DiGiCo Quantum338 and consoles for FOH and monitors

Quantum338 and other touring consoles: what to request before choosing

Delivery and price references are from 2023 and do not serve as a current quote.

For a concert, festival or theater, start with the rider and the operator’s working method. Record how many sources, mixes and outputs you need, how preamps are shared and which file will arrive. An alternative must be agreed with the show’s audio lead.

This guide starts with the DiGiCo Quantum338 and adds Yamaha RIVAGE PM5, Allen & Heath dLive S7000 with DM64 and Avid VENUE S6L-24D with E6L-144. These are systems to evaluate in that context; each configuration needs its own check. Also prepare the event audio list.

Base Quantum338 or Pulse: what capacity does the arriving system have?

The Quantum338 specifications specify 38 faders, three 17-inch screens, eight local mic/line inputs and eight local line outputs, two DMI slots and operation at 48 or 96 kHz. Mixing channels and physical connectors are counted separately.

The Pulse upgrade changes Quantum338 capacity according to this table. Confirm it is enabled on the unit you will use: the model name on the quote is not enough to identify the configuration.

Count mono and stereo sources, returns, auxiliaries and destinations before preparing the file. Request the software version and list of installed racks and cards from the supplier; record them in the preparation worksheet.

Quantum338 connections: card model and sample rate matter

In DMI Interface Options, DiGiCo distinguishes DMI-DANTE, with 64 inputs/outputs at 48 kHz and 32 at 96 kHz, from DMI-DANTE64@96, with 64 inputs/outputs at both rates. Optocore is listed as an option. Request the exact card name and the link that will carry audio.

Draw the path from rack to each console and from outputs to PA, IEM, recorder and broadcast. A quote that only says “Dante” or “fiber” leaves questions open: who controls the preamp, which port is used and how clock is distributed.

We propose checking one input and one output first, with the system prepared for testing and PA and IEM destinations under control. Then repeat with the full patch. If network audio drops out, follow the clock and Dante guide.

FOH and monitors with shared MADI racks: who changes gain

Quantum 3 Getting Started, Issue A, V1200+, §1.4.8, p.15 (PDF20): when two DiGiCo consoles share racks over MADI, one controls gain, phantom and pads. Full Control sends settings to the rack; Receive Only receives its settings without controlling them; Isolate stops that communication. Review Splits & Sharing per rack.

SD & Quantum, Issue E, V1528+, p.26 (PDF27): Gain Tracking compensates preamp changes through trim in the opposite direction. Snapshot Recalls Total Gain adjusts recalled trim relative to current gain when the rack is in Receive Only or analog gain is outside Recall Scope.

Before testing, agree who controls each preamp. With a test source, record gain, trim and level at both positions; make a small change and compare the result. Test recall separately. This check is a proposal for your setup, not a test performed by GLMedia.

The three-state explanation applies to racks shared over MADI. For Optocore or another split, verify rack, firmware and topology before applying that scheme. Compare the installed version with the cited manuals. Document edition does not identify your equipment’s firmware.

A Quantum338 snapshot does not change a setting: review Scope and Safe

SD & Quantum, §2.4.11–2.4.12, pp.96–97 (PDF97–98): Global Recall Scope limits all recalls; individual scope can exclude more items. SAFE also prevents changes. Rack Input/Trim includes gain and phantom; on input channels it includes patch and digital trim.

First choose what the cue needs to change. When moving from a presentation to a band, recalling sends and mutes while preserving settings elsewhere in the event may be useful. We propose saving a show copy and recording, for one channel and one destination, the expected value before and after recall.

If that parameter does not change, review its exclusions before storing the snapshot again. If too much changes, review the same scope with the operator. Also check an out-of-sequence jump and return to the intended cue: testing must cover actual operation.

Yamaha RIVAGE PM5: specify the engine and racks too

In the official RIVAGE table, PM5 corresponds to the CS-R5 surface. With DSP-RX, published capacity is 120 input channels, 48 Mix buses and 24 matrices; with DSP-RX-EX, 288, 72 and 36. “PM5” alone does not identify system capacity.

Yamaha distinguishes TWINLANe and Dante racks, with compatible cards for each network. It also describes DSP Mirroring with two DSP-RX or DSP-RX-EX engines in PM5, and Theatre Mode to manage EQ and dynamics banks per performer. Check these functions in the contracted configuration and version.

Request engine, rack, HY cards and version along with the surface. For theater, prepare a list of performer changes and cues; for concerts, a list of sources, mixes and inserts. We propose reviewing these paths with the operator before agreeing to a rider substitution.

Allen & Heath dLive S7000 and DM64: surface, mixing and connectors

The S7000 offers 36 faders and two 12-inch screens; the surface controls the MixRack. More faders help organize access but do not by themselves describe how many sources connect.

The DM64 has 64 mic/line inputs, 32 line outputs and three expansion ports. The MixRack processes 128 input channels and 64 mix outputs with a configurable 64-bus architecture. To connect more sources, identify the required physical expansions.

The dLive documentation describes 64 Dyn8 engines with dynamic EQ and multiband compression, and file transfers between systems in the family. Review firmware, hardware and functions used before considering that transfer ready.

We propose preparing a sheet of fader banks, DCAs and mixes each operator needs at hand. Record whether FOH and monitors will use a shared engine or separate systems: decide this before assigning resources and preamps.

Avid VENUE S6L-24D: faders do not indicate E6L capacity

Avid, Architectural Specifications, pp.2 and 5: S6L-24D has 24 fader strips and two additional assignable faders. The E6L-144 engine supports up to 144 input channels and 64 mix buses plus LCR. Surface, engine and stage racks are distinct components.

The official configurator separates surface, engine, I/O and optional cards. HDX-192 adds AAX DSP processing; WSG-HD integrates SoundGrid. Ask the supplier which cards and processing resources the proposed system includes.

With the operator, list plug-ins used by the file, their versions and licenses, and each rack’s inputs and outputs. We propose loading a show copy on the destination configuration and reviewing patch, inserts, mix and return before the general rehearsal. The system description does not confirm that the file is ready.

Changing console families: prepare the show before reaching the venue

We propose three separate preparation checks: sources and destinations can be connected; required processing is available; and the operator can execute the show’s changes. Reserve time for that last part. A correct channel list does not demonstrate that a musical or band changeover is ready.

The console worksheet starts blank. Use it to compare what was requested, what will arrive and what was tested. For additional destinations, link the recording plan, the hybrid panel returns and the continuity plan.

Quantum338: a vocal needs different processing in a monitor send

If an artist asks to change a vocal’s sound, first record which mix they are hearing and what they want corrected. Prepare a comparison with a sung or spoken phrase they can repeat. The operator and artist can then discuss the same passage.

The Quantum338 brochure, Nodal Processing section describes processing per auxiliary send: one source can receive different treatments for different destinations. Reserve it for a specific need and review the resource available on the console.

SD & Quantum, Issue E, V1528+, §1.4.9, pp.34–35: Layout > Aux Nodes; Add enables the selected send’s processor. Bypass is temporary and is not recalled by snapshots.

Proposed test: work on a show copy and choose one source, the send to review and a second destination as reference. Record initial settings. Make one correction at a time, listen to both destinations and record what changed. Repeat the phrase to avoid comparing different performances. Then test the recall to be used in the show and verify that the final state matches the agreement.

Preparation tip: use names identifying the source and artist in the worksheet. If the result differs from expectations, save the data before adjusting more controls. That note helps another operator resume the test.

Quantum338 True Solo: what the monitor operator hears

Before correcting a mix, agree where it will be monitored from. In the test worksheet, write down the artist’s bus, physical output and monitoring system. Then record the operator’s monitoring separately.

The True Solo section of the Quantum338 brochure explains how to emulate the selected output’s processing in the solo bus while listening to an input. The Issue E manual, §1.4.11, p.37 documents the controls. Identify the selected bus before comparing.

We propose testing with one identified input and mix. Save the initial file; listen to a repeatable passage, record True Solo state and compare before and after selecting the intended bus. Keep the same level reference so loudness does not decide the comparison. Also record monitoring at the artist’s destination.

We treat True Solo as a tool for reviewing the documented internal path. To evaluate what the musician hears, we also propose checking their actual output, transmitter or amplifier and headphones. Record any difference between both monitoring paths and the point where it was checked. This test remains pending for each setup.

Midas HD96-24: what to confirm before receiving the show

The Midas HD96-24-CC-IP specifications list 144 input channels, 123 buses, 96 kHz and a 21-inch screen. Flexi-Aux allows auxiliaries to feed other auxiliaries; Shout Mixer offers 16 inputs and 12 outputs dedicated to communication. Confirm the model and software of the arriving unit.

We use those questions to prepare a discussion with the operator, without turning them into a button-by-button recipe.

Request a diagram showing which sources feed each mix and where each output goes. We propose a test with a test voice: check PA, monitors, recording and communication separately, save a working scene and return to it to observe what is recalled. Record the result by destination using its show name.

The official software page presents mCloud for files, presets and firmware management. Prepare access and documents before traveling.

The product sheet confirms those functions, but the HD96-24 operating manual and equipment version still need checking before explaining Flexi Group, Store Scope or the recording patch step by step. Until that review is complete, agree with the operator on the file, documentation and test needed. To plan the audio network, also consult Dante help; that guide does not confirm that an HD96 has a Dante interface installed.

Quantum338: compare Mustard and review the snapshot

Compare the Mustard setting and recall scope in a show copy while keeping the same test signal.

The Quantum338 brochure, p.6 explains that Mustard works alongside standard SD processing. Review which modules are active before comparing.

The Issue E manual, §1.7.3, p.51 documents Safe per module; Tube Safe includes insert position.

Proposed test: save a show copy and choose a vocal or instrument with a repeatable passage. Record the channel’s processing and the configuration of the send you will monitor. Prepare two comparison states, change one thing and adjust the monitoring reference so a volume difference does not decide for you. Record which you prefer and why.

Then test the snapshot sequence to be used at the event. Before each recall, write down which setting should change and which should remain; then check both. If they do not match, review recall scope and the file’s Safes with that version’s manual. Repeat before considering the test complete.

Tip: leave a note with channel name, snapshot and chosen setting. A recorded comparison helps the next operator far more than “sounds better.” The consulted manual is Issue E, V1528+; confirm its correspondence with the setup’s software.

dLive: a FOH scene changes monitor settings

The dLive Scenes section distinguishes three scopes: Recall Filter for one scene, Global Scene Safes for any scene and Role Filter for the assigned role. Allowed permits recall of a setting; Blocked excludes it. Multiple surfaces on one MixRack share processing and mixing: filters delimit recall, not create independent mixers.

Agree a short list with the other operator: what FOH changes, what monitors changes and what requires notice before adjustment. We propose starting with Block All in a test scene’s Recall Filter and allowing only the parameters that scene needs, also checking role and Safes. This is a proposed starting method, not a configuration ready to copy to any show.

In a test copy, prepare two scenes with a small, clearly identifiable change. Recall them from FOH and also observe monitors; then repeat from the other surface. Complete the table with both operators present. If a setting moves outside the agreement, record which and review its filter before expanding the test.

The consulted online reference does not declare a firmware edition. Record the actual system’s surface, MixRack and software. To organize the artist’s outputs, continue with the monitor guide.

dLive Multi-Surface: load each operator’s show

Before opening files, identify which copy each operator saved and which contains the agreed system state. Record date, surface and person responsible. Prepare this during rehearsal and reserve time to check the result with FOH and monitors.

The Multi-Surface Shows section says the operator who last saved the Show loads it normally; the others use Surface Only Recall to preserve MixRack configuration. Each file includes data from the surface that saved it. Loading the FOH file at monitors also recalls the FOH control layout.

The reference enables Allow Surface Only Recall with Setup in Utility / Memory / Show Manager. Check the setup’s screen and version before following those names. This Show-loading procedure needs its own test; record it separately from the previous section’s scene tests.

Proposed test: save initial copies and agree on loading order. Record patch, buses and control layout before starting; after each load, check with the other operator what remains on their surface and in the shared system. Use an identified signal to check intended destinations. Save the result under a name both recognize.

If a guest technician joins, request their file and version in advance. Review together what they need to incorporate and who performs each operation during preparation. For the event, document the approved file, tested order and how to return to the initial state.

Quantum338: prepare an alternative input for the backup microphone

We propose checking that substitution before the show, with the microphones and mixes that will be used.

The Getting Started Issue A, V1200+, pp.2 and 9 identifies ALT Input Switch and Main/Alt Input Select. The section 1.7.1, p.18 opens Input Setup by touching the top of the channel and organizes patch by port, group and signal. This documentation is from January 2020: compare its screens with the installed software.

Proposed preparation: save a show copy, choose the vocal channel and record its format. Identify the main and backup microphones from stage to rack connector; write both paths in the worksheet. Review assignments before operating the selector. Test with one person on stage and another at the console, using the same phrase and controlled monitoring.

Rehearse switching to the backup microphone and back to the main one. Check PA, monitors and recording separately, and record any level or tonal difference needing adjustment. Then test the intended snapshots and verify which input remains selected. Save the file only when the result matches the agreement.

Tip: give the backup microphone a name the stage team can recognize over radio. Agree who hands it over and which call the operator expects before switching. Rehearse the console function and microphone handoff together.

RIVAGE PM5: connect the computer for multitrack recording and playback

The RIVAGE PM manual, Multitrack recording and virtual sound check describes Dante and MADI. Its HY144-D example places the card in engine slot HY4, or HY3 on CSD-R7; RECORDING PATCH organizes recording and playback. For a PM5, record whether DSP-RX or DSP-RX-EX is supplied and which card is actually installed. The manual’s example does not itself verify compatibility with your computer or interface.

For Dante, the Configuring Dante Controller section distinguishes two paths: rack inputs to the computer for recording, and computer outputs to RIVAGE channels for playback. Draw both before configuring subscriptions.

Proposed test: prepare a test session with names matching the patch. Record an identifiable source, stop recording and listen to the file. Then send that track to one intended playback channel and verify the destination. Only then expand the check to the remaining tracks. Record the sample rate used on each device.

Before traveling, confirm operating system, recording software, interface or driver and compatible versions in their official documentation. To review clock and subscriptions, continue with Dante help.

RIVAGE: virtual soundcheck with some inputs still live

Prepare one list of sources that will come from tracks and another of those that must remain live. For example, we propose reviewing the stage communication microphone before including it in the test. Record who must hear it and through which output.

The RECORDING PATCH screen, manual published 01/2026 allows selecting channels with Check and enabling VIRTUAL SOUND CHECK ON. The state appears in the interface. On channels included in VSC, A/B Patch selection is disabled and the virtual soundcheck patch is used. Review each channel’s state before looking for a physical-input fault.

Proposed test: save the initial copy and leave the communication channel outside the test selection. Play a track with a recognizable signal on a selected channel; also request a live phrase through the communication microphone. Listen to both destinations and record whether each source arrived from the intended point.

Then rehearse exiting VSC. Stop playback, check the indicator and request a phrase from each input that must return to stage. If something differs, record channel, expected source and heard source before changing patch. Also review computer subscriptions and playback using the previous section.

Tip: close the test with a verbal check between FOH and stage: which channels returned to live inputs, which remain outside the test and which file was saved. The operator handoff then starts from a known state.

Avid S6L: prepare Show loading before a band changeover

Before receiving the guest operator, we propose agreeing on the file, VENUE version, surface, E6L engine and racks. Record who supplies the file and who authorizes loading. Save an initial copy and work under a new name identifying the test.

The Avid VENUE 8.2 guide, pp.311–313 describes Filing > Save > New to create a Show from the current state. Load requires Config and replaces configuration, routing and controls; it can interrupt audio. Reserve this step for preparation, with audio destinations under control.

Proposed test: load the agreed copy before doors open. With stage, check an identifiable source per input and listen to the intended destinations. Compare names, connectors and inserts with the received sheet. Record each difference before correcting it so the guest operator knows what changed.

Also prepare the return to the previous file. Test it during the same preparation and record measured time, settings reviewed and approved copy name. For the handoff, keep the event audio plan and the console worksheet available.

Tip: request the file in time to review it with the operator. A clear filename, agreed patch and short list of differences help the band changeover.

Avid S6L: what the snapshot changes and what stays protected

An operator using DiGiCo and S6L recommends defining recall boundaries. The question helps prepare the scope of our changes.

The VENUE 8.2 guide, pp.340 and 367 distinguishes Channel Scope and Data Type Scope to delimit recall. Recall Safe globally protects parameters from snapshots and is saved with the Show. Its scope concerns snapshots: review Show loading separately.

We propose a matrix with the operator: for each cue, which parameter must change, which must remain and at which destination it will be heard. Separate song changes from settings agreed for the room. Choose two snapshots and one test channel before reviewing the full sequence.

During that test, record values before recall, recall the second snapshot and compare observations with the matrix. Return to the first and repeat an out-of-sequence jump. If something changes too much or stays fixed, review scope and protections with that specific difference visible.

Tip: write down what the operator expects to hear after the cue. A correct on-screen value still needs listening at the agreed destination. To prepare those destinations, consult audio help or the audio systems service.

Avid S6L: the snapshot recalls Layout 1 but faders stay in another bank

We use that difficulty to prepare a channel-access test.

