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in the same Knob Set group). This lights the button, and re-assigns the PAN control on the surface to the
associated channel.
Press the
SEL
button again to restore control over the first channel (the
SEL
button light will go out.
G
AIN
A
AND
B
(M
IC
T
RIM
)
To adjust MIC GAIN for a channel, press the CHAN button. Then push the button labeled
SEL
located to the left
of the fader for the channel you want to control.
The highlight behind the source label in the OLED display updates to show the newly selected source. In
CHAN
mode, an additional control (labeled GAIN A or B) appears at right of the channel’s PAN control on the surface.
These GAIN controls correspond to mic trim controls found in TriCaster’s input Audio Configuration panels
(Audio Mixer tab). