, I normally would use parametric EQ but graphic EQs would be more faithful to the CP50 and its CAT64s.

CAT64.png

CAT117

I then finished up the signal path with a fader and, since this is Q-SYS, added a 4-channel amplifier with suitable speakers:

CAT117.png

I used a plugin made by Jay Wyatt called the “Classic Cinema Fader” that allows for both dB and linear 0-10 faders, with the right conversion. The CAT122 takes a signal from the GPIO on the Core 8-flex from the potentiometer.

CAT113

All that is left is to select formats. So, I emulated the CAT113C for Mono, Stereo and Non-Sync.

CAT113.png

These “buttons” can be brought back to the GPIO terminals of the Core 8-flex or called via an automation. The Non-Sync path comes from a pair of the amplifier’s analog inputs.
Key Concept All inputs and outputs are on-ramps and off-ramps to the system. An input or GPIO on something like an amplifier is not specifically for that amplifier. It is for the Q-SYS system, in its entirety. So, yes, two of the four available analog inputs on the amplifier can be used for a music input into the system.
The Source Selector is a really a Matrix Mixer with Snapshot buttons to recall various presets.

FormatMatrix.png

Note, this is where I changed the signal path too. The signals come in a Left, Right, Center, Surround but leave in a Left, Center, Right, Surround order. I have allowed for a subwoofer but, like most CP50 installations, the CAT160 card wasn’t used.
Now, do I think one should use Q-SYS to emulate a film sound processor? Probably not. There is an abundance of film sound processors scattered about that have not made it to the landfill. It would likely be a lot less hassle to treat one of those as a “source” to your Q-SYS system and just bring it in as an 6-8 channel analog input. You’re going to need external components for Noise Reduction on the analog tracks and whatever digital processor you plan to support. You might as well keep film separate, as far as the preamp through the decoding/level setting since they will have all of the pieces you’ll need. I presented the above to give the person that is new to Q-SYS an idea that if you can think it up, you can probably implement it in your designs. That Q-SYS really can benefit the cinema systems in terms of flexibility, features and functionality.

-End of Blog 2-

[Leo Enticknap]

Updated NEC projector plugin (v1.2.0.1) has been released. It has two bug fixes:

• Fixed pin name for Cooldown Timer (was overwriting projector status).
• Fixed parsing of lamp 2 hour count.

[Steve Guttag]

Updated Dolby IMS3000 plugin 1.2.0.0. This is a bug-fix update:

• Fix for Playstate LED behavior in scheduled mode. (it used to only update status in manual mode...they work correctly now).
• Macros are now properfly found by ignoring the Trigger Cues.

My previous comments from post #311 remain.

[Steve Guttag]

QDS 9.12.0 has been released (they skipped 9.11). This is a big one. I'm still recommending 9.4.8 LTS...except most new installations are going to be forced into 9.10 and later. For instance, all new DCIO/DCIO-H will require 9.10 as well as new Core Nano and Core 8-flex. I have NOT had problems with 9.10.2 other than it seems to be more fussy on allocating resources for mediastreams (something not used for typical cinema sound systems).

Of note in 9.12.0 for cinema:

• The QIO-LVR4 is a low-voltage relay module for those that want real dry-contact relays. Remember though, the DCIO/H has four relays in it and each CX-Q amplifier has one relay too. So, you may already have what you need there but now there is an option for, say, remote mounting a PoE relay box for say a masking machine (you all remember masking machines, don't you?).
• They're fiddling with how AES67 is being handled. This shouldn't affect cinema but those that are using AES67 should verify that they haven't caused issues while trying to improve things. This could include those using LEA, Powersoft or Dolby amplifiers. Dolby Atmos comes in on a customized AES67 receiver. I would verify that everything is working there, still, before committing to 9.12.
• One of my requests came through. You can assign different PTPv2 priority levels between primary and redundant Cores so that you can have the Primary Core always be the PTP clock GM regardless of who has the lower MAC address.
• The NV21H-U now includes the A/V bridging license with the unit but only when running 9.12 and later.
• WAN Transmitters can now use multicast. So, if you have a music system and multiple Cores, you can have one transmitter feed all of your Core's WAN receivers.
• If you are changing your amplifier from a DPA-Q to a CX-Q, there was a bug on the 8-channel amplifiers where you couldn't configure your E-H channels. Internally, they'd keep the original configuration but you couldn't see them. The work around was to delete the DPA and add in the CX-Q...now you can just use the drop-down to change the model if you are doing a swap.

