Messages posted by SwitchBack

Not by daisy-chaining them to a single fw port. That would exceed the 54x54 max channel count (54 in, 54 out)

I vaguely recall someone considering an experiment with a computer with two fw cards. Don't know how that worked out.

Well, I guess the easiest way is to save a scene with every recording. That way you'll have a snapshot of all the settings.

The thing is that the 'leave the buttons as they were' routine is mainly useful for a quick playback of a recording. But back at the ranch you'll probably want to tweak this, that and everything a little. So you'll end up switching off all the Dig Out buttons. Then the only difference between the dry and the wet tracks will be the FAT starting point: for the dry tracks the starting point could be the settings from the gig; for the wet tracks (recorded with EQ & Dynamics) it will be flat.

Yes, I do that quite often: From VSL Setup make sure that the SL sends Main to 17/18 (master), and in Capture only arm tracks 17/18. Then, when you hit record, tracks 1-16 will play and the mix from the SL will be recorded on tracks 17/18.

Unless the mixer is on really old firmware this is done with the MIX button of the Aux in question. Press MIX once and the meter bridge encoders set the mix of input channels to that Aux. Press MIX again and the leftmost 6 encoders set the mix levels for FW-in, Tape-in, Aux A, Aux B, FX A and FX B respectively for that Aux.

Would help to know which StudioLive we're dealing with. The 16.4.2 and the 24.4.2 are the same wrt dialing in an Aux mix. The 16.0.2 is slightly different. But all 3 are pretty darn simple to use, especially when you're used to analog boards. The one thing you need to get used to is that there's only one set of EQ & dynamics controls. You have to 'Select' an input or output before you can change the EQ & dynamics settings for that input or output. That's about it.

As for Aux mixes you want to find the mode where the meter bridge becomes a display for the Aux send levels:
- For the 16.4.2 and the 24.4.2 you press the MIX button of the Aux you want to change the mix for. The encoders below the meters on the meter bridge will now set the Aux input mix.
- For the 16.0.2 you press one of the Aux encoders on the left-hand side of the board. Again, the encoders below the meters on the meter bridge will now set that Aux's input mix.

Hi and welcome to these forums.

Nice folks here. Having said that you're much more likely to get a quick answer when you re-post your question in the AudioBox section

This is likely to happen unless you have singer 1 exclusively on FXA and singer 2 on FXB.

The thing is that FXes can only process one input mix at a time. So when you send a mix of singer 1 and singer 2 to FXA (FXA MIX) then the output from FXA will have the effects portion from both singers in it. You can send the output from FXA to multiple Auxes (Aux flip mode) but the effects portions won't split out between those Auxes. All Auxes will receive the same FXA output signal.

Fantastic. Looks like they go the extra mile again

As for why you go through SLs at the rate you do here's a thought:
At the location(s) where you use your SL check if the outlets, power strips and extension cords are wired correctly.

Power wired the wrong way can lead to all sorts of problems great and small...

Edit: Now with pic without copyright

Yeah, that video assumes older software on the mixer. On newer software that FX page 4 doesn't exist anymore

Note: The encoder for flip mode FX A is #5

Looks like you have your thinking backwards on this

Try this:
1. Select FXA and make sure that none of the Assign buttons on the FAT channel are lit. This takes FXA out of SUBs and MAIN
2. Press the FXA MIX button and only turn up channel 11. This will add only channel 11 to the FXA input mix
3. Press the Aux 1 MIX button and turn up channel 11 and e.g. channel 12. This will add channels 11 and 12 to the Aux 1 mix
4. Press the Aux 1 MIX button again (= Aux flip mode) and turn up encoder #5. This will add the output from FXA to the Aux 1 mix too

Now you have channel 11 with effect and channel 12 without effect in Aux 1

So note that you don't send an FX to a channel but you send a channel to an FX and then add the FX output to the output(s) where you want to hear the effect.

Note: corrected the encoder # for flop mode FX A

Easier than you think: The FXes have a MIX button too, just like the Auxes

Used to be like this:
- ID=0 is stand alone mode, ID>0 is multi-mixer mode where lowest ID# is master and the others are slaves.
- Channel numbering for recording is ONLY determined by serial number. The oldest device gets the lowest channel numbers.

So for recording make sure that the oldest SL is on the left for "leftmost channel = recording track 1"

The FXes seem to be a puzzling feature on the SLs (or mixers in general?):

How to use FXes on Auxes:
1. Create a (dry) Aux mix by sending inputs straight to the Aux (Aux MIX)
2. Send FX A and/or FX B to that Aux too (Aux MIX flip mode)
3. Send only the inputs that need an effect to FX A and/or FX B (FX A MIX and/or FX B MIX)

So in your case set up a Channel 1-11 mix in Aux 1, send FX A (rev) and FX B (dly) to Aux 1 too, and then send only the piano to FX A and only the vocal track to FX B.

Muting a single input channel in an Aux mix (without muting the whole channel) is only possible by turning down that input in the Aux MIX. If that input has an effect in the Aux then you'll have to turn down the input in the FX MIX too, or MUTE the FX altogether.

Note that muting an input on the mixer doesn't mute that input in your multi-track recording. It will however mute that input in the Capture master track recording (and in all other FW sends when you're using e.g. S1 for recording).

Never had reason to try this but

With the firewire buttons on the SL channels engaged during recording you will be listening to the tracks as they laid down in Capture. So mic/line is sent to Capture whilst Capture returns the very same tracks for listening. You will add latency tho.

I'd love to see a detachable back panel having all the audio bits and recall-able gain settings - and a wireless link (or UTP if you must) between the controls and that audio box (which can live on stage). Bye bye snake...