The VENUE 8.2 guide, p.161 explains that LAYT recalls Layout 1 without forcing a bank change. When editing Layout 1, also store the associated snapshot. Check the selected banking mode before editing channels again.

Proposed test: prepare two snapshots with different channel arrangements in Layout 1 and record what you expect from each. Test recall from the bank you will use during the show. Compare the faders with the intended layout and record the selected mode.

Then enter layouts mode and review the recalled arrangement. If expected access still differs, check association and storage with the operator. Save a test copy and repeat the return to the first cue before approving it.

Tip: choose test channels with easily distinguished names. The goal is for the operator to anticipate where a vocal, return or DCA will be when the cue arrives.

Midas HD96: you opened the Show but settings have not changed yet

No reply closing that inquiry appears. To investigate, we propose separating opened file, active scene, save destination and recall result.

The HD96-24-CC-TP V2.0 manual, pp.202–204 explains: Open opens the Show; GO recalls the selected scene. Store to Current Scene saves the active scene; a locked Master Scene recalls defaults. This is a 2021 edition: compare firmware and screens.

Proposed preparation: use a test copy and record filename, playlist, active scene and selected scene. Agree which scene should start the show and the values expected on one input and one output. Check during preparation with audio destinations controlled.

After recalling the intended scene, compare names, patch and values with the agreed sheet. Record any difference before changing storage. If the problem remains, review the next section’s exclusions and the on-screen Master Scene state with the operator.

Tip: at handoff, write the Show name and the scene left active. Keep this alongside the audio plan and the console worksheet.

Midas HD96: distinguish Store Scope from Recall Scope when saving changes

The same manual, pp.207 and 209–210 distinguishes storage and recall exclusions. It recommends storing everything and limiting recall; Store Scope can leave settings unstored. Review editor mode.

Proposed test: in a copy, choose one channel and two clearly named scenes. Record the setting to save and save destination. Return to the other scene, recall the one just prepared and compare the observed value. Repeat the return before extending the check to the rest of the show.

To review a monitor send, agree with the operator what must remain between cues and what may change. Record scene, channel, send and recipient; check that round trip. If the result differs, record editor mode and exclusions applied to that parameter. Compare them with help for the installed console.

Tip: if a change is not recalled, write down where it was saved and what you expected the next cue to do. That record distinguishes a storage problem from a recall exclusion. For destinations, continue with audio systems.

Midas HD96: view another scene’s EQ before the cue

To review the EQ intended for the next cue, we propose first preparing a comparison between two scenes. Choose an identifiable source and record channel, active scene and scene to review. Agree who controls destinations during the test.

On p.206 of the manual, Preview allows editing EQ without hearing it. True Audition with Preview plays it only in the solo bus; Store modifies the previewed scene, not the active one. Compare the installed version.

Proposed test: compare the intended curves and record which belongs to each scene. Before listening to the comparison, verify the selected monitoring system and level with the operator. Record the difference you want to hear instead of changing several settings at once.

Before saving a correction, confirm the name of the scene under review. Then, during rehearsal, recall it and check the stored value and monitoring at its destination. Return to the initial cue and record any outstanding difference.

Tip: choose one recognizable change to learn the path. When scene, curve and monitoring agree, repeat the check with the actual show changes.

Yamaha DM7: change dialog between scenes while preserving the orchestra

Before changing Focus, record which parameters must vary at each cue and check the result on the console.

The DM7 Series manual, Using the Focus Function distinguishes per-scene Focus from Recall Safe common to all scenes. If either excludes a channel or parameter, it is not recalled. HTML edition published 05/2025: compare it with the installed firmware.

Documented procedure: Scene List → Focus → the scene’s Set. Select the intended channels and parameters and apply with Apply. Also review the Focus button for that scene, which enables or disables the function. Including a setting in Focus does not override Recall Safe protection.

Proposed test: in a copy, prepare two cues and choose a dialog setting that must change and an orchestra setting that must remain. Record their values before advancing. Recall the second cue, then return to the first; compare both paths before preparing the rest of the list.

Tip: do not stop at “the orchestra is protected.” Write down which channel, group and setting must remain. If cues change or a new input appears, that sheet lets you review scope with the operator. Add it to the audio plan and the console worksheet.

Yamaha DM7: a rack insert does not follow scene changes

The manual, Recall Safe screen documents exclusions by channel or parameter and a Rack tab for Premium, FX, EQ and Automixer. Before applying that change, compare its name and scope with help for the installed version.

We propose separating three items when investigating: which processor is mounted, where it is inserted and which value you expect to recall. In a test copy, record all three for two scenes. Review rack protection together with Focus; do not disable every exclusion to test one insert.

If you verified the assignment control in your version, agree with the operator what must change before testing. Recall both scenes with audio destinations controlled and record observed processor, patch and value. If they differ, retain the log and copy for support.

Tip: a rack screenshot and a scene-scope screenshot help more than “effects do not come back.” Include firmware, editor version if used and cue names. Review destinations with the audio systems lead.

Yamaha DM7: review what data you load before importing a band’s file

Separate copying the base file, loading scenes and protecting parameters with Recall Safe. Each operation has a different scope.

The manual, Loading a File from a USB Drive identifies .dm7f as a file containing internal settings. It documents Utility → Save/Load → file → Load; type and data are then selected in LOAD before confirmation. It warns that loading may generate signal: lower connected equipment levels or turn off destinations as appropriate. In Split, it requires the same mode and Mix bus configuration.

Proposed preparation: save an identified venue copy and another of the incoming file. Agree which data to incorporate and where, and record matrices, patch and destinations that must remain. Review actual LOAD options before confirming; this section does not list scene selection or destinations.

We propose checking import during preparation, then testing recall separately. Compare outputs with the venue sheet after each operation. Focus and Recall Safe are described for scene recall; do not treat them as guaranteed protection when loading a whole USB file. If LOAD scope cannot be confirmed, leave that import pending.

Tip: record “file loaded” and “scene recalled” separately, with time and result. During a band changeover, that distinction helps the handoff. If there are networked racks, also complete the Dante plan.

DM7 Editor: save the scene, then the file you will take

A protected scene cannot be stored to. This saves the mix in a scene; you still need to identify the file to take. The DM7 Series manual, Storing a scene describes Scene List → Store: choose destination number, title or comment and confirm storage.

In DM7 Editor → File Menu, Save overwrites the file and Save As allows another name. Yamaha documents saving editor files on a computer’s USB drive and loading them into the console. HTML reference 05/2025: check it matches your editor and firmware.

Proposed test: work in a copy named for event and revision. Record cue number, a channel name and an easily recognized value. Save the scene and file. Close the test copy, reopen it and verify that the intended scene and data are present; then repeat the check on the console during preparation.

Tip: leave two distinct records: “scene stored” and “file saved at this path.” At handoff, a scene-list screenshot and filename help find data saved elsewhere. Complete the console worksheet.

DM7 Editor: find Import Scene/Library to prepare a venue copy

The editor and console load dialog follow different paths. Identify where you will open the file before following steps.

The manual’s File Menu includes Import Scene/Library to load scene and library data contained in a file. That editor function differs from Load. The section does not describe the selection dialog or destinations; leave those details pending until verified in your version.

Proposed preparation: start from a venue-file copy with matrices and outputs identified. Before incorporating band data, record the scenes and libraries needed and numbers already occupied. Review source and destination of each addition; do not confirm an operation whose scope you cannot check.

Then, during testing, save that copy with another revision and reopen it. Compare scene list and outputs with the initial sheet. Test console loading and recall separately with audio destinations controlled. This record helps identify which operation introduced a difference; it does not promise that scene import preserves every other setting.

Tip: agree scene numbering with the venue operator before building the file. A new scene may need patch changes for that setup. Continue with the audio plan and the audio systems lead.

DM7: choose DM7 Editor or DM Editor for the actual firmware

The official DM7/DM5 Series Compatibility table, p.2, updated 30/09/2026 (day/month/year), separates DM7 Editor from DM Editor. It shows DM7 2.00 with DM Editor 2.0.0; 1.76 with DM7 Editor 1.7.6; and 1.53 with DM7 Editor 1.5.3. These are verified rows from that edition, not a recommendation to update equipment.

The DM Editor page lists DM7 compatibility from firmware 2.0. Do not choose based on a file simply named “DM7”: record the selected application, version and model.

Proposed check: request exact model and firmware from the venue before preparing the copy. Also record operating system and full editor version; verify the official row corresponding to the setup. If the console uses another version, consult its row and download notes. Prepare and check the file in advance with the responsible technician.

Tip: attach those details to the approved copy and reconfirm if the assigned console changes. The operator then receives a file with a specific reference rather than discovering a version mismatch during changeover.

DM7: distinguish Device Control, Mixer Control and the Dante address

The NETWORK (For Device Control) manual, HTML 05/2025, describes the Dante device-control network. It says Device Control and the PRIMARY address seen in Dante Controller must be on the same subnet for device discovery; Mixer Control and Device Control must be on different subnets. Its illustrated messages also separate Mixer Control from Dante PRIMARY. Sharing a subnet does not mean duplicating an IP address.

Proposed check: before changing anything, identify the screen being viewed and separately record all three addresses, masks and assignment methods. Compare the sheet with the venue plan alongside the network lead. If an error appears, copy its complete text; passing audio does not rule out a control problem.

An addressing correction needs discovery, control and audio tests. We propose checking all three after the agreed change and recording results.

Tip: place the interface name beside each IP. A screenshot titled “network” often leaves questions at handoff. Use the console worksheet and Dante troubleshooting.

DM7: the wireless receiver is visible but the channel receives no audio

That is why it helps to follow the audio path and record where it is lost.

The I/O DEVICE: WIRELESS section, HTML 05/2025, describes receiver controls and meters, with model-dependent functions. PORT ASSIGN identifies the port assigned to the actual signal; patching it to a channel enables control and monitoring there. That association helps locate the device, but the audio path still needs checking.

In DANTE PATCH (Input), Source shows and allows choosing the source port. In Input patch, list, Input A and Input B show their assignments and open patch selection. Review which input the channel uses in the setup; receiver number, Dante port and mix channel can differ.

Proposed test: choose one microphone and record receiver/transmitter channel, DM7 Dante input and expected mix channel. With an identifiable signal, compare meters by stage and verify monitoring at the test destination. If the channel receives but does not output, follow processing, mutes and output. Change one thing at a time and record results.

Tip: separately save receiver data you need to recover. The WIRELESS manual says external-device control parameters are not stored in scenes or files. Complete that handoff section with exact model and its manual; the DM7 copy does not replace that record.

DM7: agree who changes the Dante patch before loading a file

This is a useful operator-handoff question: record the agreed lead and tool before incorporating a band’s file.

The DANTE SETUP (Setup) manual, HTML 05/2025, distinguishes This Console, which permits patch changes from DM7, from DANTE Controller, which prevents changes from the console. If DANTE Control ID is OFF, it is fixed to DANTE Controller and remote control of mounted devices is disabled. Review those fields when diagnosing unresponsive control.

The historical DM7 Firmware V1.76 note, titled Previous version, warns of an occasional one-channel shift. For that context, it says to mount and complete patch, or load and check the file, before selecting Dante Patch by Dante Controller. It explains that This Console applies stored information to mounted devices, including during file loading. The note does not show that firmware 2.00 has that problem.

Proposed test: preserve the venue’s base copy and document paths that must remain. Compare inputs and outputs before and after loading, then again after recalling the intended scene. Agree any change of authority with the network lead; recording the selection helps explain why a screen stops accepting changes.

Tip: the handoff needs an identified path as well as a filename. Record source, destination port, channel and bus. Continue that check in the event audio plan and with the audio systems lead.

DM7 with ULXD4D/ULXD4Q: check 48/96 kHz before changing clock

We use that question as a starting point; the following check applies to ULXD4D and ULXD4Q.

In Audinate Subscription Tooltips, “Incorrect channel format” identifies different transmitter and receiver sample rates. “Mismatched clock domains” indicates pull-up/down differences. Hover over the subscription and save the full message: these warnings lead to different checks.

The official Dante catalog specifies 48 kHz for ULXD4D and ULXD4Q. Confirm the model on the label and record the rate shown in Controller; calling the rack “ULX” is not enough to choose a configuration.

Identify whether the cable reaches DM7’s built-in Dante or an installed PY64-D. The Yamaha note dated 19/12/2024 describes SRC on that card for connecting devices at different rates and links its introduction to DM7 V1.60. This is a historical reference: verify compatibility with the installed version before planning that route. Do not attribute the card function to the built-in port.

Proposed check: record both subscription ends, their rates and physical path. Before changing clock for the entire console, review other affected paths with the responsible person. If a change is agreed, then compare the subscription and monitoring of an identified microphone; do not consider the issue resolved merely because the receiver appears.

Tip: record the destination’s Dante name beside the connector. The next operator can then distinguish console from card. Complete the console worksheet and continue with ULXD ports and receiver patch.

PY64-D in DM7: why can’t I enable SRC?

The PY64-D screen manual, HTML 05/2025 sets a specific condition: when PY64-D is the clock source, SRC cannot be enabled. With SRC active, the card cannot be selected as clock source either. Check that selection before treating the button as a network fault.

In WORD CLOCK, HTML 05/2025, green SRC On applies to PY slots and AES/EBU terminals. Do not use it as a generic indicator for the whole network. The manual also warns that changing word clock can produce output noise and requires lowering amplifier volume first.

On the card screen, SYSTEM/SYNC opens status messages. Record the displayed text alongside clock source and SRC; a button photo without those details leaves diagnosis incomplete.

Proposed test: save the initial state and draw where clock will come from if the card stops being its source. Agree that route with the system operator outside the performance. Then check clock, subscription, patch and monitoring; results remain pending until testing is performed.

Tip: if the button still does not respond, retain versions and messages for support. Random leader changes are unnecessary to gather that evidence. Bring the log to the audio systems lead alongside Dante troubleshooting.

PY64-D in DM7: follow the card input to the channel

The PY Slot section, HTML 05/2025 shows Online when the selected card is online and Virtual when offline. Selecting PY64-D opens its settings screen. Record that state before reviewing channels; seeing a card prepared in the file does not confirm a physical connection.

Proposed check: identify the destination card’s Dante name and the channel that will receive the signal before changing that crosspoint.

In Input patch, HTML 05/2025, Input A and Input B show assignments and open the selector. The official selector image separates DANTE from PY Slot. If the signal arrives through the card, check PY Slot and the corresponding port on the actual equipment; do not automatically transfer the built-in Dante number.

Proposed test: choose one identifiable signal and record network source, card receiving channel, PY port and mix channel. Compare meters by stage and listen at an agreed test output. The table records that path; it does not yet validate a specific GLMedia configuration.

Tip: write both names beside the cable: Dante device and mix channel. That record makes a deviation easier to find than looking only at “channel 1.” Complete the console worksheet and review sample rate and SRC/clock before testing.

DM7: the show loaded but inputs remain in Virtual Sound Check

The Recording patch manual, HTML 05/2025 says Virtual Sound Check switches patch when enabled. Playback In receives playback tracks; Recording Out sends signal to the recorder. Selection buttons include or exclude channels from VSC, and ALL includes all.

Proposed check: record VSC button state, included channels and where each show input should come from. Save that observation before changing anything. If it is now time to return to the live microphone, agree the change and check the same channel from source to monitoring.

Tip: add “expected input: live or playback” to the handoff. A correctly named file still requires checking where each channel receives from. Continue with receiver patch and log rack startup problems separately.

DM7: signal reaches the effects rack but the return disappears when VSC is enabled

Compare behavior with live inputs and playback. Record firmware, patch and active source in both tests.

Per-channel selection in Recording patch lets you check that scope. Before selecting all channels, identify which must receive tracks and which must continue receiving effects generated during mixing.

Proposed test: compare one return with VSC off and on, retaining the expected patch record. If included in VSC but intended to receive the console effect, agree to exclude it from that selection. Then check the return and its output in test monitoring.

Tip: separate recorded tracks, inputs remaining live and effects returns in the worksheet. If one return works and another does not, compare their selections before changing the entire rack. To plan the test, continue with event sound and the audio systems lead.

Rio3224-D2 and Rio1608-D2: the rack starts but remains muted

Before changing START UP MODE, record the rack’s full model, firmware and mode shown in SETUP. Also check which console should send preamp settings. This record helps discuss startup with the operator without relying on memories of the previous show.

The user did not state the Rio model or final settings. That expression does not match the D2 manual options we checked.

The Rio-D2 manual, E0 edition dated 01/2023, p.18 distinguishes REFRESH, which initializes part of memory and mutes inputs/outputs until HA settings arrive from a compatible console; RESUME, which restores the previous state without that muting; and REFRESH w/o MUTE, which initializes without muting. The change applies at the next startup.

The p.20 and troubleshooting on p.27 help identify the all-port MUTE icon and waiting for settings in REFRESH when the compatible console has not started yet. For that case, Yamaha says to turn on the console responsible for sending them.

Proposed check: photograph SETUP and the status bar; record which console is on and which file it uses. If it matches the documented case, coordinate its startup and observe whether MUTE changes. Then follow an identified signal to monitoring. If muting persists, record messages and separately review source, patch and output.

Tip: “the rack appears on the network” leaves several checks pending. At handoff, record startup mode and MUTE state beside rack name. For a DM7, also complete the return from VSC to live inputs.

QL1 with Rio1608-D2: record when gains change

The user changed chain order and tried Refresh and Resume without resolving it. They state IDs were unique, racks controllable and scenes did not cause the change.

The p.18 for D2 initializes HA GAIN to −6 dB and +48V OFF in REFRESH; it recommends that mode for QL/CL consoles sending settings. Page 26 documents remote HA control.

Proposed test outside the show: choose one port and record its gain on rack and console. Log three moments: prior state, rack just started and console connected with the intended file. Keep the same microphone and channel for comparison. The table helps locate when the difference appears; it does not yet identify who caused it.

If the value changes when connecting or starting a console, record which consoles are present and which should control that preamp. If it changes on scene recall, record the scene and review scope in the manual for the console and version used. These are two distinct tests; do one at a time and retain the previous reading.

Tip: “gain reset” is of little use in a report. Write port, previous value, observed value and moment of change. Complete the console worksheet; to prepare the test, review event sound with the audio systems lead.

Rio3224-D and Rio1608-D: outputs with a patch inherited from another setup

For Rio3224-D/Rio1608-D, the F0 manual dated 12/2016, p.11 assigns START UP MODE to switches 7/8. REFRESH initializes settings, including Dante Patch OFF; RESUME uses settings from the last shutdown. That scope applies to these first-generation models. Rio-D2 uses SETUP; review its dedicated section before intervening.

Proposed test: prepare a list of console bus, Dante transmit channel, rack receive channel and physical connector. Compare each intended output with the observed path. Use an agreed test signal and monitoring to identify the destination; record deviations before correction.

If the observed path differs from the drawing, retain a screenshot and agree with the operator which crosspoint to change. Check that output and related ones afterward. Choosing another startup mode must be part of documented system preparation; erasing patch to investigate adds a variable that must then be rebuilt.

Tip: a label like “Rio 32” is not enough to choose the manual. Record the model suffix and which connector each output must feed. Bring that detail to the console worksheet and keep it with the event plan.

QL1 and CL5: what to review in WITH RECALL before sharing preamps

The QL V5.8 E0 manual, p.260 says WITH RECALL applies stored settings at startup and scene recall. Disabling it still permits HA operation. Yamaha advises against enabling it on a QL sharing a preamp already adjusted from another QL.

The CL V5.8 G0 manual, p.273 documents that behavior for CL and preamps shared between CL consoles. For mixed families, check each console and version.

Proposed preparation: save the working file and record which operator manages each preamp. Together, photograph HA mounting and WITH RECALL on the consoles present. Before changing it, agree which settings each position should recall and which values must remain.

Proposed test: use an identified port and record HA/+48V before and after console startup. In another test, compare before and after recalling the chosen scene. Record scene scope; this section does not establish a Recall Safe configuration. If the value changes, retain screenshots and action order.

Tip: document who manages the preamp and who recalls its settings at handoff. Complete the gain-change log; the Rio startup mode needs its own check.

Two QL5s: audio arrives but control of the other console’s preamp is missing

Identify the Port to Port path and who controls preamps before changing patch.

The QL V5.8 manual, pp.57–58 describes PORT TO PORT from physical inputs to Dante without passing through the mix. The p.260 allows controlling INPUT HA on a mounted external QL, with a UNIT ID different from other HA devices.

Proposed test: draw the path with input connector, selected source, Dante output, receiver and monitoring channel. Retain the current patch screenshot. Identify which preamp you want to control: the rack’s or the other QL’s local input preamp.

On the control console, check which device is mounted for HA and whether it matches the one identified. To mount it, follow REMOTE HA ASSIGN in the corresponding edition; agree WITH RECALL with the other operator before confirming changes.

With an agreed test input, compare the preamp value at both positions during a small authorized change. Record which reading responds and what happens in monitoring; if they differ, save the observed patch and mounting.

Tip: keep audio and HA control as two lines in the report. Include screenshots in the console worksheet to prepare the handoff with the audio systems team.

CL5 with Rio: review a virtual Tio when HA control is missing

The CL V5.8 G0 manual, p.173 identifies VIRTUAL as a configured device that is absent, CONFLICT as different types with the same ID, and DUPLICATE as a shared ID. The p.273 places preamp selection in DANTE SETUP → REMOTE HA ASSIGN.

Proposed review: photograph the device list and HA mounting before adjusting them. Record label, physical model, ID, visible indicator and affected channels. Compare with the intended plan: an absent device may belong to preparation not yet connected.

If a file entry does not match the current setup, agree its correction with the operator. Preserve the previous file and patch for reconstruction. Test one affected channel and one already responding, recording HA reading and monitoring before and after.

To organize tests, use the console worksheet alongside the event sound plan.

CL: Focus changes mutes but the fader stays the same

Mute responded but the fader did not; the user later said Recall Safe protected the fader in the file. The branch that might contain more tests could not be retrieved. We do not consider the case resolved.

For CL5/CL3/CL1, the V5.8 G0 manual, pp.82 and 105 distinguishes global Recall Safe for all scenes from per-scene Focus. If either excludes a parameter, it is not recalled. Focus does not override an active Recall Safe.

Proposed console review: record scene, channel and expected fader value; photograph Focus and Recall Safe. Compare fader protection with the script’s intent. Preserve the original file before preparing a test copy.

In that copy, agree which parameter may change and which must remain. Prepare two scenes with different values on a test channel and alternate between them. Record recalled value, ON state and monitoring; a response in one does not confirm the others.

Tip: when handing over the file, write what must change in each scene. “It has Focus” leaves scope unexplained. These steps apply to CL V5.8 consoles. Identify the Editor version too before transferring them to a software session.

QL5: change HPF in one scene and check the return to the next

The QL5/QL1 V5.8 E0 manual, p.95 defines per-scene Focus and retains Recall Safe exclusion. On pp.74–75, HPF, EQ, FADER and CH ON are separate selections; p.96 includes parameter selection and FOCUS activation.

Proposed test: draw three consecutive scenes and record the HPF state intended for each. Save a file copy; choose a test channel and a repeatable test source.

Compare stored values with intended recall scope at each transition. Test the full sequence, then enter the last scene directly from elsewhere. Record reading and monitoring: those two arrival paths may reveal dependence on a previous state not covered by the script.

If the next scene must return to a defined state, include that intent in the recall plan and test it. Retain screenshots of each scene to review scope with the operator. The table is blank, without assumed values or results.

Tip: also test jumps and repeats the director typically requests. Bring the sequence to the console worksheet and coordinate monitoring with event sound.

QL with shared Rio: check HA protection during scene recall

There is still no confirmed solution. We revisit it to prepare two separate checks; protecting a scene recall does not demonstrate that startup has been resolved.

In the QL V5.8 manual, pp.72–75, channel protection requires selecting the parameter and enabling SAFE. GLOBAL RECALL SAFE → HA covers I/O devices and external-preamp HA parameters. Its scope differs from selecting HA on a channel.

Proposed preparation: record console, version, Rio port, channel and preamp lead. Photograph channel and global protections together with WITH RECALL. Before changing global scope, agree with both operators which preamps must remain unchanged.

Proposed scene test: record prior HA readings on the rack and at both positions. Recall the agreed scene from one console only and record changing values. Repeat from the other position as a separate test, preserving the chosen initial state. If a difference appears, record which console performed the action.

This test evaluates the agreed recalls. For restart, use the startup and gain log; to check preamp command, use HA control between QL consoles. Record those actions separately before drawing a conclusion.

Tip: state whether protection is per-channel or global in the report. Attach screenshots to the console worksheet to prepare the setup with audio systems.

QL5: retain microphone-test settings or update stored scenes

First define the need: retain a current setting as the script advances, or change the stored value in selected scenes. For the first case, review Recall Safe and Focus scope; write down what must remain and what must be recalled. Recall protection and scene editing serve different needs.

To edit scenes, the QL5/QL1 V5.8 E0 manual, pp.92–93 describes Global Paste: it copies current-mix parameters to stored scenes. HA, DIGITAL GAIN, HPF, EQ, FADER and CH ON have separate selections.

Proposed preparation: retain the original file and work in a test copy. Record channel, parameter and current value; list scenes that should receive it and those retaining their previous setting. If you only wrote “gain,” specify which control before choosing the parameter.

Tip: start with one test scene. Prepare a repeatable source and record the value before and after recall. That check helps detect incorrect scope before repeating the operation in other scenes. This is a proposed test, without GLMedia results.

CL5: retain a custom bank or copy it to other scenes

The CL5/CL3/CL1 V5.8 G0 manual, p.83 separates CUSTOM FADER BANK, which protects bank configuration, from FADER BANK SELECT, which protects its selection. To copy configuration to stored scenes, p.104 includes CUSTOM FADER BANK in Global Paste’s PATCH/OTHERs.

Proposed test: in a show copy, photograph bank assignments and record which bank is selected. Prepare two test scenes and compare both items on recall. Choose protections according to the operator’s required behavior; record what actually occurs.

If the aim is to modify stored banks, first prepare the bank to copy and a destination-scene list. Test on one scene and review every bank position; then check a scene outside the selection. This still needs testing on the setup’s console and version.

Tip: accompany the screenshot with each channel and DCA name. A bank can look unchanged while leaving the operator searching for the needed control. Bring the record to the console worksheet and coordinate operation with event sound.

QL5: check source and destinations before using Global Paste

We use it to frame a source-and-destination check without attributing a result.

The QL V5.8 E0 manual, p.92 specifies SCENE → GLOBAL PASTE, channel and parameter selection, destination range with TOUCH AND TURN, then PASTE. SCENE LIST STORE/SORT must be enabled at the user level. Different parameters cannot be chosen for different channels. STOP can leave partially pasted data and the operation cannot be undone.

Proposed test: save an independent show copy and prepare distinct values for the selected parameter: one in the current mix, another in a destination scene and another in a scene outside the range. Record them before performing the operation. Verify the on-screen source immediately before pasting.

Choose one destination for this first test and check its stored value. On recall, also review Recall Safe and Focus: protection may prevent the stored data from appearing in the recalled mix. Complete the record for the scene outside the selection and a parameter not chosen for copying.

Tip: before expanding the range, review the scene list with the cue lead. Record script exceptions and the file that would restore the previous state. The table records testing without assumed results. Prepare these checks when defining audio systems.

QL5: a monitor send does not change between scenes even after reviewing the input

The QL5/QL1 V5.8 E0 manual, pp.74–75 places WITH MIX SEND on the MIX bus to protect levels sent to that bus. MIX SEND and MIX ON appear on inputs; SAFE enables protection for the selected channel.

Prepare a show copy and choose a specific pair: input and destination monitor. Record two expected level and ON values for two test scenes. Photograph protections on that input and MIX, with their numbers and names visible.

Also review Focus and Recall Safe. In the agreed test, compare level and ON separately on each scene recall. If changing protection, record which one and repeat the same sequence; retain a reference state for comparison.

Tip: write “input 7 to MIX 3” with actual names beside them. “The monitor is protected” leaves questions about which screen was reviewed. Attach screenshots and monitoring observations to the console worksheet. This check still needs performing on the setup.

CL5: copy a send between scenes without erasing each musician’s differences

Define which channels must remain unchanged between scenes and check their protections before continuing to store.

To copy settings, the CL5/CL3/CL1 V5.8 G0 manual, pp.102–103 uses the current mix as source. MIX SEND includes level, pan and PRE/POST; MIX ON is another selection. SEND PARAMETER opens bus and level selection for Global Paste. That selection is also documented for QL5/QL1 on p.93 of its V5.8 manual.

Before copying, separate changes intended for everyone from differences to retain in the script. If guitar sends to musician A and musician B vary by song, record those exceptions by scene and bus. An improvement at soundcheck may need to preserve those differences.

Proposed test: save an independent file copy and prepare one channel, one bus and one destination scene. Record source, SEND PARAMETER selection and stored data before pasting; use the source and destination check. If also copying ON, verify its scope separately.

Then compare the chosen destination, a bus excluded from selection and a scene outside the range. On recall, record level, ON, pan and PRE/POST alongside active protections. Check monitoring with the monitor operator before expanding selection. The table is blank; it does not describe a performed test.

Tip: mark exceptions before editing. Avoid copying by song name without reviewing who needs that signal at that moment. Prepare the review with event sound and audio systems.

QL5: adjust a microphone for several monitors or complete a mix

The QL V5.8 E0 manual, pp.38–40 describes SELECTED CHANNEL with TOUCH AND TURN for one input’s sends, and SENDS ON FADER for several inputs feeding one selected bus. In SENDS ON FADER, faders represent send levels and ON keys switch to SEND ON state.

To prepare a line check, choose a microphone and record which musicians need it. Rehearse operation from SELECTED CHANNEL: verify source channel, destination and selected on-screen control before adjusting. Record each musician’s response with the operator.

To review a complete mix, choose the destination monitor first and rehearse using SENDS ON FADER. With one input, verify which control is moving and which ON is displayed. Before continuing with the main mix, check working mode and expected values on screen.

Tip: label each MIX with the setup’s position or musician. During a quick test, “more guitar” needs a specific recipient. Testing on the actual equipment remains pending.

QL StageMix: the green check appears but CONNECT fails

The user had no router access.

In the QL StageMix V8 guide, pp.9,13,97, the check indicates a compatible IP range, not console discovery. Yamaha asks users to verify the actual IP and use an access point LAN port, not WAN. An incorrectly entered IP or powered-off console is listed among Connection Error causes.

Before changing settings, record console model, firmware, application name/version, iPad model and iPadOS. Photograph the console IP and compare it with the address stored in StageMix. Also record SSID, IP and mask shown by the iPad; bring these to the network lead.

On iPadOS 14 or later, review local-network permission. Apple specifies Settings → Privacy & Security → Local Network to view applications and their permission.

Proposed test: agree a testing window with production, record the exact CONNECT message and check one setting at a time. Request a review of the physical route to the control port and that network’s configuration. Retain initial-state screenshots to compare attempts.

Tip: bring the error and recorded addresses to the responsible person. “We have Wi-Fi” adds little to troubleshooting. Use the console worksheet and coordinate testing with event sound.

QL StageMix: one input’s sends and selection following

The linked image remains inaccessible; we use the manual to describe controls.

The QL StageMix V8 guide, p.56 shows SENDS for the selected channel’s Mix/Matrix sends, with level, PRE/POST and ON. On p.95, Follows Console documents PEQ, GEQ and Dynamics; that section does not establish SENDS following.

For testing, prepare one input and two monitors with recognizable names. Open SENDS, verify the channel displayed by the application and record both destinations before moving a fader. Compare this task with QL5 controls to choose a routine the operator can repeat.

Selection test: without moving levels, select another console input and record the channel shown on each StageMix screen. Test the reverse from iPad and record active preferences. Always verify the visible channel before adjustment; this test’s result remains blank.

Tip: if a send is missing on screen, review HIDE UNUSED. The CL/QL V8.1/8.5 supplement, pp.7–8 describes that filter and warns that a hidden send changed from another surface may require toggling it off and on to refresh the view. Check display before rebuilding routing.

QL StageMix loses connection: record the interruption and check reconnection

Restarting the application temporarily restored the user’s control.

The QL StageMix V8 guide, p.98 documents Connection Lost: the application cannot operate during the warning, attempts reconnection and resynchronizes on success.

The CL/QL V8.1/8.5 supplement, pp.3–4 describes returning from background to the previous IP and RETURN TO START MENU to choose another connection. These instructions apply to those editions; record the installed version before comparing behavior.

We propose testing before the event: record access point location, operator route, band used, connected devices and first interruption time. Note whether iPad remained on the same SSID, the visible message and how control returned. Separate connection loss from monitoring problems; check each observation with the operator.

If the network lead agrees to compare bands or locations, repeat the same route and duration while changing one condition. Include a test longer than the usual fault interval. Record both interruptions and uninterrupted tests; GLMedia has not performed that comparison yet.

Tip: prepare who will operate the console if iPad becomes unresponsive and rehearse coordination. To evaluate the setup, gather worksheet, screenshots and versions with the audio systems team. Do not consider the fault resolved merely because the first reconnection succeeded.

QL5 and MonitorMix: prepare each phone for its mix

The MonitorMix V2.4 G0 guide, pp.10–12 says to choose the bus after PIN authentication. Its examples suggest the technician enters the PIN and prepares the bus before handing over the device. Bus Permission is identified for DM7 and DM5, not as a QL5 setting.

For QL5, the QL5/QL1 V5.8 E0 manual, p.248 places PIN for MonitorMix in SETUP → NETWORK → FOR MIXER CONTROL. It is a four-digit PIN for console connection; with all four blank, authentication is not required. It is not an individual password per musician or bus.

Prepare a list of musician, phone and destination MIX, with number and name. Before handing over the phone, verify together that the visible bus matches that position and the output reaches the intended monitoring system. To review sends from the operator’s position, consult QL StageMix help.

The official Yamaha information for CL/QL permits up to ten simultaneous MonitorMix devices in addition to one Editor and five StageMix devices. Count connected devices, including test devices; this capacity does not describe how many mixes the setup needs.

Proposed test: with the technician present, ask a musician for a small agreed adjustment on an identified input. Compare that send on the console and record monitoring; also review another MIX that should not change. Restore the initial value before moving to the next phone. Close and resume the application to check which bus returns.

Tip: label the bus with the actual position, not just “MIX 3.” If two people share a mix, document it and agree who adjusts. Complete the console worksheet with the event sound lead. GLMedia has not performed this test yet.

MonitorMix sees the console but will not connect on iPhone

Other participants reported connection after reinstalling and reconnecting; one identified iPhone 16 Pro Max and another DM7.

Apple documents local-network permission from iOS/iPadOS 14. Review Settings → Privacy & Security → Local Network, where listed applications can be enabled. That article does not provide a specific procedure to make MonitorMix appear when absent.

The MonitorMix V2.4 G0 guide, pp.8–9,22 describes Auto/Manual for discovery or IP selection and a block when the maximum connection count is reached. For a connection that cannot be established, it proposes turning off cellular communication and reconnecting.

Before testing, record phone model, iOS, exact MonitorMix version, console model and firmware. Save a screenshot of SELECT MIXER and the message following Connect. Record whether the application appears in Local Network, its displayed permission and whether another phone connects under the same conditions.

Proposed test: coordinate a test without cellular data with production, retaining setup Wi-Fi, and record the result. Separate discovery, PIN authentication, bus selection and synchronization: write where it stops. If another phone works, compare versions and permissions before changing everyone’s network.

Change one condition at a time to identify what restores connection. If the application remains absent from Local Network, gather screenshots and versions for Yamaha support. Preserve settings before agreeing to reinstall.

Tip: “sees the console” and “I can move my send” are observations worth logging separately. With equipment available, use the console worksheet and prepare a reference device with the audio systems team.

MonitorMix with TF3: a padlock appears and a send does not respond

Review application network permissions separately from the physical connection.

The MonitorMix V2.4 MW-G0 guide, pp.14,21 describes the padlock from holding a fader and Disable Fader Lock By Hold. It also says a FIXED bus prevents send-level changes. Review both conditions before changing patch.

Before closing the application, capture symbol, channel, bus and ONLINE/OFFLINE state. Record phone, operating system, MonitorMix version and TF3 firmware. Ask the operator to check that same send on the console. If comparing another phone, record whether it controls the same bus or a different one.

Proposed test outside the show: choose a test send and record its value. Compare holding the fader with Disable Fader Lock By Hold enabled and disabled. Review the setting in your version first: the consulted guide does not detail releasing an existing padlock. GLMedia has not performed this test yet.

If the problem persists, save screenshots before and after restart and send the log to support when agreed with production. Do not change several options together: that makes their effect hard to identify. For an application that cannot connect, follow connection help.

Tip: describe what you see: “padlock on the vocal send to AUX 2” is more useful than “not working.” Add the record to the console worksheet with the event sound lead.

MonitorMix: group sources for a simpler screen

With RME MADIface Pro and TotalMix from iPad, check setup control, network and outputs before deciding who may adjust each mix.

For those already using MonitorMix, the V2.4 MW-G0 guide, pp.15,18 allows channel grouping from PERSONAL GROUP & ORDER. The group fader adjusts its members while retaining their relative balance. The group icon expands members for individual adjustments.

Start with a few groups meaningful to the listener, such as “vocals” or “percussion.” Write down member channels and which source must remain separately accessible. Before preparing the phone, verify destination with PIN and bus help.

The guide, pp.19,21 describes Share for sharing order and groups, and retains user settings on the device when the application closes. Reset removes group configuration and restores order. That section does not document console-mix backup.

Yamaha warns that groups may work incorrectly if more than two MonitorMix devices control the same bus. Record who shares each bus and agree who adjusts during testing; the warning does not guarantee correct operation for any two-device setup.

Proposed test: with production, choose two inputs and record initial sends. Prepare a group, agree a small movement and compare both values on the console. Also review another bus that should remain unchanged. Restore initial values and record monitoring. The table is for completing the test; it contains no GLMedia results.

Tip: after preparing the screen, hand it to the intended user and ask them to find a specific source. Record hesitation before adding more controls. Save names, members and screenshots in the console worksheet and coordinate monitoring with audio systems.

TF3: MonitorMix connects but moving the send does not change the sound heard

One reply attributed the lack of control to the post-fader send without checking the path.

The MonitorMix V2.4 MW-G0 guide, pp.13–14 identifies ONLINE/OFFLINE and describes the channel fader as controlling the send to the selected bus. Connecting to Wi-Fi, seeing the console and checking a send change are distinct observations.

On TF3, the V4.5 CR-J0 manual, pp.34,73 separates Send, level and Pre for each send. OMNI OUT shows which bus feeds each connector. Post-fader operation does not remove send-level control.

Start with a channel carrying a verified signal. Record the AUX displayed by the application and ask the operator to view the same channel and AUX on the console. Record values before and after a small agreed movement; taking a fader to maximum is unnecessary to see whether it responds.

If the console value changes but monitoring stays the same, follow the path to headphones or monitor: bus, assigned port, cable and monitoring equipment. If the value does not change, save connection-state and selected-bus screenshots. Compare a reference device and record differences between them.

GLMedia still needs to perform this test. If a lock symbol appears, also complete padlock help. Use the console worksheet with the event sound lead.

Tip: “the send changed from one console value to another, but sounds the same” helps continue troubleshooting. “It is connected” leaves the control and output in use unconfirmed.

TF3: a pre-fader AUX and the channel ON button

The TF5/3/1 diagram in the V4.5 manual, p.114 shows channel ON linked to AUX paths. Pre-fader does not mean ignoring ON. This describes design, not a confirmed cause of the case.

The manual, pp.33,73 distinguishes send Pre from bus Pre Fader Send Point: Pre EQ taps before EQ; Pre Fader taps before the fader. Record both settings.

Proposed test: choose one input and AUX with a steady source and production informed. Capture configuration. First compare monitoring while moving only the input fader and restore its value. Then compare channel ON enabled and disabled without changing Pre or send level. Record both results separately.

If signal persists after turning that channel off, repeat with other AUX sources controlled by the operator. Record whether signal also appears on the bus meter or only at final monitoring. Save screenshot and firmware version for Yamaha; this result needs checking on the setup.

To work through destination and output, follow MonitorMix help for no audible change. Add to the console worksheet which button was used: channel ON, that send’s Send or AUX ON. The audio systems team can prepare this comparison.

Tip: before testing, agree what should happen when someone mutes from the house position. Document expected monitor and streaming behavior. These tests are proposed; no GLMedia results have been recorded yet.

TF3: AUX2 carries reverb from other vocals

Other replies suggested matrices or pre-fader without demonstrating that they separated vocals in that return.

The TF V4.5 manual, pp.67–68,79 distinguishes sends to FX1/2, FX RTN1/2 returns and return send to AUX. If several vocals feed a shared return, changing Pre does not separate them: this follows from the path.

First draw two paths: direct vocal → AUX2 and vocals → FX → return → AUX2. Record which microphones feed that FX and which return reaches the monitor. Check the second path when a vocal is heard with effect despite its direct send being closed.

Proposed test: during an agreed test, compare two microphones separately. Record the direct vocal first, then the effect reaching AUX. If an FX is available, prepare a test receiving only the chosen vocal and compare its return in the monitor. Save initial configuration and restore changes afterward.

The official Yamaha FAQ, How to use Ins FX describes additional effects on stereo AUX buses; AUX9/10 and AUX11/12 accept reverbs like FX1/2. They are not an FX RTN3 ready to feed AUX2: any alternative requires planning buses, output and mix.

Before changing design, record FX and AUX already assigned in the show. To compare controls and monitoring, use TF3 send help and the console worksheet with audio production.

Tip: ask the listener which unwanted source they hear and whether it is dry, effected or both. That difference identifies which path to review.

TF3: an extra reverb with Ins FX on AUX9/10

That need calls for reviewing available resources and where the effect can be sent.

The Yamaha FAQ, How to use Ins FX distinguishes FX1/2 from six Ins FX on stereo AUX buses. AUX9/10 and AUX11/12 accept FX1/2 reverbs. For an additional send-return to Stereo Master, Yamaha proposes selecting AUX9/10 in the OUTPUT bank, opening Ins FX, disabling Bypass, setting Wet/Dry to 100 and enabling ST in OUTPUT. Sends to AUX9/10 feed the effect; its master controls return to ST.

The TF V4.5 CR-J0 manual, pp.68,87 and diagram p.115 documents that insert and output to ST. The diagram does not show AUX9/10 → AUX2: this example does not create an FX RTN3 for that monitor.

Before choosing the bus, list occupied AUX buses. Record who hears each and which output it uses. Reserving AUX9/10 for reverb changes that bus’s use; agree this with the operator and save settings to restore. If occupied, this example needs another design.

Proposed test for the ST route: start with one reference vocal and identified monitoring destination. Record initial configuration. Compare the signal feeding the effect first, then the signal at destination, changing one control at a time and recording values. Repeat with a second vocal to check whether it enters the effect intended for the first. Restore settings afterward.

Wet/Dry 100 belongs to Yamaha’s send-return example. If considering reverb within a headphone mix that also needs dry signal, review the balance to retain first. Do not transfer that value without designing and listening to the path.

The monitor issue is covered in shared-reverb help. To prepare setup resources, complete the console worksheet with the event sound lead. Comparisons are proposed; no GLMedia tests are recorded.

Tip: before asking for “another effect,” write the full request: “another reverb for this vocal, to this monitoring destination.” Destination changes the solution to prepare.

TF3: the streaming effect does not follow the house fader

The TF V4.5 manual, pp.67,73,79 separates two Pre settings: input → FX and FX return → AUX. In CH VIEW for FX1L–FX2R, SEND TO AUX shows return sends. For that return to follow its fader to AUX19/20, review Pre disabled on that send. Post-fader changes audio level; it does not force the send control to move.

First agree what streaming needs. If it should follow house reverb changes, test that path. If streaming has a separate mixer, record which settings should remain independent. Do not change every console send to resolve one path.

Proposed test: record FX and return in use, save a screenshot of the AUX19/20 send and choose a stable source. With the operator, compare monitoring and the AUX meter before and after a small movement of that return fader. Keep send level fixed and allow a clear comparison, then restore the value.

If the effect amount seems unchanged, separately check which monitoring destination is being compared and where each audible effect originates. Draw paths and test individually with production informed.

Record control position, metered level and audible change in separate columns. A send retaining its position is not enough to determine audio response. Record firmware and repeat with the actual destination.

Also review MonitorMix help for no audible change. To coordinate console, output and broadcast equipment, use the console worksheet with the audio systems team.

Tip: “the control stayed in place” and “streaming reverb did not drop” are different observations. Record both so the next operator can repeat the comparison.

Quantum338: keep an input live during virtual soundcheck

For Quantum338, the SD & Quantum Issue E, V1528+, §2.12.9, p.148 (PDF149) describes Listen Safe: it retains the original source when Listen to Copied Audio is enabled. Set it in Copy Audio, Channel List in Edit or Input Channel Setup. It is associated with the socket; Main and Alt have independent Listen Safe. The channel name appears red when active.

The Quantum 3 Getting Started Issue A, V1200+, §1.4.7, p.14 (PDF19) explains MADI to the recorder and MADI back to the console. Listen To Copied Audio allows monitoring that playback and returning to rack sources. These are 2020 and 2022 editions; compare controls with installed software.

Proposed preparation: choose the input that must remain live, such as a coordination microphone. Record channel, port, socket and selected source; save an initial-state screenshot. Also identify a playback channel and agree test monitoring with stage.

With a recognizable recording and a different reference voice, we propose comparing both channel sources before and after enabling copied-audio monitoring. Record the source heard on each as well as the meter. Then check return to live inputs and restore settings. GLMedia has not performed that comparison yet.

If the heard source differs from expectations, retain screenshots and follow each stage to channel input. Separately review selected source, its protection and playback-system output.

For an alternative source, follow backup microphone help. Complete the console worksheet with the event sound lead.

Tip: mark which inputs must respond to a person present during testing in the report. Checking return to live before handoff avoids leaving that decision until the band comes onstage.

Quantum338: virtual soundcheck reaches FOH but is missing from monitors

Identify models and versions before transferring settings.

The SD & Quantum Issue E, §2.12.9, pp.147–148 (PDF148–149) documents several copies of one socket and only one Listen Source: red identifies that source; orange, another copy. Blue indicates an occupied output or one not assigned to the console.

Proposed preparation: gather FOH, monitor and recording operators. Record actual models, versions, cards, ports and assignments. Draw two distinct paths: stage input to recording, and playback track to each position. Success of the first does not check the second.

Choose an identifiable mono track. Follow its output from playback system to the selected port and channel on each console, saving screenshots before changing anything. Record who controls each stage and where signal is observed. Compare one position first, then the other, with agreed monitoring destinations.

Then we propose checking a stereo track, recording both sides and channel format at each position. If changing patch through snapshots, separately prepare scope and settings to retain.

For Optocore, finalize design with actual equipment, assignments and clock before fixing ports or macros. Also identify any Orange Box in the diagram and verify its function in that path.

Before finishing, we propose checking live inputs from both positions and recording who makes the switch. Include the inputs that must remain live and the console worksheet in the test. Coordinate design with the audio systems team.

Tip: write “this track leaves this port and arrives at this monitor channel.” That line locates what is missing without rebuilding the whole show file. All comparisons in this section are proposed.

Quantum338: listen to the de-esser without assuming its destination at the PA

The SD & Quantum Issue E, February2022, V1528+, §1.6, p.48/PDF49 describes de-esser sidechain Listen and destructive monitoring of channel multiband bands. It does not document a Solo destination for de-esser Listen.

In §2.6, Spice Rack, p.123/PDF124, it documents monitoring to Solo 1/2 without altering normal output. Destructive replaces that output with the monitored signal; these controls are global to the rack. That function does not establish channel de-esser routing.

Proposed preparation: record version, channel, exact module and button name; save a screenshot before touching it. Agree a test without an audience and prepare a recognizable recorded vocal. Separately identify operator headphones, PA, monitors and any recording or streaming output receiving that channel.

We propose comparing the same passage before, during and after enabling one monitoring function, with test destinations controlled by their operators. Record where tone changes and check restoration of initial state. In Spice Rack, also record selected destination and Destructive state. If an output cannot be verified, leave that check pending before using the control during the event.

Common mistake: assuming putting on headphones automatically changes the destination of any Listen button. We do not propose changing processors or rebuilding inserts as the case’s solution; actual version and setup remain to be checked.

For artist monitoring, consult True Solo. Record the test in the console worksheet and coordinate destinations with the event sound team. Tip: record the button tested and the output heard by each operator. Proposed tests, without GLMedia results.

Quantum338: a fader seems stuck or stops near 0 dB

The SD & Quantum Issue E, §2.5.2, pp.110–111 (PDF111–112) separates Fader 0dB Detent, by control type, from Fader Touch Control: Free permits free movement; Protected requires touch detection. The latter setting stays on the console and is not saved in the session. Consult Options > Faders and compare with your version.

Proposed pre-show check: record bank, channel and position where it occurs; distinguish resistance around 0 dB, no response at any position and behavior coinciding with recall. Ask the regular operator to repeat the same movement and record any difference. Do not force the fader against resistance.

On a test channel with controlled destinations, we propose capturing initial preferences and comparing one option at a time. Record physical position, displayed value and touch response. Restore the agreed setting before trying another control. Changing Free/Protected may help locate the difference; it does not certify correct fader operation.

If one unit remains unresponsive, retain the log for authorized support: console and software, bank, assigned channel, position, screenshots and reproducible steps. Do not assume every blockage is detent, touch protection or mechanical failure.

Complete the console worksheet when receiving a rental console and review it with the audio systems lead. Tip: also record surface preferences at handoff. GLMedia has not performed these comparisons yet.

Quantum338: preserve one monitor mix while another changes by song

No other branches remained visible. DiGiCo model, version, rack and setup tests are missing before transferring that proposal.

To prepare the Quantum338 test, we use the reference identified by Quantum 3 Getting Started, Issue A, V1200+, §1.1 p.1: software details are in the common SD/Quantum manual. The installed version remains unconfirmed.

SD & Quantum Software Reference, Issue E, V1528+, §1.4 p.32: in the expanded sends panel, enable node safe, touch nodes to protect and exit node safe; red text indicates protection. It includes send level and ON/OFF, plus Nodal and KLANG where applicable. Review each input feeding the mix.

Proposed test: save a show copy, choose two inputs and two test auxiliaries, and write which mix must remain and which must change. Prepare two snapshots with clear differences and agreed levels; check both directions. Observe each send and its master separately.

We then propose extending the check to every input used by the musician, including returns and talkback if patched. A two-channel screenshot does not establish protection for the rest. If monitoring changes despite unchanged send values, record which processing, mute, fader or route changed; do not attribute the cause to Safe without following the path.

Common mistake: blocking all sends when only some must remain, or protecting one channel and assuming the whole mix is covered. Agree with the operator what needs to follow snapshots. For a festival with IEM and wedges, complete the selective-recall worksheet and relate the test to Nodal Processing and True Solo and event sound.

Quantum225 and Quantum338: change Control Group members and names without recalling the fader

Check Fader and Control Group Members separately in Recall Scope.