I'm sure there are others but those are what caught my eye.



v9.12.0

Version 9.12.0 was released October 21, 2024, and includes these updates and resolved issues. This release emphasizes enhancing video stability and reliability, ensuring video interactions are smoother and more consistent.

Note: See the Downgrade Notices section for important information concerning downgrading to version 9.9.x from version 9.12.x.

New Product Support

QIO-FLEX4A
QIO-LVR4
PS-TSCG3 Touchscreen Paging Station

Audio

AES67 RX/TX Components Support L16 Encoding

The AES67 RX/TX Components now support L16 encoding. The lack of which previously resulted in “Packet Missing” and “Size Mismatch” errors when interfacing with devices utilizing L16 encoding.

Video

Enhanced NC Camera Controls for Optimal Performance
USB Endpoints available in Q-SYS Help
USB Reset trigger button available in the Status Component

Control

Enhancements to UCI Controller
Lua Accessing Controls with Decimal Names

Platform

Improved notification for AES67 Receiver Channel Count Mismatch
AES67 Receiver Auto-Discovery Enhancement
WAN Transmitter Enhancement
PTP Priority Settings for Redundant Core
External USB Properties
Expanded Networking Details
NV-21-HU: AV Bridging License
End User License Agreement (EULA) and Policy Changes
Performance Data Collection
Q-SYS Designer Installer
Inventory Picker Discontinued Items

Resolved Known Issues

• Audio: The issue with the QIO status showing “LAN A connection Failure” after updating has been resolved.
• Audio: The issue of the second channel becoming inaccessible and leading to unconfigurable E-H settings when transitioning designs from any DPA amplifier to any CX-Q amplifier using Properties has been resolved.
• Amplifiers: An issue that would cause amplifies in larger designs (30+ Cores and 50+ Peripherals) to show "Compromised - High CPU Usage: 100%" has been resolved.
• Video: The issue with NC camera streams failing when switching Mediacast routers on NV-21-HU USB Bridges is resolved.
• Video: The issue with NV-21-HU displays not working with laptop input sources in a multicast setup has been resolved.
• Video: The camera streaming issue to the NV-21-HU USB Bridge has been resolved.
• Video: USB-C is no longer unable to establish a valid format when using an NV-21-HU and HP ZBook Firefly Gen 9.
• Video: An issue with Mediacast video freezing when switching cameras using gooseneck audio input is resolved.
• Video: Designs that have two or more cameras connected to a Mediacast Router and a USB-C source no longer experience issues with the USB Video Bridge when switching between camera sources.
• Video: The intermittent video scanning issue when switching video sources on the NV-21-HU decoder has been resolved.
• Video: When upgrading QDS to version 9.12.0, NV-21-HU's no longer experience video distortion with green pixelation.
• Video: Resolved an issue that would cause NV-21-HU HDMI input failure, requiring two reboots before HDMI worked.
• Video: The “Packet Missing” error with NV-32-H encoders has been resolved.
• Video: NV-21-HU Decoder no longer experiences LAN A packet loss under specified conditions with upstream NV-21-HU Encoder.
• Video: Improved an issue where NV-32-H Encoder encounters an error “Fault- Not Receiving video from <encoder name>”.
• Video: The issue with Audio USB Bridging enumeration failure due to Windows Registry requiring unique USB Bridging names is resolved.
• Video: NV-21-HU's USB-C input now correctly displays audio channels when connected to a Generic AV Source without graying out.
• Video: To avoid confusion during a KTM firmware upgrade, a status message will indicate “Initializing - USB firmware is being upgraded. Do not reboot.”
• Video: NC-110 devices can now successfully save the 802.1x configuration, stopping the error: “802.1x settings save failed for LAN A.”
• Control: Resolved an issue where TSC-101-G3 and TSC-70-G3 panels experienced a UCI reload loop.
• Control: An issue that would cause QDS to slow when using a lot of plugins has been resolved.
• Control: The issue where changing properties on the "Is Managed" plugin resets the script access level is resolved.
• Control: The issue with TSC-101-G3 and TSC-70-G3 panels getting stuck in an “initializing” state has been resolved.
• Control: Resolved an issue that caused some controls within a State Trigger Button and/or ComboBox within a UCI Toolbox to not activate when accessing the UCI from a physical TSC or UCI Viewer.
• Control: TSC G2 and G3 Popup Buttons are no longer experiencing issues rendering.
• Control: Cameras in Q-SYS Designer now remain in place when moved into or out of Containers, eliminating unintended returns to the Inventory.
• Platform: The issue causing unexpected redundant Core failovers and runtime engine crashes, as evidenced by the stacktraces, has been resolved.
• Platform: Resolved the issue of the Loop Player suddenly experiencing an audio delay when clocked to PTP.
• Platform: Two or more speakers inside a Container no longer can be wired to the same Amplifier output.
• Platform: The issue where all GPIO inputs on the Core 8 Flex are set to “on” at startup has been fixed.
• Platform: Appropriate X-Content-Type-Options and HSTS headers have been added to Q-SYS Peripherals to address related vulnerabilities.
• Platform: PA Global Priority settings no longer revert to defaults during a Core failover when using Redundant Cores with Access Control enabled in designs with PA routers.
• Platform: Media Stream Receivers are no longer unable to receive Multicast Streams.
• Platform: The Inspector now correctly shows that only a scripting license is required for plugins or scripts.
• Platform: Q-SYS Designer no longer erroneously allows multiple Control Pin inputs to be wired to one destination.
• Platform: The AES67 RX/TX Components now support L16 encoding the lack of which previously resulted in “Packet Missing” and “Size Mismatch” errors when interfacing with devices utilizing L16 encoding.
• Platform: The issue of the Dante Controller not displaying details for any Core under the Device tab or the Clock Status tab has been resolved.
• Platform: AES67 Receiver streams no longer show "Not Found" after a design push.
• Platform: The issue where the core stops responding to SNMP queries in Dolby Theaters has been resolved.
• Platform: QIO, NL, and NM series peripherals now report 802.1x port authentication status in Peripheral Manager.
• Platform: Q-SYS Designer no longer fails to install when the linked folder is deleted or lacks necessary permissions.
• Platform: The issue with the Q-SYS Cores crashing during a penetration test using Nessus software has been resolved.
• Platform: The issue where the license requirement notification doesn’t always appear when it should has been resolved.
• Platform: The issue with incremental numbers on wire tags has been resolved.
• Platform: Resolved the issue of exceeding the USB endpoint limit when using Advanced USB Audio on Core 110f, Core 8 Flex, and Core Nano has been resolved.
• Platform: The issue where multiple ad-hoc event settings in the Command Schedule were tied to one another has been resolved.
• Management: Redundant Core firmware upgrades no longer result in 'Unavailable' status on the Q-SYS Reflect Status page.

