Novice here so please excuse my ignorance. I noticed that we weren’t using the Mono channel (LR+M) on our GLD 112 so I made a change to (LR) so that we could have an extra StAux channel to run for streaming. Now I notice that if I mute an input channel in the monitor mix (Aux) that it mutes the entire channel (including other mixes and FOH). It’s as if the mute button is now a global mute. Fortunately, the fader still works to adjust volume in the mix. Now, even if I go back to (LR+M) I have the same problem.
What am I missing? I’m sure it’s a simple fix, but one that alludes me. Any help would be much appreciated.
I do understand that; I think maybe I’ve failed in my description of the problem. If I hit the Mix button on one of my monitor mixes then the input faders would all change to the values assigned to that mix. Here is where I normally could hit the mute button on one of those inputs and it would ONLY mute that input to that monitor; whereas now, it is muting the input not solely in that mix, but everywhere.
You’re right that would work and is a great workaround for now. My issue is my church has around 5 soundmen volunteers that have been muting the channels this way for quite some time. The less I change to the way they’ve been doing things, the better. Undoubtedly, they will continue to mute the channels within the mix
you mix with the volounteers you have not the volounteers you wish you had
so said mcnamara – or something like that
perfection is not possible
I would look at the block diagram and see if there is not some other way to do what you want without the problem with muting
what was the set up before the problem started?
why was the change necessary that caused the problem?
why were they all so used to using the mute instead of the fader?
worst case they might need to be trained to use the fader
hopefully that is feasible
Set up scenes as needed with the needed mix levels turned down, other scenes with
the needed mix levels turned up.
Recalling the appropriate scenes would mute or unmute the mixes as needed.
-Go into the IO routing set up and double patch the needed channels to separate input channels. That way there would be channels dedicated to the main mix and a channels dedicated to the monitor mix or mixes.
Muting the channel dedicated to the monitor mix would not change the main mix.
The surface could be configured with the monitor mix channels on one layer and the main mix channels on another layer or put the pair of channels side by side and use a different color on the scribble strip to indicate the different channel functions.
The change was my fault. I believe it happened with I changed the configuration from LR+M to LR to try and gain an extra St Mtx channel (earlier I falsely stated St Aux). I was looking into possibly using that extra channel to send for livestreaming.
As far as I can tell the setup is the same; physically nothing has been changed. Mike C, we do use scenes for different services. Changing scenes and even shows makes no difference to the issue and I’m trying to avoid the soundguys learning something new.
As to why they use mute instead of fader? I don’t know, just something they’ve always done.
We find it easier better faster to use one scene at a time and limit the vols to using the faders and mutes.
And sometimes when they start up the Qu they still get that scene wrong:)
We do have some mutes grouped on soft keys to make that easier for them after they got the right scene selected.
I suppose we could have separate scenes and select them via the soft keys, but that would end up with the same result in the end as just tweaking the basic scene with the soft keys.
I suppose if we had too many changes we would run out of softkeys and be forced to use the separate scenes approach.
And to be honest, we really do not need more than one basic scene for our normal (smallish)-church services.
Other events would typically be done by somebody with more detailed experience. Often with their own sound system.
The mute button on a channel regardless of the mix mode your in will always mute all outputs associated with that channel, actually the source direct out for recording can be set to pre mute but that’s not anything that has to do with your issue.
You can mute the selected mix output master and that will only that mix but that is muting everything on that mix.
The only way to individually mute channels at the mix level is to split the input to feed two separate channels on the surface.
sometimes you should actually train volounteers not let them learn by trial and error
how hard is it to teach someone to lower a fader not push a mute button
Hmm, and why it is not possible to select the channel, go to the routing screen and switch the aux send to off? Or use the routing screen of the mix master, and there you can see all channels in an overview and you can alsoswitch the channels on or off.
Lowering the faders is not even a practical workaround because after that you do not know the original position of the send fader.
pretty much the same expecting volounteers to do that when just moving a fader seems to be a problem
I would be afraid that they would forget to undo it later
Why not have more separate mixes and mute the mix you do not want and activate the one you do or is that a GLD limitation
It is a question of understanding. The softbuttons on the routing page are in fact mute buttons. But because the meaning of the mute functionality is that the whole channel strip is muted with all mixes, there is this different naming.
Other consoles allows you to use the sends on fader mode to use the mute buttons of the channel strips (yamaha naming is ON) to switch the send of that channel to the bus on or off, but the functionality is the same.
Ah, I forgot that on the GLD you can use in the mix mode the assign button between the fader banks together with the Mix button of the channel to toggle on or of. So you do not need the routing page. Instructions can be foundin the User Guide, page 10.
And no it is not the same to forget the current state of a switch (two possible positions) and the correct level of a fader (more or less infinite positions, theoretically).
I would just eyeball the fader at about x inches up and/or note the db marking on the scale for recall.
Could I be off a bit? of course.
does it make any difference? only to a few golden eared snobs who think they need a fraction of a dB accuracy.