The official Quantum225 page, Downloads / Manuals links SD & Quantum Software Reference Issue E V1528+. This common reference allows comparing the recommendation for the queried model and preparing a separate Quantum338 check.

Issue E, §2.4.12 pp.97–98: select snapshot → Recall Scope; the Control Groups row has Fader, and Control Group Members includes names and members. Expand the row to review individual groups. Exclude the intended fader and review Members, Global Scope and Safe. §2.9 p.131: CG Safe protects assignments and settings.

Proposed test in a copy: prepare two snapshots with different lists and names using test channels. Then leave the CG fader at an identifiable value and record it. Recall the other snapshot: record name, list, fader and monitoring as four independent results. Return to the first and repeat from an out-of-sequence jump. We do not assume changing membership preserves the audio level reaching the audience.

We also propose checking other Control Groups and their channels: Members scope is not demonstrated by viewing only the group being edited. Identify channels belonging to several groups and record which setting should remain. An unmoved CG fader does not prove no other channel parameter changed.

Common mistake: putting the whole CG in Safe to retain its fader, then expecting membership to change. Record the goal before adjusting scope. To check recall, follow the membership and mute test in a show copy.

Use the worksheet with the FOH or monitor operator and the GLMedia audio systems lead. Also review event continuity and backups. Records remain blank: no physical test was performed and no client file was validated.

DiGiCo: microphone with no output and Hard Mute active

Manufacturer: DiGiCo. SD & Quantum Software Reference, Issue E, February 2022, V1528+, §1.3 p.22: Mute passes pre-mute outputs; Hard Mute silences them too. The strip distinguishes MUTE, HARD and CG MUTE. Do not confuse these indicators while following signal.

Proposed Quantum338 test: save a show copy, identify input and destinations and agree a test level. Record signal at receiver, input, buses and monitoring separately. RF alone does not demonstrate audio reaching the intended bus. Before changing states, record who needs them and which output must remain muted.

On a test channel, compare states with a known signal and complete the worksheet. Rehearse restoration of the agreed state with the operator and verify every destination, including the musician’s send. Record controls used on that surface; do not transfer keystrokes from an unknown model to another console.

Common mistake: raising gain or opening every mute to recover a vocal without locating interruption. First gather indicators and path. Disabling Hard Mute is not presented as a general solution. Do not attribute behavior between snapshots to Hard Mute or 2nd Function auto-cancel without installed-version documentation.

For concerts, theater or events with wireless vocals, relate the test to True Solo, monitor recall and GLMedia audio systems.

Quantum338: auto-mute changes members manually but not during snapshot recall

Snapshot recall changes members but leaves channels open. The setup has no Theatre extension and software is unspecified.

DiGiCo Issue E, §2.9.3 p.132 describes auto-mute when joining or leaving a CG and mutes from several CGs in series. §§2.4.11–12 pp.96–98 separates Global Scope, Recall Scope, Safe, Mute and Control Group Members. Reviewed documentation does not demonstrate that recalling Members executes auto-mute like JOIN/LEAVE; nor does it establish a firmware fault.

For the exact model, Quantum 3 Getting Started, Issue A, V1200+, §1.1 p.1 refers to the common SD/Quantum software manual. Confirm installed version before using those references at the event.

Proposed test in a copy: use two test inputs, one CG and two snapshots. First write which microphone must remain open at each cue. Store intended lists and states, and capture scope and protections before changing them. Compare manual editing with recall: record membership and each channel’s state alongside monitoring.

Keep other conditions unchanged, record before and after, and check forward, backward and a cue jump. If protection prevents testing, document which and repeat with only the agreed change. Do not mark the proposal resolved before results exist.

Then extend the worksheet to a channel belonging to multiple groups: record both groups and states before each action. Also check that returning to the previous cue restores the agreement. This test seeks unexpected openings or silences; it remains unperformed and does not validate the whole show.

Common mistake: checking only that the CG list changed and assuming microphones are correct. Review the separation between members and fader, complete the mute worksheet and agree testing with audio systems.

Quantum338: a muted channel is still audible in a monitor

Identify version, rack and monitoring before checking Hard Mute. Test its effect outside the event program.

DiGiCo SD & Quantum Software Reference, Issue E, February 2022, V1528+, §1.4.8 p.31 distinguishes six Quantum tap points: pre-fade, pre-mute, mid EQ/dyn, pre-EQ/dyn, pre-processing and post-fade. §1.3 p.22 clarifies that Mute passes pre-mute outputs; Hard Mute cuts them too. Do not equate pre-fade with pre-mute. Assign the send to a rotary row; with 2nd Function, use its button to change position.

The model reference is in Quantum 3 Getting Started, Issue A, V1200+, §1.1 p.1, which refers to the common SD/Quantum manual for software functions.

Proposed test: preserve the original file and work in a copy with one test input, one wedge and another reference destination. Write what each destination should hear when the vocal is muted before touching controls. Record tap point, processing, send state and physical output. Compare with a repeatable signal and agreed level.

Change only one condition per pass: tap point, processing or mute state. Record monitoring and meters at both destinations, returning to the initial state between comparisons. If testing Hard Mute, record all destinations of that input: it may conflict with a mix that must continue. The worksheet is blank; we have not performed this test.

To evaluate a macro like the one reported, include a send that must remain off and check its state after muting, unmuting and cue recall. Compare forward, backward and scene jump; record changes and restoration of the agreed state.

Common mistake: fixing wedge muting without checking the other mix retains the agreed vocal and processing. Review Nodal Processing, Hard Mute and the auxiliary worksheet. Plan testing with the GLMedia audio systems lead.

SD7: I cannot find CG Faders Control Aux Sends in Options

Without version or test, that reply needs checking on the event console.

The official SD7 page, Downloads / Manuals links the common SD & Quantum Software Reference Issue E V1528+ manual. This case concerns SD7; we do not attribute it to Quantum338 or assume installed software.

DiGiCo Issue E, §2.9.5 p.133 introduces Aux Sends per CG from V1445 and removes the global Options > Faders setting. §2.5 p.111 also notes that change. With a compatible version, open the CG strip and review Aux Sends.

Proposed pre-event test: record console and editor model/version if used. Save a copy and choose a test CG with a short input list and two clearly named mixes. Write which must change and which must remain; record initial send, fader and monitoring values.

With the operator, identify the selected mix and fader function before moving them. Compare one pass with the CG included and another excluded; make a small movement, record changing values and review both mixes. Exit the working mode and check restoration. The goal is to verify scope in that version and file, not infer it from a visible button.

Common mistake: following an old menu instruction and concluding a function is absent, or changing a guest technician’s file without recording configuration. If the interface differs, save screenshot and version for the appropriate documentation. We do not propose updating software during the event to resolve a menu location.

For festivals with several artists and monitor mixes, record responsibilities and file recovery alongside continuity and rehearsal and selective monitor recall. Coordinate preparation with audio systems.

Quantum225 with DMI-KLANG: Copy Audio does not allow output assignment

Manufacturer: DiGiCo, SD & Quantum Software Reference, Issue E, February 2022, V1528+, §2.12.9 pp.147–148 (PDF148–149). Blue indicates an occupied output or one not assigned to the console; Copy Audio does not overwrite channel or bus routes. An output route can overwrite a copy. Copy Audio patch is not recalled by snapshots.

The official Quantum225 page, Downloads / Manuals links that common edition. This is the case’s model, not a Quantum338 test. Confirm setup software, card and file before applying its controls.

Proposed preparation: preserve the original show and work in a copy with one test input. Record source socket, intended output, owner of the existing route and destination receiving that signal. Review who uses the output before changing it; blue alone does not establish availability for us.

With the operator, we propose comparing an available output first, then the failing output. If freeing the latter is agreed, record the previous assignment and restoration method. Capture the matrix before and after; verify signal and monitoring at the intended destination. Review patch again after any routing change.

Common mistake: changing monitoring controls to resolve blocked assignment without checking destination ownership. For FOH and IEM at a festival, document which path changed and what remains untested. An assigned cell does not yet establish audio received by the musician.

Relate the test to Listen Safe and copied-audio monitoring, the KLANG processing check and the KLANG route worksheet. Coordinate destinations with GLMedia audio systems.

Quantum225 with DMI-KLANG: the IEM retains console processing

DiGiCo Issue E, §1.4.14 p.39 (PDF40) offers post-fader, pre-fader or pre-mute direct out. Those options do not document a pre-processing tap. §2.12.9 p.147 (PDF148) describes Copy Audio as copying sockets without channel processing. Diagnostic inference: choosing pre-fader alone does not establish an unprocessed IEM signal.

KLANG, DiGiCo Console Integration Guide, Quick Start / Step 3 and Auto Mapping and Socket Names: DMI-KLANG uses input direct outs and Aux Merge Input returns; automatic mapping follows socket names. Changing audio transport also requires reviewing that association. The HTML guide declares no fixed edition; it distinguishes Full, Legacy and Lite and specifies KOS 5.5+ for independent second-generation integration. Identify actual mode and versions.

Proposed test: choose a recorded reference vocal and a test destination at an agreed level. Draw from physical input to headphones: every stage, intended processing and operator. Save screenshots and an initial configuration copy for console and KLANG. Write which FOH changes the musician should or should not hear.

We propose comparing the current route and chosen alternative in separate passes. Change one condition at a time: EQ, compression, gate, fader or mute state. Record monitoring and meters at input, KLANG and return; restore each setting before the next pass. If processing remains audible, locate where it appears before modifying another route.

Also verify that control of the chosen channel changes the intended mix and that its return reaches the correct IEM. Audio can arrive while control association needs correction. If choosing an alternative transport that does not retain documented mapping, finalize design with support for actual versions before show testing.

Tip: record “change made, destination heard and state restored” per pass. For concerts with guest engineers, this helps handoff. All comparisons are proposed; GLMedia has not performed them. Include mute-by-destination help, the KLANG route worksheet and event sound.

Quantum338: connection warning when starting the backup console

Three branches and the image could not be opened. Software, rack and backup configuration are missing.

DiGiCo Quantum 3 Getting Started, Issue A, January 2020, V1200+, §1.1 p.1 (PDF6) distinguishes surface, audio engine and external I/O racks. §3.2 p.48 (PDF53): Restart in Quantum Home restarts the PC, not the engine or surfaces. §3.5 pp.51–52 (PDF56–57) shows console and engine IPs; they must be consecutive.

DiGiCo SD & Quantum Software Reference, Issue E, February 2022, V1528+, §2.1.1 p.63 (PDF64): System > Diagnostics shows system states; indicators depend on model. The exact Quantum338 page, Downloads / Manuals links both documents. Compare the edition with installed software.

Proposed record before intervention: save a full-message photo, model, version, time and startup phase. Draw external connections and record what was connected. If application access is available, capture Diagnostics and network screen without changes; also record responsive and unresponsive functions.

Agree the comparison with the system lead and DiGiCo support. Preserve file and initial state; if a restart is authorized, write which component restarted and subsequent observations. Do not include trial-and-error disconnections, opening the console or IP changes: this equipment has no diagnosis yet.

For the backup console, we propose separately checking a test-signal path to output and the handoff procedure. Record who switches, which destination is monitored and how to return. A disappearing warning does not establish that backup fulfills its event role.

Tip: hand the log to the incoming operator with screenshots and exact changes. Use the startup and clock worksheet, continuity and rehearsal and the audio systems service. These checks remain proposed; GLMedia has not performed them.

SD7 Quantum with Optocore: clicks despite green indicators

Turning Waves off did not eliminate them. Versions, racks and exact Waves equipment are missing.

DiGiCo Issue E, §2.12.10 p.150 (PDF151): Setup > Audio Sync selects clock. Green OK can indicate a valid unselected source. In standard Optocore operation, connected engines use Audio Sync = Optocore and the lowest ID determines master. The setting is saved in the session. The same page addresses external Word Clock synchronization: verify topology before applying the standard scheme.

The official SD7 page, Downloads / Manuals links Issue E. §2.5.10 p.117 (PDF118) distinguishes two SD7 status columns, one per engine. Record which is being observed.

Proposed preparation: preserve each position’s files and gather FOH, monitor and processing leads. Record consoles, engines, IDs, racks, sample rate, links and any external reference. Capture selected source and visible state for each engine. Write the intended clock design before deciding which setting to change.

With a repeatable signal and agreed test destination level, record where clicks appear and for how long. Compare each stage separately; if a clock change is agreed, do it outside operation, record it and check the other positions.

We then propose checking loading of event sessions and repeating monitoring longer than the fault’s usual onset interval. Record selected source, meters and monitoring after each load. A click-free test is the result of that pass; closing the issue requires repeatability and restoration of the agreed state.

Common mistake: attributing noise to the plug-in being tested or treating a green panel as proof of the whole route. Separate observation, change and result in the startup and clock worksheet. Relate the test to shared MADI racks only if that is the actual link, and to GLMedia audio systems.

SD7: prepare mirroring and distinguish control from audio

To address that need, this guide’s steps rely on SD7 documentation; they are not a Quantum638 procedure.

DiGiCo Issue E, February 2022, V1528+, §2.11 pp.138–139 (PDF139–140): SD7 uses Full Mirror on both engines. In Network, load the session on A, select B, send the session and enable Mirror; green Mirror indicates mirroring. ENGINE A/B switches control; by default Audio Master switches audio. Orange identifies the active engine. If they cannot see each other, check crossover Ethernet on SD7 (Quantum accepts a standard cable) and Enable Console Network = Yes on both. Changing that option requires restart.

Proposed preparation for FOH, theater or broadcast: save both engines’ files before transfer. Choose with the operator which state to retain; record source, destination and backup. Prepare outside the show with agreed test outputs. A backup carrying a different file needs that difference clarified before any transfer.

Proposed comparison: record both screens, file and time. After the manual’s preparation, check a small reversible change on a test channel with no audience destination; record each side and restore the setting. If differences or a resynchronization warning appear, retain the screenshot and resolve transfer direction before accepting.

Proposed handoff test: separately mark who has control and which engine delivers audio. Use a known signal and test output; agree operator, observer and return procedure. Record each action and monitoring when switching and returning. That manual test evaluates that maneuver; evaluating automatic failure requires a system-specific plan agreed with support.

Common mistake: treating matching mix displays as proof of continuity. Proposed closeout requires hearing the event’s relevant destination and documenting the return. Also identify shared components remaining in the route: engine backup does not test all of them.

Use the engine and backup worksheet, Quantum338 startup help, continuity and rehearsal and GLMedia audio systems. The official SD7 page, Downloads / Manuals links the consulted document. Compare edition with installed software; described tests remain pending.

SD7 with Optocore V221: review IDs before preparing backup

DiGiCo Issue E, §3.1.1 pp.169–170 and §3.1.5 pp.175–176 (PDF170–171 and176–177): in V221, every device needs a unique ID; SD7 engines use consecutive pairs 1/2, 3/4; SD Racks use 11–24. The FOH/monitor example uses 1/2 and 3/4. Fiber speed and sample rate must match; Audio I/O must agree before mapping.

Proposed survey: draw every setup device and link, including both engines of each console. Read each device’s identifier and enter it in the worksheet. First compare installed equipment with documentation; do not transfer numbers from someone else’s drawing without checking existing users. Mark duplicates and agree changes with all operators.

Before reconfiguration, we propose preserving each position’s files and screenshots and recording who uses each rack output. Define a preparation window and rollback plan. If one operator sees a different device list, record missing or extra items; rebuilding the map by elimination does not document the problem.

Proposed post-preparation check: identify devices again from each position and follow a signal to each agreed output. Perform the previous section’s backup test without confusing a correct drawing with a verified route. Record monitoring, duration and pending items; only then can the team decide whether the setup is event-ready.

Tip: hand the drawing and worksheet to the incoming FOH or monitor operator. Separate a read identifier, an agreed change and an observed result. This help is limited to the manual’s V221 scheme; document different firmware or rack before using it.

Relate the review to clock and clicks, the engine test and audio systems. No ID change or GLMedia physical test was performed.

SD10 and SD12 with shared SD Rack: check gain tracking over Optocore

DiGiCo SD & Quantum Software Reference, Issue E, February 2022, V1528+, §1.4.1 p.26, §2.12.4 p.143 and §3.1.5 p.176 (PDF27,144,177): Optocore permits control from any console. Full Control sends and receives settings; Receive Only receives; Isolate exchanges no control. Shared starts in Isolate, where Gain Tracking does not work. Track compensates analog gain changes with opposite trim.

Proposed preparation: agree with FOH and monitors who manages each preamp during the event. Record rack, socket, receiving channels and observed state per position. Save files and screenshots before applying the agreement. Check the selected rack in Splits & Sharing. Test Full Control at the designated position and Receive Only with Track at the receiver; a verbal agreement without socket identification risks adjusting another source.

Proposed test outside the show: use a stable source and agreed monitoring level. Record initial gain, trim and level at both positions. The designated operator makes a small gain change; the observer records values and monitoring at the receiving position. Compare with the manual and restore the initial setting. If results differ, retain screenshots before another change.

We propose separating manual changes, file loading and snapshot recall in the worksheet. Use one pass per condition with a test destination; recording the file or cue loaded helps investigate differences appearing only on show recall. Shared MADI help already addresses recall scope; check actual link and version before transferring that scheme.

