Mute Memories
The Typhoon has four mute switches located at the right of the master fader. The Mute memories buttons M1, M2,
M3 and M4 will allow the sound engineers to program four MUTE memories. This feature is important to give an
immediate control over some channels that are not used all show long (e.g. some instruments played just in some
songs or in some patterns, the voice of the entertainer, etc.) and to immediately recall the mixers status. Commonly,
these are used to mute/open similar channels, for example:
Channels
Entertainers/Lead Singers Mics
Drum/Percussion Mics
Choir Overheads
Orchestra Parts
Two bands on stage
Reason
It allows the sound engineer to effectively reduce the risk of feedback when
Entertainers/Lead Singers are not talking/singing.
It allows the sound engineer to mute the whole drum kit (& Percussion)
at once.
It allows the sound engineer to remove all choir microphones at once.
It allows the sound engineer to zone microphones together (e.g. Strings,
Brass, etc.) and mute sections togther if they were not playing.
It allows the sound engineer to immediately open all input channels for
band B, while he simultaneously closes all the input channels of band A.
avoiding noise by other input channels.
To activate this function the sound engineer has just to press the mute key (M1, M2, M3 or M4) of the desired
channel. When the key M1, M2, M3 or M4 of the GROUP MUTE section will be pressed, all the assigned channels
will be in "Mute". Pressing, for example, M1 of the master section, its key will be lit and simultaneously the keys
of all channels programmed for Mute 1 will be lit and those channels will be turned off. Note that if any assigned
auto-mute or the channel mute is activated then the channel will be muted until all assigned auto-mutes and the
channel mute are removed (i.e. the mutes work like a logical OR where any single or combination of mutes will
mute every channel output, except the insert path).
If the Channel MUTE key is depressed and mute groups selection is not active, the channel will be muted.
Final links
The final links in audio systems are graphical equalisers, loudspeaker processors and finally amplifiers and speakers.
Graphical equalisers have the same problems as the Typhoon's EQ. If excessive boost is applied to the signal, the
graphic equaliser's output (and subsequent electronics too!) may be overloaded. If, Typhoon output is higher than
the maximum input level of the graphic, the input of the graphic equalizer may be overloaded.
Loudspeaker processors have similar problems. If the input level to the processor is too high, the input may be
overloaded and introduce distortion into the outputs (and to the speakers). In addition to this, any boost on the
processors outputs (e.g. 3dB more bass) will cause that output to overload earlier (in this case 3dB before the other
outputs). Finally, amplifiers can introduce the most interesting results. An amplifier has a sensitivity. That is, an
input signal level that causes the amplifier to produce it's maximum
output level. For most of the amplifiers it's 0dBu (0.775 volts RMS), others use 0dBV (1 volt RMS) others use dif-
ferent levels. Beyond this sensitivity, the amplifiers output will not be able to produce any more power and 'CLIP'
(usually indicated by some serious looking red lights). Sending +22dBu level from the Typhoon will clip the output
of most amplifiers causing damage to your loudspeaker system.
There are a number of solutions to this problem:
Reduce the amplifiers input attenuators to a level where the amplifier and console clip at the same point.
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e.g. The input sensitivity is 0dBu, setting the input attenuator on the amplifier to +22dBu would mean that the
console would clip at the same time as the amplifier. So operating the console sensibly the amplifier should
never be clipped. The console LED Meters will also accurately show the available headroom left in the entire
system.
+22dBu may not be a sensible level to set as many operators choose not to run the output of the console so
high. That is personal choice.
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