Downgrade Notices


If you are downgrading to version 9.9.x or earlier from version 9.12.x:

• If downgrading locally, you must first downgrade to version 9.10.x.
• If downgrading via Reflect, you can downgrade directly to the desired earlier version.

[Steve Guttag]

My continuing blog on Q-SYS for Cinema below in several parts.
Introduction

The first part of implementing a Q-SYS system will be to pick out a Core. Even the smallest system has to have a Core…even if it is virtual. This blog will attempt to help guide you in picking the most appropriate Core for your particular installation/design. Disclosure

I do not, in any way, work for QSC/Q-SYS. These thoughts are my own based on my own interactions with the product(s) and implementing Q-SYS within actual cinema environments. I do work for a dealer that has sold QSC products since the 1980s, including Q-SYS and its predecessors. For the purposes of this blog, I represent only myself and not my employer(s) or any other company. What Cores Are Available?

The list at the time of this writing is (this list will change over time):

Virtual	VCore (You provide suitable hardware to run the Q-SYS software).
Small	NV32H (Core Enabled) Core Nano Core 8-Flex Core 110f V2
Medium	Core 510i Core 610
Large	Core 5200

For cinema, I am going to dispense with the VCore and the Core 5200, right now. The VCore serves a particular niche where an existing A/V space needs a unifying control system as well as remote monitoring. And while there can be application for that within Cinema, I just don’t see it being popular.
At the other end of the scale, the Core 5200, handling 512 x 512 channels and similar large-quantities of A/V type features are going to be beyond all but the largest theatre complexs.
Cinemas are going to be in the Small to Medium Core range. The Core 610 is big enough, if you desire, to run the entire complex from it. It can support up to 386 x 386 channels of audio and has the DSP horsepower to handle the processing you are likely to need when handling medium to large complexes.
At the opposite end, the small Cores can handle single screen (either single screen venues or with a conventional cinema design of one processor per screen). They can also support multiple screens, if desired for smaller complexes or smaller groups of screens. How To Pick The Right Core

Coming up with the most appropriate core can be found by answering some questions of what you are seeking from the design.