Common mistake: confusing level compensation with an operator agreement on gain, phantom and pad. Define allowed changes, how they are announced and what to do with a source arriving at a different level.

The official SD10 and SD12 pages link Issue E under Downloads / Manuals. Use the shared-rack worksheet and coordinate testing with audio systems. Installed version and physical tests remain pending.

SD Rack over Optocore: distribute outputs between consoles

The user receives MADI advice and steers the project toward Optocore without reporting a tested setup.

DiGiCo Issue E, §3.1.1 pp.169–170 and §3.1.5 pp.175–176 (PDF170–171,176–177): V221 assigns output cards to consoles. With matching Audio I/O, select Setup Optocore, assign cards and run Remap All Optocore. Status shows owner ID: green, this console; red cross, available; dim red cross, unavailable. A lock prevents reconfiguration until all consoles are unlocked.

Proposed record before assignment changes: list each required output, rack, card, socket, source console and physical destination. Compare with all positions’ screens. Save a screenshot showing card owner and state. Ask the other operator to identify dependent destinations.

Proposed preparation: agree allocation and a window without event operation. Record the card for each console and who verifies the return. If locked or assigned differently from plan, first resolve who configured it and why; do not change configuration merely to make an output appear on your screen.

Proposed post-preparation test: send an identifiable signal from each console to one test destination at a time. The observer confirms physical socket and monitoring; repeat for agreed destinations. Also verify the other operator’s destinations retain expected behavior. A rack input meter documents none of those outputs.

Tip: label handoff with source console and destination as well as socket number. If a card changes, retain before/after comparison. Specify untested paths; one heard output does not establish the entire rack.

The official Quantum338 and Quantum225 pages link Issue E. Relate the plan to Optocore IDs, the SD7 backup test, the rack worksheet and GLMedia audio systems. This assignment applies to Optocore V221; MADI cabling at 96 kHz requires separate review.

SD Rack over MADI at 96 kHz: Main, Aux and Split are different paths

Before choosing a connection, count the paths and destinations each console needs. The discussion corrects a generic MADI figure.

DiGiCo documents on the SD Rack page that 56 channels at 96 kHz use both MADI ports; at 48 kHz duplicated connections are redundant. Do not quote each BNC as a complete link to another console.

The SD Rack User Manual B, August 2013, figure p.1-5, §1.5.1 p.1-7 and §1.6.14 p.1-13 (PDF5,7,13) distinguishes Main/Aux from MADI Split Main/Aux. Splits are independent at 48 kHz; at 96 kHz they carry 1–28 and 29–56. Its menu offers OFF/ON/GT, SYS/SYS/2 and 56ch/64ch/SD rck. SYS/2 permits a 48 kHz split with the rack at 96 kHz.

The TN294, revision 3, 27/02/2013, pp.2–3 describes two ports and two cable pairs for 56 inputs/outputs at 96 kHz on SD consoles. With redundant connectors, it specifies 1A+2A or 1B+2B, not 1A+1B. SD Rack uses SMUX; SMUX and Hi-Speed are incompatible. Wrong format can alter channel correspondence. At 48 kHz, choosing 64ch on the split adds no audio to 57–64. This note concerns the SD series: check numbering and grouping in the specific Quantum manual before cabling.

Proposed preparation: draw each path with sending device, physical connector, receiving device and required function. Separate feeding the main console, receiving inputs at another position and mix destinations. Save files and photograph panel labels before disconnecting. Specify which positions need to hear inputs and which need to return audio to stage.

Proposed test outside the event: agree monitoring destination and level with its operator. Test one identifiable source at a time on channels 1, 28, 29 and 56; record where it appears and is heard. This checks endpoints and block transition, not every input. If a block is missing, compare drawing, labels and retained settings before moving another cable. Then complete required show channels.

Common mistake: changing rate, format and cabling together. We propose preserving an initial state and changing one condition per pass; record result and restoration. Audio availability does not confirm preamp control or output delivery: also review MADI gain and per-console Optocore outputs. Use the MADI worksheet to coordinate with GLMedia audio systems.

SD Rack: distinguish an input split from a PA mix over MADI

With Quantum consoles at FOH and monitors, identify whether the chosen MADI output belongs to rack or console and which signals it contains. Do not treat them as equivalent outputs without checking their paths.

The user reiterates needing a MADI/Optocore node without reporting a test. We do not adopt an Orange Box or conversion recipe without identifying cards, model and manual.

DiGiCo SD Rack manual B, §1.5 and §1.6.12–15, pp.1-7,1-12–13 describes input splits and rack MADI/Optocore routing. It does not document a matrix of loop mixes feeding those splits there. Within that scope, we do not plan them as PA outputs. SD Mini needs another verification.

Proposed record: write the signal to deliver, such as a microphone input, FOH LR mix or monitor send. Record source, intended output point and receiving device. Separately draw the working and missing paths so testing does not end up monitoring an input when a mix was expected.

Proposed signal-identification test outside the show: use a continuous source at agreed level. Monitor the identified destination while an operator changes only that source’s send to the test mix. Record meter, monitoring and adjustment; restore the initial value. A result not following the send warrants source/path review but does not alone identify a fault or required converter.

Before preparing an alternative output, survey console model, free ports, cards, receiver-supported format and physical path. Verify the alternative with its manuals and repeat testing through to the final device.

Handoff tip: name the expected signal beside connector and destination. Preserve what was heard and what remains pending, as well as the console file. Relate diagnosis to Copy Audio on Quantum225, checking that help’s model and destination, and to Optocore outputs. Coordinate verification with GLMedia audio; the MADI worksheet is proposed for recording tests.

Quantum338 and Quantum225: deliver a mix through another console output

Identify Quantum model and software before choosing a console MADI output. Check its signals and how the destination receives them.

DiGiCo documents in Quantum3 Getting Started, Issue A, January2020, V1200+, §1.7.1 pp.18–19 (PDF23–24) and Quantum2 Getting Started, Issue A, March2021, V1400+, same section and pages: open Output Setup from the channel’s lower portion; choose port, group and signal. A bus may have several available destinations. An occupied output shows a warning: continuing removes its previous route. In stereo, R follows L even across a group or port boundary. Review both destinations.

SD & Quantum Software Reference, Issue E, February2022, V1528+, §2.12.9 p.147 (PDF148) defines Copy Audio for copying input sockets, for example to recording. To deliver a bus mix, use its output routing. This complements help on SD Rack splits.

Proposed preparation: record source bus, current destinations and new receiver. Confirm with the other operator which port is free, its Audio I/O configuration and receiver-supported format. Save file and screenshots. If a card is involved, record its model; a BNC’s existence does not prove port availability for this send.

We propose first testing one bus and test destination. After adding the agreed route, review the complete destination list against the initial screenshot. If another-route warning appears, cancel and identify its user before proceeding. Do not use another console’s port number as a recipe: identify the present device’s connector and connected equipment.

Proposed test outside the show: send an identifiable source to the test mix and verify new and prior destinations with their operators. For stereo, test L and R separately, recording received channel and monitoring on each device. Then make a small agreed bus-level change and check which feeds follow; restore it. We do not assume identical deliveries without listening.

Tip: label each delivery with signal, port and receiver as well as L/R. A correct on-screen patch still leaves receiver verification pending. Use the delivery and recording worksheet, Copy Audio on Quantum225 help and GLMedia audio. The official Quantum338 and Quantum225 pages link these editions; compare with installed equipment.

Quantum225: record multitrack and a stereo mix on another device

Multitrack recording and stereo mix may need different destinations. One reply suggested two USB outputs for a matrix.

DiGiCo Quantum2 Getting Started Issue A, March2021, V1400+, The Console p.1 (PDF6): built-in USB Audio offers up to 48 input/output channels and operates at 48 kHz even with the console at 96 kHz. Plan tracks: 48 sources plus L/R require 50 channels, so they cannot fit together on that link.

In Issue E, §2.7.1 pp.125–126 (PDF126–127), Matrix selects inputs and sets level and ON/OFF per crosspoint. Setup opens from the input name to select its source. Columns are inputs and rows are outputs. We propose identifying the mix to record first, then assigning agreed destinations through the routing above.

Proposed preparation: list multitrack sources, interface channels occupied by each and the mix required by the second recorder. Keep this separate from operator monitoring plans. For the external recorder, record model, input type, accepted level and manual before defining the connection.

We propose preserving broadcast patch and preparing the matrix in a show copy. Record source, selected crosspoints, L/R destinations and controls that should affect the stereo file. Review every delivery before changes. Agree with production whether a broadcast copy or different mix is needed; a matrix name does not establish its signal.

Proposed test: record an identified passage on both devices, stop and play each file. Check present sources, L/R correspondence, duration and monitoring. In a separate pass, vary one test-mix setting at a time and record effects on broadcast, multitrack and stereo. Save result and restore settings; do not disconnect an active broadcast to test backup.

Common mistake: counting devices instead of paths. In the test plan, record shared dependencies and what must continue through each planned interruption. Two files do not prove continuity during failure. Also identify untested destinations and who will monitor them before the event.

Relate the record to virtual soundcheck and live inputs, the delivery worksheet and GLMedia audio systems. Verify drivers, computer, recording application, storage and recorder compatibility with actual versions.

Quantum225: listen in the control room without changing the broadcast

Two participants working with SD consoles propose Solo2 and a source for times with no active Solo.

DiGiCo Quantum2 Getting Started, Issue A, March 2021, V1400+, §1.15 p.34 (PDF39) documents two Solo buses with per-channel assignment to Solo1, Solo2 or both. Each has mono/stereo format, No Solo source, Direct Out and level control assignable to the master fader or speaker control. No Solo is heard when no channels are soloed and does not appear on Solo meters. An empty Solo meter alone does not establish absence of that source.

The SD & Quantum Issue E reference, February 2022, V1528+, §2.10.2 and §2.10.4–5 pp.135–137 (PDF136–138) allows choosing No Solo source and opening Solo Outputs from direct outs; output opens routing. Headphone enables bus monitoring in headphones. Review both Headphone buttons if only one bus was expected.

Before moving the lower-right fader, check its function: Quantum2 §1.2.5 p.8 (PDF13) assigns it to Master by default and allows reassignment from Layout > Fader Banks. We propose recording its initial assignment and labeling the agreed monitoring control. Do not assume a received file retains the default.

Proposed preparation: save a show copy and screenshots of broadcast patch, speaker output and headphone monitoring. Agree with the broadcast operator which signal must remain stable. Prepare Solo2 for monitoring with documented functions without occupying an output already used by production.

Proposed pre-event test: play an identifiable passage and check monitoring with no active Solo. Solo a selected test input, then remove the selection; record what is heard in each state. Make a small speaker-control change and restore it. Meanwhile another operator must verify broadcast delivery and recording. If either changes, stop and review the path before continuing.

Tip: separate three records: source heard, control moved and signal received by broadcast. Audible speakers do not demonstrate independence. Use the monitoring and program worksheet, Quantum225 recording help and GLMedia audio.

SD9: hear two matrix outputs as a stereo pair on headphones

The closing reply only confirms opening the editor selector with a trackpad after unsuccessful finger and stylus attempts. Stereo routing remains unverified in that case.

In SD & Quantum Issue E V1528+, §2.10.2 p.136 (PDF137), No Solo offers mono/stereo groups and auxiliaries, but Matrix is mono. That selector does not turn two matrices into a stereo source.

To review the proposed bridge, SD9 Getting Started, Issue B, April 10, 2014, V4.0.680+, §1.8.1 pp.1-14–1-15 (PDF19–20) shows Channel Input Setup, mono/stereo format and Main Input. INTERNAL > Matrix takes matrix outputs. On a stereo input, selecting L assigns R to the next signal in the list: check both names, not just the first. §1.12 p.1-21 (PDF26) documents each channel’s Solo bus assignment. Compare these editions with the console and editor present.

Proposal to test: reserve a free stereo input exclusively to monitor the matrix pair. Prepare it in a file copy. Record both sources and verify the monitoring channel does not feed back into its source matrix or program deliveries. Review sends and destinations with the lead before enabling monitoring; do not use the broadcast’s occupied Master as a test channel.

With the functions above, we propose selecting the intended matrices as monitoring-input sources and checking automatic R selection. Test monitoring through the agreed Solo bus. This bridge is heard when that channel is soloed; it is not added to the No Solo selector. After removing Solo, also check which source returns. If the file does not clearly separate paths, leave the bridge pending and consult support with the patch.

Mistake to avoid: confusing this Matrix bridge with a Solo return. Issue E, §2.10.7 p.137 (PDF138) warns that soloing a channel sourced from that Solo bus creates feedback at dangerous levels. Do not substitute Solo for Matrix in this preparation.

Proposed test: identify L and R separately in the test mix and monitor the reserved channel; record heard side, source and destination. Compare a stereo delivery passage with control monitoring at agreed level. Vary only monitoring level and ask another operator to verify program and recording. Save screenshots and results, remove Solo and check return. This procedure remains pending until verified on the setup.

For one mono matrix, review documented No Solo options directly. For a stereo pair, preserve both sides’ identity during testing. Link the record to another mix delivery, the monitoring worksheet and GLMedia audio systems. On SD9, the physical controls of Quantum225 are not carried over.

DiGiCo SD9 and SD8: recover missing windows in the offline editor

The SD8 counter announces eighteen but exposes no other body. The later Overview question has no visible reply; the initial result does not prove recovery of all windows on other installations.

Manufacturer documentation: SD & Quantum Software Reference, Issue E, February 2022, V1528+, §2.5.9 pp.115–116 (PDF116–117) places Default Positions in Options > Console. It restores window positions at the next start.

Proposed PC test before the event: preserve the received file and work in a copy. Save wanted changes and record editor model, version, operating system and missing windows. If Master remains accessible, find the documented option, record its state and enable it. Close only the test editor and reopen; record whether channels, Master and Overview appear. Do not restart a show console to test a desktop solution.

Diagnostic tip: capture the missing window and button tried before changes. After reopening, check loaded session name and a known patch input. Recovering a window does not establish the correct file is open. If recurring, record the preceding action for support reproduction.

If Master is also absent, the menu inaccessible or your version lacks the option, leave that path pending. Prepare screenshots, version and steps for support.

For show preparation, link the record to opening selectors, the editor worksheet and GLMedia audio systems. Other operators’ reported recovery needs checking on your PC.

DiGiCo SD9: the editor will not open the Matrix input selector

Manufacturer documentation: Issue E V1528+, §2.11.4 p.140 (PDF141) says PC right-click simulates console touch. §2.7.1 p.126 (PDF127) opens Matrix Input Setup from the column’s top box; matrix input inside opens the source selector. Issue E is later than 1455.

Proposed test: in a show copy, with PC not controlling a console, open Matrix and locate the input column to inspect. Right-click its top box and observe whether Setup opens. Then try matrix input. First verify opening without choosing another source; save each result. Agree source and destination separately if patch changes are needed.

To separate gesture from target, we propose one pass with a mouse with a known secondary button and another with trackpad. Record Setup and selector opening independently. If mouse works but finger or stylus fails, record that difference; it does not diagnose matrix lockup. Equivalent touch gesture depends on equipment and remains unchecked here.

Common mistake: changing safes, levels or inputs before knowing whether the issue is opening a window. If documented gesture still fails, send the case to support when authorized by the lead: editor model, version, OS, target control and screenshots. Do not attribute show corruption without evidence.

For 1455, exact-version documentation and reproduction are still needed. Preserve that distinction in the editor worksheet. After opening the selector, continue with SD9 stereo matrix help; if the whole surface is missing, review window recovery. To plan testing, consult GLMedia audio.

DiGiCo SD9: an editor session appears disabled on USB

Finding a session on the drive does not confirm SD9 can load it. After advice to review versions, the user confirms a mismatch.

Manufacturer recommendation: SD Series Offline PC Software, February 2012, p.1 advises using the same editor and console version. It explains general forward compatibility but does not guarantee return to an older version. This historical SD-series reference gives no precise software version in the body; verify your SD9 edition before testing.

Proposed test: preserve original and record console model, variant, installed software and saving editor version. Request details from the file preparer if unavailable. Compare before deciding update or conversion. Prepare an identified copy for the intended SD9 and verify the operator can open it there. Matching numbers guide the check but do not replace loading and show review.

Interface check: SD & Quantum Software Reference, Issue E, February 2022, V1528+, §2.2.3, pp.71–72 (PDF72–73) warns that active right-column management buttons prevent selecting sessions to load. Gray alone does not identify a cause. Record the active button and compare the screen with that edition; do not confuse file operation with incompatibility.

If only the received show fails, we propose comparing a known copy authorized for testing by the lead. Use the same medium and record each attempt. Another file loading reduces suspicion on that path but does not prove every file or drive is sound. Avoid formatting the original medium or overwriting the show first: useful diagnostic material would be lost.

Common mistake: installing the newest PC software without asking which version the event console uses, or promising compatibility by equipment family. If versions are missing, a warning appears or the copy cannot be selected, retain screenshots and leave cause open. We do not propose loading an unknown file onto an in-service console.

Record the case in the file and version worksheet. If the editor opens empty, continue with loading from the editor; if windows are missing, review interface recovery. To agree console and show testing, consult GLMedia audio systems.