• Do you want to implement Core-Redundancy? If you have Core-Redundancy, you will tend to not want a Core with Inputs/Outputs (audio, video, or control).
• Are you implementing the system on a single-screen? Single screen systems will not, typically, need as much processing or channel count capabilities.
• Do you have specific Audio, Video, or Control input/output that are satisfied (or helped) by what some of the Cores offer?
• Do you plan on offering non-traditional cinema A/V capabilities (like live audio mixing or Zoom/Team room calls)? Various types of processing can put significant demands on the DSP that may put you into a medium Core instead of a small one.
• Related to all of the above, how complex is your design and how much DSP horsepower or input/output channels do you need?
• How important are “Aux” networks to your design? Aux ports only show up on Medium and larger Cores.

Core Redundancy

Core Redundancy refers to installing two identical Cores such that if there is a problem with the primary Core, the Redundant (backup) Core, automatically, takes over quickly.
Here is a link to a Q-SYS demonstration of Core and Network redundancy. Please note, the video is a bit dated now since it refers to I/O Frames and the DAB-801, both of which are now discontinued as they catered to, among other things, traditional DCA amplifiers. However, the concepts remain the same:

https://training.qsc.com/mod/book/view.php?id=877

If you are going to have more than one theatre on a Core, then it would be unwise to not have Core-Redundancy. Even if you have 2-screens, you are going to have fewer issues having one system with Core-Redundancy than you are having two independent systems. In both cases, you have two Cores. However, with Core-Redundancy, it requires both Cores to fail, at the same time, to bring the theatres down. Conversely, having completely separate systems, if either Core fails, the theatre with the bad Core goes down.
While it is possible for some inputs/outputs, on the Core, to be used in a Core-Redundant system, there are restrictions on what can be doubled up and how it can be done. You will need to consult the Q-SYS Help File on if/how you can connects inputs/outputs up.

https://q-syshelp.qsc.com/#Redundanc...ncy%257C_____2

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[Steve Guttag]

Single-Screen or Multiple Screen Design?

When one is working with just a single screen, there is a degree of flexibility offered in choosing a Core. Often, one does not need the extra DSP horsepower.
Furthermore, when one is designing for a single screen, one can pick features that are particularly suited to that screen. So, if you need to provide some HDMI video switching, perhaps the NV32H might be a good fit. Or if you have a bunch of analog amplifiers, the Core 110 v2 with all of its analog audio could be a good choice.
You might be fine with not having a spare Core for a single screen or, perhaps having a spare Core, in the box, for one or more screens and deal with swapping it if/when there is a failure.
I can, easily, make the arguments/scenarios where any of the Cores could be a good fit to a single-screen. It all depends on that that screen’s needs. Core I/O Features

Remember, the I/O of a core can be used in peripheral mode if too.

• Core Nano: (2) RS232, USB AV Bridging [*=1]Core 8-Flex: Everything the Nano has plus 8 “Flex” analog audio channels as well as an 8x8 GPIO control.
• Core 110f V2: 8 analog inputs, 8 flex audio, 8 analog outputs, RS232, USB AV Bridging.
• Core 510i: 8 card slots for a custom configured audio I/O (both digital and analog), Hardware Dante bridging via the card slots, RS232 and 16 x 16 GPIO.
• Core 610: RS232. Not surprisingly, the Core 610 does not have a peripheral mode.

So, depending on your installation, a Core with suitable inputs/outputs could fit in well if you are using traditional amplifiers or need to provide an input to say a film processor if you still have film projectors. Remember, if you plan on using Q-SYS amplifiers like the CX-Q series, they have analog inputs. This may diminish the value of having inputs on a Core. Flex audio

Flex audio ports can be configured in QDS to be either inputs or outputs on a channel-by-channel basis. So, with a Core 8-Flex, you could set up 6 of them to be inputs and two to be outputs, if desired.
If your single screen is running an immersive audio system like Dolby Atmos^®, that will consume a lot of DSP resources due to the channel count and how you choose to implement various forms of tuning and signal paths. You’ll, likely, find that a Core 110 v2 or a Core Nano, with a scaling license, will be sufficient but you will be at the upper end of their DSP resources, depending on what is in the design. Moving up to a medium Core is a significant jump in DSP resources (as well as channel count). This may be required if you are also going to have some live audio mixing requirements, on top of the immersive sound, particularly if you want to use the “Notch Feedback Filter,” which consumes upwards of 50% of your Core’s DSP resources to put even 1 into the design.
For multiple screens on one Core, see the section on Core-Redundancy, above, as to my thoughts on the most suitable Cores.
My rules of thumb on Core sizes for multi-screen designs:

• Core Nano can handle up to 2-screens out of the box and up to 4 screens, with a scaling license. You might be able to get a 5^th or 6^th screen if you are super-careful on your channel counts and choice of various components and don’t do anything too fancy. But that flies in the face of the flexibility that Q-SYS offers.
• Core 510i can handle 10 screens comfortably and, with careful use of resources, might be able to get out to 12-screens. More often than not, it will be the input channel count that will limit how much you can put on a Core 510i in cinemas.
• Core 610 should be able to get out to 15+-screens with its scaling license (gets it out to 384 x 384 channels plus the DSP boost).

Non-Traditional Cinema Features

Q-SYS has two big distinctions on how they allocate DSP resources. There are traditional resources, they call CAT 1 (e.g routers, mixers, EQs…etc.). Then there are particular resources, they call CAT 2. CAT 2 resources include:

• [*=1]Notch Feedback Filters (So, if you plan to have a microphone system and you want to have an automatic feedback suppressor, you’ll need 1 or more of these). [*=1]Acoustic Echo Cancelling (used for Zoom/Team type calls).

Traditionally, CAT 2 resources consume HALF* of your Core’s DSP horsepower the moment you put one into your design. Q-SYS tends to allocate a chunk of DSP resources based on what you have in the design. So, adding the second, third…etc. will not consume nearly as much as that first one. However, nothing is as stark as putting in your first CAT 2 component.
*The main-branch of QDS, currently, 9.12.0, the DSP allocation is a little more flexible. That is, a CAT 2 component only gets 1/3 of the DSP resources. CAT 1 components always get 1/3 and then the middle third can be either CAT 1 or CAT 2 but not both…so you can have 2/3 CAT 1 or 2/3 CAT 2, depending on what your design needs. I have only checked this on the Core 610 and Nano. This may not apply to every Core, particularly legacy ones.

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[Steve Guttag]

How Complex Is Your Design?

In general, unless you are going to be providing full tuning capability to an immersive system, you are not likely to tax out the DSP or channel count of even a small Core when implementing on a single screen. But, if are going to be running a single Core (redundant) on 2 or more screens, then you will need to monitor your DSP usage (and channel counts). Check Design

One of the great features in QDS is over in the File Menu. It is the “Check Design” function (Shift-F6):

CheckDesign.png

This will, quickly, let you see where you are with your chosen/perspective Core (remember, you can create your entire design without buying anything and then choose your Core once you see what your actual requirements will be).
For example, here is a Core Nano:

Picture2.png

The Core Nano’s resources, shown above, has plenty of resources. The Media Stream RX is the limiting factor in the design, at 50%. This Core is running an Entertainment Center in a cinema (Bowling Alley, Bar, Restaurant). The Media Streams are audio streams from Cable Boxes and Computers that are fed to the various zones in the center. The Core Nano does have a scaling license to allow up to 12 Media Streams and 24-channels of Media Streams…hence we are just at 50% instead of 100%.

Conversely, below, this is how a Core Nano (also with a scaling license to bump it up to double the DSP resources and double the channel count) running a Dolby Atmos system plus some PA features (virtual mix board via UCI):

Picture3.png

Clearly, we are starting to get to the limits of this Core. So, what if we were to switch that same design to a Core 510i?

Picture4.png

It is a pretty dramatic drop in resources. The Check Design function can really help guide you on which size Core is most appropriate to your needs.

Key Point: The Check Design does not need a Core attached. You can work on your design all within QDS before purchasing anything. Once you think you have, essentially, what you will need, you can run the Check Design and see just where you stand on any particular Core size and where your consumption is coming from. In cinema, audio inputs will, often, be the limiting factor.

To switch which Core you are using from within QDS, select the Core in the Left-Hand Pane (or any of its components from within your schematic, like the Status component). Then, on the Right-Hand Pane, under Core Properties, the 3^rd option is the Model. There is a drop-down that will allow you to switch which Core your design is going to use. This should allow you to, quickly, ascertain which Core would be the best fit.

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Aux Networks

The smaller Cores, typically, just have two network ports, QLAN-A and QLAN-B. If you don’t plan on Network Redundancy for your audio then, typically, QLAN-A is used for all of your network audio while QLAN-B is, typically, used for control or, possibly, non-QLAN digital audio (AES67 and/or Dante).

As mentioned, I, almost always, use Network Redundancy to ensure there are no sound issues (do you really want to lose sound due to a connection issue on a $2 patch cable?). As such, I’ll have QLAN-B double as the redundant QLAN network as well as handle control. This will add some complication as I do not mix my QLAN networks with the normal booth LAN. I, therefore, will utilize a router to allow the control signals to traverse between the networks.

The Medium Cores will have one or more “Aux” networks. The Aux networks cannot be used for normal QLAN traffic (audio) but can be used for control as well as WAN audio. WAN audio is digital audio but not synchronized via the PTP clock and has different requirements/limitations. However, it can be handy for things like lobby/intermission audio.

The Aux networks are the natural place to put your control signals. In our systems, the Aux network is placed directly on the normal Booth LAN. This is a neater/cleaner installation than combining both QLAN audio and Control on one network.

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My Core Recommendations For Cinemas

At this point in time, my most popular/go-to Core is the Core Nano. It is the lowest cost, for the Core itself. It is the lowest cost for licenses (UCI and Scripting) too. It also handles anywhere from 1-4 screens worth of typical cinema processing. It can also handle the typical Dolby Atmos^® system. When the Core Nano isn’t sufficiently capable for a particular system, I’ll jump up to the Core 510i or Core 610.

Since most of our systems use Redundant-Cores (and almost all use Redundant-Network), we don’t tend to use Cores with analog inputs and outputs as they would be wasted. With a scaling license, the Core Nano has, essentially, the DSP processing power of the Core 110f v2 (The Core 110c/110f were my go-to Core, previously, but, once the Core Nano came out, it became the better choice, for us).

The Core 510i, while still in current production, is going to be phased out. It was removed, for a period, during the supply chain issues that followed the Covid-19 shutdowns. The Core 610, processing wise, replaces it. The Core 510i is the last of the older input/output card-based means of creating inputs and outputs. If you have a lot of DCA amplifiers, the Core 510i can be outfitted with Dataport cards to connect directly up to your existing amplifiers and get many of the processing benefits of “Q amplifiers” like the CX-Q.

The Core 110f v2 has up to 16 analog outputs, which could allow the Core to connect up to most any analog amplifier. Typical cinemas will need about 11 output channels (7.1 with bi-amped screen channels) to 14 output channels (if tri-amped screen channels).

Cores as Peripherals

Something to keep in mind when selecting Cores and if you have specific input/output requirements, most Cores have the option of using them as a “Peripheral.” It is certainly possible to use a Core Nano as your Core and add a Core 110f v2 as its peripheral to pick up its analog I/O capabilities as well as having a Network-Redundant peripheral. It might sound sort of crazy but if your I/O needs fit the Core 110f v2, you might find that it is the most economical means of getting that density of analog I/O. Naturally, if you don’t need all of its 24-channel capabilities, the cost benefits get a bit worse.

The same can be said for the other Cores. If you need a bunch of Dataport outputs, a Core 510i in peripheral mode can provide connectivity up to 16 Dataport connectors (32-channels). Or you can mix and match the types of inputs and outputs that suits your design’s needs. It also can provide a hardware Dante Bridge (with up 64 x 64 channels per card) Please note, your primary Core will set the total channel/stream count for your system. You cannot use a Core Nano with just 64x64 (without a scaling license) and leverage a Core 510i in peripheral mode to expand it beyond the 64x64.

Believe it or not, even the Core Nano can be used as a peripheral. It can be a USB bridge and a pair of RS232 ports, while supporting network redundancy. I’m not saying that it will be your most cost-effective solution for these features but like other Cores in peripheral mode, the cost effectiveness of using them in that mode is a function of how much of their capability you are using combined with your desire for a network redundant device. The Core 8-flex adds up to 8-channels of analog plus GPIO, as a peripheral. Remember too, if you are updating a system with a more powerful Core, the old Core may be able to be repurposed into a peripheral.

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[Steve Guttag]

NV32H (Core Capable)

Picture6.png

I’m going to wrap up this (longish) blog with an examination of a Core that most cinema people probably won’t think about as their potential Core, the NV32H.