DiGiCo SD9: the file opens the editor with an empty session

To diagnose Windows session access, test a copy in an accessible local folder such as C:\Projects and open it from the editor. Preserve the original file.

Manufacturer documentation: SD Series Offline PC Software, February 2012, p.1, Installation Instructions places editor files in C:\Projects. It mentions Windows on Mac, but its date does not certify a current processor, OS and Parallels combination. For the SD9 console, Getting Started, Issue B, April 10, 2014, V4.0.680+, §1.6, p.1-12 (PDF17) shows D:\Projects and Files > Load Session > source > file > Load. These are different environments; do not transfer a drive letter between them.

Proposed PC test without console control: duplicate the received file and record its original name. Inside Windows, verify the copy exists in C:\Projects. Open the intended SD9 editor and find loading in its menu; check the file appears and record warnings before proceeding. If your edition uses another location or path, consult its documentation and record the difference.

After loading, we propose reviewing two or three known show details: channel names, one patch destination and expected snapshots. Compare with the sender’s information. Seeing the editor window does not establish session loading. Final technical handoff validation includes the audio system and actual destinations; this desktop check does not prove signal.

Tip: Issue E V1528+, §2.2.3, p.71 (PDF72) explains that after changes, the information bar’s File indicator shows the last-save folder rather than filename. Record the selected file before loading and recognized data afterward too. This avoids treating a visible path as full show identification.

To preserve received material, save the test copy under a new name. The path test does not establish a license, conversion or every SD9T function. For theater, exact variant, documentation and function review with the lead remain pending.

Link the diagnostic worksheet to version review and editor windows. To coordinate receipt and pre-event testing, consult GLMedia audio. Another operator’s confirmed solution is a starting point for your own test.

DiGiCo SD9: change the visible bank between snapshots for two bands

Manufacturer documentation: SD9 Getting Started, Issue B, April 10, 2014, V4.0.680+, §1.3.3 p.1-3 (PDF8) and §1.5.2 p.1-11 (PDF16) distinguishes bank access, organization in Layout > Fader Banks and assignment from Channel List. The second section’s diagram shows LCD Function > Assign Faders for custom assignments. These are surface preparation tasks; compare controls with the SD9 to be used.

SD & Quantum Software Reference, Issue E, February2022, V1528+, §2.4.12 pp.97–98 (PDF98–99) describes Banks as controller assignments and selected bank. Check selection separately from channel layout.

Proposed test: in a copy with equipment out of service, prepare banks named band A and band B. Record channels at each position and first verify manual selection of both. Keep assignments unchanged during the test to observe selection separately from reorganization.

Prepare two test snapshots and record which bank each should show. Review Banks in the selected snapshot’s Recall Scope and run A, B, A. Record visible bank and fader channels each time; save unexpected changes and compare scope before repeating. Do not select every parameter to fix navigation alone.

Tip: list each fader position, not only bank name. Different bank names can contain identical channels. If selection changes but order differs, review recorded assignments. If nothing changes, retain screenshots and scope of both snapshots for support. This test has not yet been performed in an editor or SD9.

Bank selection is not presented as a confirmed solution to every surface reorganization. For festival file preparation, link this help to loading from the editor, partial loading and the bank and import worksheet. Consult GLMedia audio to coordinate with the operator. A MIDI circuit requires the full path, devices and commands documented before connection.

DiGiCo SD9: import snapshots without replacing the whole session

For SD9, separate two goals before testing: receiving a band’s file or incorporating selected data into a venue-show copy. Write what must arrive and what the operator must retain.

SD9 Getting Started, Issue B, V4.0.680+, §1.6 p.1-12 (PDF17) documents Files > Load Session for loading stored sessions and Save As New File to retain another copy. Issue E V1528+, §2.2.3 p.72 (PDF73) permits selecting snapshots through Partial Load: Replace Snapshots replaces the existing list; Add Snapshots selects items to incorporate. Original numbers remain and can duplicate. Recall ignores data the session cannot reproduce, such as nonexistent channels.

Proposed pre-event test: preserve both originals and work in a venue copy. Record expected snapshots and channels before import. Select the received file on the load screen and inspect options without executing yet. Agree the option with the lead; test one combination per pass and save under another name.

After testing, compare snapshot count, names, order and numbers against initial record and received file. Choose an imported snapshot with known data and review intended differences. If a channel is absent, record its identity at source and destination before blaming file corruption. A visible list does not demonstrate every item’s data is usable.

Common mistake: accepting replacement when the operator wanted additions, or delivering duplicate numbers without cue-sheet review. Check every reference used by the team and agree cue identification before the show. External triggers or macros need separate testing; seeing the number does not validate them.

We verify neither proposed device models nor interruption duration here. For event testing, draw the actual source paths and record behavior during the selected operation; a matching input name does not establish continuity. Participant-reported times do not become GLMedia times.

Use the import worksheet and review file versions before testing. For subsequent surface control, continue with banks between snapshots. Consult GLMedia audio systems to agree receipt, responsibilities and announcement path.

DiGiCo SD9: the MIDI pedal does not trigger the expected macro

Before assigning a pedal to the artist, test song navigation, each press action and recovery from incorrect triggering. Check pedal and console model.

The official SD9 page links its software reference. DiGiCo Issue E, February2022, V1528+, §2.12.13 pp.154–156 (PDF155–157) allows assigning MIDI PC, channel and value; Fire Macro checks the action. §2.4.16 p.101 (PDF102) distinguishes 0–127 and 1–128 for devices receiving console-sent messages. That output setting does not document pedal-input numbering.

Proposed test in a copy outside the show: choose a test macro with a visible action and no event-audio changes. Record expected action and test from console first. If it fails there, review macro before pedal investigation. Save command and tested-assignment screenshots.

Then identify controller maker, exact model and version. With its manual, record message type per press, port, channel and value. Compare with the copy’s assignment. Log messages with a diagnostic tool if needed; do not infer transmitted value from preset name alone.

If numbering differs, correct one test assignment and repeat the same press. Record prior data, new data and observed action. Repeat from two banks and on return to the initial one: testing must represent concert operation.

Tip: name each action clearly and record who will control it. Responsive programming may still be uncomfortable for the artist. Use the trigger worksheet, review file versions and coordinate preparation with GLMedia audio systems. Tests remain pending; no editor or pedal was installed or tested.

DiGiCo SD9: check the cue after moving or renumbering snapshots

The participant speaks from experience without identifying console or version.

The DiGiCo reference Issue E V1528+, §§2.4.5 and 2.4.7 p.92 (PDF93) separates Move, which changes list order, from Renumber, which changes numbers. §2.4.15 p.100 (PDF101) documents Control By MIDI: incoming messages on channel 16, editable per-snapshot assignment and MIDI Received Fires Snapshots. It does not guarantee macro references update after renumbering or import.

Proposed pre-festival test: preserve delivered file and work in a copy. Choose two test cues with distinct names and visible results. Record name, position, number and reference used by each trigger. Run both before reorganizing; save that baseline for comparison.

Make another copy and move one cue without renumbering. Repeat both triggers and record the recalled cue, not merely selected cue. In a separate copy, test Renumber and recheck the same references. Differences can then be attributed to one operation rather than mixed order, numbering and file changes.

To evaluate Control By MIDI, separately record channel, CC controller and value per cue. Compare assignments before/after each operation with actual sent messages. This is proposed testing, not guaranteed association survival. For import, follow partial-load help and repeat checks after loading.

Common mistake: approving a cue sheet because names look correct. An incorrect call may recall valid data from another cue. Also record expected results and check two out-of-sequence cues and return. If the correct cue recalls unexpected parameters, continue with Scope and Safe. File and trigger validation need their own results.

DiGiCo SD9: run a macro from a snapshot with V19xx+

Manufacturer documentation: SD & Quantum Software Reference, Issue H, June2025, §2.12.14, PDF164–165 describes Advanced Macro Triggers from V19xx+. The cover says V20+ and page2 V2000+. On Snapshots, Edit associates one or several snapshots with a macro. Only one trigger type per macro and one macro per snapshot are allowed; for more actions, it recommends combining commands in one macro. Confirm SD9 software before using this path.

Proposed test in a copy on an out-of-service console: choose a test snapshot and write the additional expected action. Prepare an observable macro without affecting event audio. Save initial state and record version, cue name and macro name. Do not change software version during show preparation to obtain a tab.

If that version’s interface matches documentation, review Snapshots and select the test cue through Edit. Record association, state and intended commands before recall. Recall the cue, observe action and repeat after another test snapshot. Also record return and repeated recall of the same cue.

Check manual recall and the event’s chosen external trigger separately. If results differ, retain screenshots and sent message for support. Do not assume all paths run the same sequence or imported associations retain behavior: repeat in the destination file.

Tip: if an action can already be prepared within the snapshot, review its scope first with the operator. Agree the macro’s specific contribution and behavior on cue repetition. For combined actions, describe each result and verify return to the agreed state. This proposes file/setup checking; no results of our own exist yet.

To prepare external control, continue with MIDI message and macro and references after renumbering. Consult GLMedia audio to agree file, operator and test. Leave MIDI connection pending until the full path and device documentation are identified.

DiGiCo SD9: a level-triggered macro does not fire as expected

Identify DiGiCo model and software version.

This communication need inspires the check, not a validated SD9 connection.

Documented function: DiGiCo SD & Quantum, Issue H, June2025, §2.12.14, PDF164 and166, Advanced Macro Triggers V19xx+, allows choosing meter, pre-trim/post-trim/pre-fader/post-fader point, value and condition. “sp” means signal presence. The edition says V20+ on cover and V2000+ on PDF2; it does not identify installed software.

Proposed test for an out-of-service SD9: preserve original and prepare a copy with one test channel and a visible action leaving event outputs unchanged. Record source, patch, version, intended action and initial state. Compare interface with reference before trigger assignment.

In Macro Editor, open Advanced, check enablement and add the channel with ADD. Select meter and record chosen point, value and condition. Start with one condition to explain every result. Capture list and channel: macro name alone does not identify what is measured.

With fader and trim fixed, prepare two passes of the same source: below and above the chosen value without overloading the chain. Record observed level at the corresponding point, action and execution count. If unexpected, first check source reaches the intended channel and the observed point matches the trigger’s.

Then repeat with source fixed and only fader changing; test trim in another pass. The goal is behavior matching show needs as the operator adjusts the mix. No universal voice, tone or conference-announcement threshold is given: record setup background noise and useful signal first.

Hold signal, remove it and reintroduce it. Record repetition and final state; the consulted section does not detail timing or hysteresis for approving that behavior. Signal presence is neither proof someone spoke nor a clipping detector. Complete the condition worksheet and continue with ANY/ALL and macros from snapshots. All tests remain pending.

DiGiCo SD9: a macro responds to one condition when you expected all

This frames what happens when a macro changes its own triggering condition.

The manufacturer’s Issue H, §2.12.14, PDF166 documents ANY/ALL, fader, mute, solo or meter conditions and one trigger/state combination per channel. PDF164 allows one trigger type per macro. For two conditions, the table expresses logic, not action execution count.

Proposed test: first write the trigger rule, such as “notify when A or B meets its condition” or “notify when A and B meet theirs.” Choose two test channels in a copy and a visible action without event-audio effect. Record each condition separately before combining, avoiding confusion between absent source and incorrect logic.

Prepare the table’s four combinations and record A, B, mode and observed action. Return to initial state between passes. Repeat changing only ANY to ALL. If results differ, review full list, channel identities and chosen row states before thresholds.

Check both orders too: A then B and B then A. Hold conditions and record repeated action; then remove individually and prepare another trigger. This tests event use, without assuming button and conditional trigger share toggling or return behavior.

If the macro changes mute, fader or another triggering state, add a specific pass: record just before, immediately after and after acting again. Agree manual-control recovery before trying a real mix.

Common mistake: ending preparation after one successful pass. Record activation, repetition and return separately. For duplicate-combination warnings, retain screenshot and review existing rows; do not add unidentified missing conditions. Relate the worksheet to Scope and Safe and GLMedia audio systems preparation. No editor, console or audio has been tested.

DiGiCo SD9: locate and log peaks with Signal Overs

Consult your model’s documentation: an SD9 example does not by itself define SD12 behavior.

Documented function: DiGiCo, SD & Quantum, Issue H, June2025, §2.1.5, PDF70. System → Signal Over Indicators opens Signal Overs; touching an entry brings its channel to the surface. Clear Over Indicators clears indications. In §2.5.8, PDF117–118, overs hold time = 0 retains them until manual clearing.

The same §2.5.8, PDF118 limits metering-point selection to surface meters; on-screen meters do not change. Do not infer peak origin from readings at different points.

Proposed SD9 test outside event operation: preserve original session and prepare a copy. Record console, actual software, source, patch and channel. The edition says V20+ on cover and V2000+ on PDF2; compare options with console before testing. The protocol establishes no Quantum338 or other-version result.

For an indication, first record channel, time and context: microphone change, track start, speaker intervention or mix adjustment. Capture before clearing. Record panel indication and currently observed level separately; a brief signal may have ended before reaching its controls.

On the identified channel, draw the path under review and record measurement point. Compare an unchanged pass with another varying one setting in the investigated stage. Keep the same source and record levels and monitoring separately. Lowering a control until a mark disappears does not alone establish cause location.

After logging state, clear indications and repeat only the agreed passage during testing. Record same channel, another channel or no recurrence. Do not deliberately overload PA or IEM to test a warning. If unreproduced, leave pending; if recurring, review the next identified stage without several simultaneous changes.

Operational tip: agree who observes the panel and who logs changes with FOH and monitors. The peak and warning worksheet is blank for your observations. Relate this check to level-triggered macros and warning preparation. Clearing indicators does not correct signal; no console or audio tests were performed.

DiGiCo SD9: prepare opening Signal Overs for FOH and monitors

Documented function: Issue H, §2.5.10 Status, PDF122–123. Options → Status → Display Overs Alerts opens the panel when an input or output indicator is triggered. Display System Alerts controls system warnings. Manual access remains under System → Signal Over Indicators. These are separate options. The panel note, PDF122, states that settings marked with an asterisk remain on the console and are not saved in the session.

Proposed test: outside the show, keep a copy of the file, record the initial Options → Status settings, and save a screenshot. Write down what the operator needs: automatic opening or manual checks at agreed times. Change only Display Overs Alerts to compare these two workflows; retain general system alerts and note how to return to the initial state. The file copy does not replace this record of console settings.

First prepare a navigation run: open the panel, locate an identified channel, and return to your mixing view. Timing this sequence is optional, but recording the steps helps uncover a window or bank you had not anticipated.

Checking automatic opening requires observing an actual alert in a controlled rehearsal, with the event audio system out of service. Keep the record of the previous state and note what appeared, which channel it identified, and which view remained available. If no alert occurs, record “automatic opening not verified”; opening the window manually does not validate this behavior.

Repeat the navigation with the operator who will use the console and document the return to their working view. For an event with an operator change, include this decision in the handover: who reviews alerts, when they record them, and when they may clear them. A setting that was convenient on another setup still needs to be checked on this one.

Common mistake: closing or clearing the panel and treating the peak as resolved. Use the table to decide what to check next. Complete the worksheet with the previous state, single change, observation, and return; all results remain pending until the rehearsal. You can also review snapshot Scope and Safe and explore GLMedia’s audio systems service.

Midas PRO2: the meter drops when enabling gate or compressor

Documented function: Midas PRO2, Owner’s Manual, DOC02-DL2 Issue A, October2011, p241/PDF259, distinguishes input level from compressor/gate gain reduction; global PRE measures the A/D input. On p207/PDF225, User → Metering → pre measures before EQ/dynamics/insert; inputs are always pre-fader. These descriptions concern specific controls and should be compared with the installed software.

On p246/PDF264, CHECK measures after the 30Hz filter and before the rest of the processing. On p250/PDF268, make up compensates compressor level; p254/PDF272 documents gate range.

Proposed test, not yet performed: before the concert or conference, save a copy of the show and note the version, channel, physical input, and source. Prepare a repeatable passage with the event system out of service. Record the initial gate, compressor, EQ, insert, make up, and range settings; take screenshots of the surface and the view you will compare.

First identify which meter bar you are looking at and the status of PRE, CHECK, and the pre preference. Compare two passes of the same source, changing only the metering condition; then return to the initial state. A point before processing and one after it answer different questions: record both without trying to match them using gain.

Then compare a pass with the gate off and another with it on, keeping the other settings unchanged; repeat the procedure separately for the compressor. Record input reading, gain reduction, and listening observations in separate columns. If you want to compare two channels with the same input, first record the patch and processing differences; do not send them together to the reference mix.

Common mistake: increasing make up or gain to restore the reading without recording what changed. If the discrepancy persists with a comparable source and metering point, keep the screenshots and show file for support. We do not have a correction value or firmware version that resolves this case.

Tip: the PRO2 worksheet lets you record each pass and its single change. Also review changes during scene recall. To compare recording methods with another console, see Signal Overs on SD9, which has its own menus. The document edition does not identify the equipment’s firmware.