So, while the (current) “small” Cores can be used as peripherals, if you design so needs, the NV32H can do the opposite. The NV32H is a peripheral that can function as a Core.

Cost wise, the NV32H starts out at a similar price point as the Core 110f v2. Its feature licenses are at the price point of the Nano and 8-Flex (cheaper than the Core 110 v2). It does not include a Dante 8x8 license, as other Cores do (remember, it is a peripheral) but one can purchase licenses for adding Dante up to 32x32 channels.

Background on the NV32H

The NV32H is an AVoIT device designed, primarily, for adding video to a Q-SYS system. It can be set up as an Encoder (where you’ll plug in your HDMI sources, such as laptops, cable boxes, Blu-ray players, with a local monitor out) or as a Decoder where its outputs are, typically, connected to a projector and/or monitor and its inputs are usable locally but not on the network. All of the video and audio travel over the same Q-LAN as the audio and control. The NV32H, as a decoder, can take the various video streams and send it out of its HDMI and audio ports, as well as interact with a host computer. Much of this functionality will be discussed in a future Blog.

Out of the box, when the NV32H is to be used as a Core, it becomes, essentially, a “Decoder” but without the ability to connect to other NV devices until you purchase a streaming license for it. With the license, you can have it configured as either an encoder or decoder as well as the Core for the system.

However, if all you want your Q-SYS system to have is a mini 3x2 video switcher (with AVoIT expansion capabilities), without a bitstream decoder (ever) and only need 1080p resolution (you can have either two outputs or 4K but not both) and all of your sources can provide PCM audio, then this might be the Core for you. And, to be clear, in case you are thinking you can use a DCIO-H on one of the NV32H’s outputs to decode bitstream audio…the NV32H will not pass the bitstream audio. It is LPCM or nothing on HDMI. You will also have to handle the overhead of dealing with various channel configurations (e.g. 2.0, 5.1, and 7.1 channel configurations from various sources/content).

The NV32H handles 64 input channels and 32 output channels. So, it is plenty big enough for a single screen in cinema (and, can handle more than 1 screen but see my comments above about Core-Redundancy).

Okay, given the restrictions on its HDMI video and audio, how might one use a stock NV32H as a Core in a cinema system?

First, let’s create a “typical” cinema system within Q-SYS. This will indicate just how capable this “Core Capable” core is. For this example, we will have DCPs with up to 7.1 audio, PEQs on all 8 channels of output with bi-amplified screen channels as well as provide for HI/VI audio output. Again, pretty typical, before one adds in the video portion. To that, I’ve added just a 3x2 video system, which we’ll explore next. Here is what it looks like in the schematic:

Picture7.png

Don’t bother squinting to try and see it all. It isn’t important, at this point. It is there to be an example as to how well the NV32H can handle a “typical” cinema system. Speaking of which, here is the “Check Design” for it:

Picture8.png

We’re at just 32% of its DSP resources. We aren’t close to taxing it on any front. The scripting engine is required in this design because of my “Cinema Fader” that uses the block controller. The touchscreen requires a UCI license. Likely, I’d add in a projector and server plugin, which also would have triggered the scripting license requirement.

Let’s take a look at the input section to see what is going on. The Input and Format section is where all of the audio comes in. I’ve provided for 2:4 Matrix decoders for both DCPs and Video. The “Analog In” DCIO-1 component has the non-sync and a mono mic/line input. All of this feeds a matrix mixer that functions as a format selector using a Snapshot. Finally, I used one of the amplifier’s analog inputs to feed a set of four microphones (most likely wireless mics) into an automatic mixer. They do not feed the format selector but come in post-format selection so you can have microphones used at the same time as other sources, like during PowerPoint presentations.

Picture9.png

Level 1, creating a traditional video switcher system

For Video, I configured what I think would be pretty typical of having a Blu-ray player, a laptop interface using a twisted-pair type extender (HDBase-T) to a wall plate by the screen for the presenter. And an “Aux” input for whatever might walk in the door for the presentation (or a booth laptop).