Midas PRO2 and DL251: level changes during scene recall

Documented function: PRO2, Issue A, p177–180/PDF195–198, Recall Scope excludes controls from recall; Home → Automation → Recall Scope includes Routing, Mic Amp, Mute, and Fader. p174/PDF192 distinguishes Safes from Scope and reserves Safes for emergencies. On p244/PDF262, gain swap exchanges remote gain and trim control; SWAP and the GUI indicate its state.

Proposed test, still pending: keep the original show and prepare a copy with the two scenes that seem to trigger the problem. Note the PRO2 and DL251 versions, connections, physical channel, and patch for each scene. Before recalling anything, define what should change and what should stay the same; save screenshots of Recall Scope, Hardware Safe, and gain settings.

With a repeatable source and the event audio system out of service, first test a DL251 channel. Record previous and next scene, time, visible remote gain and trim values, SWAP status, metering point, level, and listening observations. Do not touch gain during that pass: you would lose the comparison. Then repeat the sequence in reverse order, noting every result, including when the jump does not occur.

As a second comparison, we propose using the same source in a local input, on a separate pass and recording its own settings. A difference between the two paths helps narrow the report; it does not by itself prove a rack fault. Avoid changing patch, scope, cable, and firmware at the same time. If you need to investigate another variable, first restore the documented state and start a new row.

Common mistake: claiming nothing changed because the gain number is still the same, or treating recall as validated because one pass went well. Compare what the console displays with what you observe in the signal, without turning the discrepancy into a diagnosis. If it does not reproduce, leave the case pending and keep the sequence that preceded it.

Before an update or reset, confirm compatible versions, backup, and the specific procedure for both devices with Midas. The PRO2 manual supports the console controls described; it does not establish a DL251 repair.

Tip for a festival operator handover: provide a short record with the scenes involved, affected channels, and last verified state. Use the test worksheet, relate the problem to the meter comparison and GLMedia’s audio systems service.

Midas PRO2: save the show and check USB backup

There is no backup confirmed by the user.

Documented function: Midas PRO2, Owner’s Manual, DOC02-DL2 Issue A, October2011, p36,82–85/PDF54,100–103. Open Home → Automation → Automation. For a new scene: STORE SCENE → name → Store to next scene, if it is empty → OK. SAVE saves the show to the internal drive; SAVE AS saves another copy under a new name. A red SAVE indicates unsaved changes.

Manufacturer’s recommendation: p91–92/PDF109–110, back up to USB with the show saved and closed. Connect the USB key, open Home → Files, wait for Analysing… to finish, select the file in Control Surface, and press EXPORT → OK. Its appearance in Removable Storage indicates that copying is complete. To import, select the file there and press IMPORT; LOAD loads the show (p83/PDF101).

Proposed test, not yet performed: set aside time outside event operation. Note the console, installed software, source show, and scene you need to preserve. Prepare a copy with an unambiguous name, for example including the event and date, without overwriting the original. Save a screenshot of that name and the state you expect to recall.

Before exporting, check that you are working on that copy and have stored the intended scene. If you cannot identify it, stop the export and consult the applicable procedure; we do not propose creating another show, deleting files, or restarting to force closure.

When you can complete the export, record which file appears in each panel. To test recovery, use a test session with the event audio system out of service, keep the working show, and keep listening outputs low before recall. Compare the loaded name, selected scene, and settings you noted. Record the result even if the file does not appear or recovery remains pending.

Common mistakes: handing over only the previous file, overwriting the only copy, or declaring the backup ready because USB was recognized. The worksheet separates export from verified recovery. We have not verified a universal USB drive format, capacity, or file system for PRO2; if detection fails, record the device and message before proposing formatting it.

Tip for a festival operator handover: provide the file, stated version, initial scene, and verification status. Use the backup and listening worksheet, review changes during scene recall and GLMedia’s audio systems service. Confirm the manual edition with the manufacturer and compare it with the installed software before applying these paths.

Midas PRO2: Solo selected but no sound in headphones

One user recommends reassigning Solo to the jack. Another mentions an old issue when importing scenes, without identifying a version or claiming that it is still present.

Documented functions: PRO2, Issue A, p104–105,113–115/PDF122–123,131–133. PFL monitors before the fader; AFL, after it. There are pfl level and afl level controls. C/O swaps headphone and Solo A output control between phones (solo a) and the monitor fader. Normal and broadcast organize Solo A/B differently. SIP affects the main mix; do not use it for this diagnosis.

Proposed test, not performed: away from event audio, start with a known source on a single channel and headphones you have checked separately. Note the channel, input, version, Solo mode, and intended path. Record whether there is signal in the channel and monitoring path, as well as what you hear; a lit button does not prove that signal reaches the connector.

Save the initial selection, level, and C/O settings. Identify which control governs your monitoring before moving it, and compare a single variable per pass. If the selected source already has no signal at the point you are monitoring, investigate that path first. If signal is indicated but there is no sound, note the exact point of that indication and repeat with the other checked headphones, without also changing the patch.

Capture the source and destination labels of the current patch. Ask Midas for the jack restoration path for the installed version before changing assignments. If the problem started after loading a show or scene, keep the names and sequence; that coincidence does not by itself prove a bug.

Common mistake: raising several gains at once, enabling SIP to look for sound, or clearing the entire patch. These changes prevent you from identifying what was missing and may alter other paths. Before returning to operation, restore the working state you recorded and check the intended monitoring. If you cannot identify the path, leave diagnosis pending, preserving screenshots and the show.

Tip: record readings and listening observations separately in the PRO2 worksheet. Also review metering and dynamics and show backup. To coordinate technical handover for a concert or conference, explore GLMedia audio systems.

Midas PRO2: stereo linking, preamp gain and digital trim

This is a diagnostic need, not a proven fix at that venue.

Documented function: Midas PRO2/PRO2C Owner’s Manual, DOC02-DL2 Issue A, October 2011, p69,95–96/PDF87,113–114. Stagebox gain adjusts the analog preamp; trim adjusts digital gain. SWAP exchanges their physical controls. Linking allows preamps to be adjusted individually. Pair options take precedence over global options. LNK copies settings from the left channel to the right, except pan.

To review an already linked pair, open its GUI → st. linking options → Stereo Linking Options; CLOSE closes it. Global options are under Home → Preferences → General → Linking. Change Existing applies to the entire selected type. Appendix J, p462/PDF480 includes digital trim and 48V in Input Controls; it does not list preamp gain. Review the group’s scope before enabling it.

Proposed test, not performed: save a copy of the show and reserve a pair outside operation. Note physical inputs, left/right channels, rack, versions, SWAP status, pair options, and both channels’ preamp and trim values. Keep a screenshot before changing anything; working with an existing pair avoids accidentally copying settings by pressing LNK.

First identify which of the two controls you are moving. With a repeatable test source and listening outputs low, compare a single small trim change: note which values change on both channels and what the meters indicate. Restore the initial state. If you expected shared trim, compare the pair options with the documented scope, without enabling entire groups just to check.

Then, if the setup allows the preamp to be tested without affecting other mixes, record its behavior separately. A preamp remaining independent is not enough to diagnose a linking fault. If a physical input is shared with another operator, agree on the test before changing its gain. Avoid compensating for a preamp difference by increasing all processing at once.

Common mistakes: confusing SWAP with gain linking, using Change Existing to correct a single pair, or including 48V without checking which sources are connected. Tip: on a stereo concert input, identify and record both sides even if they are linked; the worksheet lets you record which control changed and which remained independent.

Use the linking and rack control worksheet, together with show backup, metering and remote rack control. The related service is GLMedia audio systems. The PRO2 reference is a third-party copy; the edition applicable to the installed software remains pending. These paths do not carry over to M32, HD96, or DiGiCo.

PRO2 with DL32 and DN9650: audio arrives but the remote preamp does not respond

Documented functions: Midas DL32 Quick Start Guide V4.0, Controls p16–17/PDF9 and Specifications p24/PDF13. Green AES50 SYNC indicates clock synchronization; a lit PHANTOM indicates 48V enabled on that channel. The specifications state 44.1/48kHz. The cited Midas guide does not include MIDI Remote Control. Request applicable documentation before sending commands.

The Klark Teknik DN9650/DN9652 Operator Manual, DOC02-DN9650/52 Issue A, February 2011, p7–9,16–17/PDF21–23,30–31 describes audio conversion between clock domains and browser configuration. CONTROL connects a computer to configure the bridge. The edition states software 1.00 and later, but does not establish DL32 preamp control through this topology. The actual module and versions must be checked before defining a control path.

Proposed test, not yet performed: keep the show and draw the chain with port, rack, and module labels. Record stated versions, sample rates, and clock sources observed on each segment, without changing configuration to match them by intuition. Do not infer the module model from its connector: copy its physical identification or the one shown in configuration.

During a rehearsal away from event audio, choose a physical input and verify its assignment. Capture the controls offered by the GUI for that channel and record signal, synchronization, and preamp response as separate observations. If only trim appears, do not record it as verified analog gain.

Once the path is confirmed, test each function separately with a compatible test source and note the rack’s response. An LED does not replace an electrical measurement; this guide does not establish that power was measured. If the control path is not yet documented for those devices, leave the gain and phantom test pending and prepare the manufacturer inquiry with the diagram and versions.

Common mistakes: treating the entire system as validated after hearing an input, using trim to claim preamp control, or applying MIDI commands found in an unidentified edition. Tip for a FOH/monitor handover: report which operator can change the preamp and which functions remain pending, alongside audio status.

Complete the rack control worksheet and relate the case to preamp versus trim, PRO2 backup and GLMedia audio systems. Results from another setup must be checked on ours. We do not attribute these experiences to GLMedia or claim these devices are part of its inventory.

DL231: independent preamps for FOH and monitors, with defined phantom control

Exchanging channels between consoles is different from sharing a rack’s inputs. Verify the HD96 manual and applicable versions before configuring that path.

Documented functions in the Midas DL231 QSG V1.0, p12,16–17,67,70–71/PDF7,9,34,36: each input has two preamps. Systems A and B have X and backup Y. The 48V Control menu offers Control From A or Control From B to choose the source of phantom control. Two preamps do not imply two microphone power supplies.

Proposed preparation, not yet performed: save a copy of the show and draw the path from the physical input to FOH and monitors. Note the DL231, its observed versions, ports at each end, and the console channel corresponding to that same input. Keep this diagram separate from any link used to exchange channels between consoles. This avoids testing a channel that actually comes from another source.

According to Operation, p17/PDF9: hold MENU for about two seconds; use arrows and SELECT. S/W Version displays the version; AES50 Sync selects the synchronization source. We propose photographing existing states, including 48V Control, without changing the source.

Proposed gain test: agree with both operators on a test input away from event audio, with a repeatable source and low listening level. Record initial preamp and trim values on both sides. Change a single preamp control on A, observe which value changes on B, and record both meters. Restore the initial state and repeat from B. If the other mix changes, review the patch and which control you moved before concluding that preamps are shared.

For phantom, first note who should control it and which source is connected. If responsibility is undefined, leave that part pending and preserve the existing state. Once the diagram is confirmed, prepare a separate test with a compatible source: record who issued the command and the observed rack response. An observation on a screen or LED does not establish an electrical measurement; fill in that result only if it was performed.

Common mistakes: treating X/Y as two independent splits, confusing trim with preamp, or assuming both operators can change phantom because both have gain. For a festival or concert, hand over the diagram with the person responsible for phantom and the initial state of both preamps.

Complete the DL231 preamp and noise worksheet. Relate the test to preamp versus trim on PRO2, audio and remote rack control and GLMedia audio systems. Console menu paths must be verified for their model and software.

DL231 with noise on B inputs 17–24: record the symptom and isolate one variable

Another user suggests a preamp or converter fault; a third mentions an improvement with external ventilation in their setup. These are others’ claims and results with limited scope. They do not allow diagnosis of this unit or selection of a rack update or modification.

The DL231 QSG V1.0, p14–17,68–71/PDF8–9,35–36 documents 48/96kHz, viewing and clearing AES50 Status, and keeping air inlets unobstructed. It distinguishes active, standby, and failed communication using rear LEDs. It does not document the alleged board defect or an update that corrects it. A valid link indication does not by itself check the audio of each input.

Proposed preparation, not performed: preserve the show and record physical input, console channel, rack side, ports, cables, versions, and observed sample rate and clock. Capture states before clearing counters or restarting. Note whether noise appears with signal, in silence, or after some time in use; distinguish what you heard from what you have not yet measured. Record ventilation and observable conditions without assigning a cause.

Outside operation, compare an affected input with a neighboring one that does not exhibit the symptom, using the same test source and recorded initial levels. Change a single connection or assignment per pass and save the exact path. If you change physical input, first check phantom and source compatibility. Note whether the noise follows the physical input or console channel; restoring the initial state allows passes to be compared.

We propose having one operator coordinate each change and the other record the response on A and B. Do not change the sample rate to 96kHz as a supposed fix: documentation for the whole chain, including WING consoles, is needed first. This help article does not establish that compatibility or a test at another sample rate.

Common mistakes: changing cable, patch, and firmware at once; clearing states before capturing them; or calling noise a thermal fault when it has not yet been linked to temperature. Tip: save a sample recording only when you have actually made it and identify its source and capture point. For a manufacturer inquiry, gather serial number, versions, diagram, affected inputs, conditions, and observed results. We do not provide update commands or fan modifications here.

Use the DL231 test worksheet, together with preamps and phantom and remote rack control. The related service is GLMedia audio systems. The procedure is a proposed recording method; no physical or editor tests were performed.

HD96 between FOH and monitors: check connection, clock and received channel

To exchange channels between consoles, identify three things separately: the link used, where each device gets its clock, and the signal path to its destination. A DL231’s A/B split does not by itself prove that a FOH mix reaches monitors.

We do not carry those settings over to the setup we receive.

Limited reference: Midas HD96-24-CC-TP User Manual V2.0, p227–228/PDF227–228, 2021 edition. In DSP Configuration, Console Clock Status displays clock status; Master uses internal clock and Slave uses the selected primary or secondary source. It documents Manual/Automatic selection and external sources.

The HD96-24-CC-TP V3.0 guide, p21,23,26/PDF11,12,14 distinguishes control Ethernet from audio links and shows direct I/O paths or paths through DN9680. For AES50, it requires STP cable and shield continuity at both connectors, including EtherCON shells.

Proposed preparation, not performed: keep the show and note the full models and versions of both consoles and the racks or bridges. Draw the input split and, on a separate line, the exchange between consoles. Label physical ports at both ends and indicate who should provide clock according to the design. If the design or applicable menu is not documented, identify the equipment and gather those details before connecting.

Before changing an option, photograph the existing state at both ends. For the cited CC-TP edition, use clock status as a reference; on another version, first check where it is displayed. Note the expected source, observed source, and any switching. Do not change both devices at once or enable a backup to hide a clock source you have not yet identified.

Audio test proposed only once the topology is validated: outside operation, choose a recognizable source and a test destination with low listening level. Record which signal leaves FOH, its patch position, and which input monitors receives. Observe the entire path, restore the initial state, and repeat in the opposite direction if the design requires a return. Device detection or stable clock status does not replace checking each channel.

Common mistakes: confusing input sharing with mix exchange, treating a similar connector as equivalent, or copying Master/Slave selection from another version without reviewing its scope. Tip for a festival: name exchange channels with source and destination as well as number. When a return fails, the worksheet separates missing documentation, clock status, and audio path; it does not establish a repair.

Complete the HD96 links and documentation worksheet. Continue with DL231 preamps and phantom, audio and rack control and GLMedia audio systems.

HD96-24: prepare documentation and patch for working without internet

Verified access: HD96-24-CC-IP Downloads offers a Quick Start Guide and Online Manual. The public guide could be downloaded, but there is a discrepancy: the product page and file name say CC-IP; the PDF cover and body say CC-TP, V3.0. We did not verify equivalence between these models.

Documentation scope: HD96-24-CC-TP Quick Start Guide V3.0, About This Guide, p13/PDF7 introduces basic functions, refers to the full manual, and warns that screenshots may become outdated. The older reference HD96-24-CC-TP User Manual V2.0, p8/PDF8 recommends up-to-date manufacturer documentation. V2.0 and V3.0 are document editions; they do not identify installed firmware or establish compatibility with CC-IP or AIR.

Proposed preparation: ask the person responsible for the equipment for the model, software, and applicable document before traveling. If the manual is only available online, check with the provider which official alternative is allowed for offline work; leave that point pending until the necessary file or access is available. Save files the manufacturer allows you to download locally and note the title, edition, link, and sections you will need.

Proposed folder check: open each saved file on the device you will take, without relying on a web link. Find a connections page, a clock page, and the save or recovery page relevant to the show. Check that text, diagrams, and numbering display completely. Record each opening when it has actually been done; do not fill in the worksheet as if the test had already been performed.

Attach a readable diagram with physical inputs, channel names, consoles, ports, PA/monitor/recording destinations, and the person responsible for the file. Keep the original show and a working copy under different names. Note missing documentation. A menu screenshot helps identify a control but does not replace the explanation of its scope.

Common mistakes: taking only the link, confusing the quick guide with the operating manual, or choosing an edition by firmware number without checking. Tip for a conference or tour: hand over the folder, diagram, and a short list of pending questions to the next operator.

Use the HD96 worksheet, together with checking the exchange and GLMedia audio systems. The described checks are proposals for the operator’s equipment; our local PDF reading is not a console or editor test.