Picture10.png

All three sources go into the NV32H. HDMI-1 output feeds the projector and HDMI-2 feeds a preview monitor. The sound for HDMI-1 goes into the main format selector via a “wire snake.” Note, I’ve used, in this example, “wires” for direct connection, wire tags to connect pins on various components were using wires would have been messy. I’ve also used a Wire Snake where it is convenient move a group of channels together to another place in the design. I could have used wires or wire tags as they are all equivalent. Which to use is a matter of choice as to what makes the design easier to work with.
I mixed down the 8-channels to 2-channels for the preview monitor (which is likely a TV or other 2-speaker device).
Note, the video never enters into the network. It is merely switched like any normal video switcher would. We’re just lifting the audio portion and sending it into our signal path, directly. The process of creating the user interface will also be greatly simplified since no plugin or other component will be needed.
Key Points:

• The HDMI standard uses a different channel assignment than most cinema people are used to, including when using the DCIO-H. HDMI’s audio standard assigns channel 3 to LFE (subwoofer) and channel 4 to Center. So, when working with just HDMI audio, you will need to make that switch since everywhere else in a cinema design, those two channels are reversed.
• Consumer and HDMI, in general do not have the cinema legacy of how we handle surround and subwoofer levels. They are all equal in, equal out. So, if a -20dBFS signal is 85dBc out of center, the same is true out of the surround channels (if they have the same bandwidth). You will (or should) make the conversion or your surrounds will be too low (82dBc) and your subwoofer may be too high (they don’t always presume that there is this magical 10dB boost somewhere in the signal path). There is a provision within the HDMI standard to convey that there should or should not be a 10dB boost on the subwoofer but that metadata will be lost when using the NV32H. Rules of thumb are that movies tend to presume the boost and other sources do not.

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[Steve Guttag]

Level 2, Setting it up for a Zoom/Team room system.

So, let’s say you use a lectern for your laptop presentations (they have to put the laptop, somewhere). It would be logical to put a touchscreen into the lectern to provide some degree of auditorium control. Most theatres do not want to dedicate employees to a rental any more than necessary so giving the user enough control for say the lights and maybe some sound…etc. on a touchscreen would make sense.

If you are using a QSYS TSC-70-G3 or the TSC-101-G3, Q-SYS has an USB3 connector on the back of the touchscreen that can be used as an AV bridge (with an activation license). So, one of the tricks in a cinema making a Zoom call is how to get the show sent to the “far end.” You can use the laptop on the lectern to not only run the call but be the means to get the AV content to the far end. So, that mic mixer that we’re using to the theatre…that can also be a feed to the far end.

So, what about sending a picture, beyond the laptop’s built-in camera? We can add some NC series PTZ cameras. Now, those connect up via network but we do not need a scaling license for the NV32H, yet. With Q-SYS, we now have a means of getting the cameras and sound, via the host laptop, to the far end. A tradeoff is that the NV32H cannot send the PTZ cameras to the HDMI-2 output (preview), just the HDMI-1 output. However, you CAN put “Preview” monitors on your UCI (drag them out of component into your UCI).

Again, this is an overly simplistic system just to show that the functionality is there:

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How are we doing on Core resources?

Picture12.png

We’re still doing okay. Note, we just put in a CAT 2 device, the Acoustic Echo Canceler so the far end doesn’t get themselves back as an echo

Level 3, Going full network.

Up until now, we’ve been using all conventional AV HDMI video, with the exception of the PTZ cameras, which are using “Mediacast” to traverse the network into the NV32H and out of the A/V bridge. However, the next tier up is to put the video on the network using an NV endpoint like another NV32H or an NV21H-U. Since the NV21H-U includes the USB bridging, starting with QDS 9.12, I’ve switch to it for the USB bridge (we don’t need to buy a license for the touchscreen).

Picture13.png

So, how are we doing on DSP usage now? Very well still (the DSP usage dropped because I switched to 9.12.0 for this example to remove the bridging license):

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NV32H conclusion

Clearly, the NV32H, as a Core, has viable uses in cinemas. However, one just has to know what it cannot do, mostly with audio and, potentially, a few limitations with video. It is more powerful than its small package (1/2 of 1U of rack space) and peripheral origins may present.

Speaking of which, the NV32H does not include any form of power. It can be powered by PoE++ (double-triple check your switch’s/injector PoE++ power capabilities, 802.3bt Type 4, before thinking you are okay…and note it is PoE++, not the more common PoE+) or by an external power supply (48VDC at 1.5A or better).

The above example was merely a quick exercise and not meant as a full template for setting up a Zoom/Team system. Q-SYS does have a Quick Start that goes over setting up their template for a Microsoft Team Room (MTR) here:

https://training.qsc.com/mod/book/view.php?id=1663

Just know, that the NV32H can certainly be the Core you use for such a system, in a cinema. It is more capable than its peripheral origins might lead one to believe.

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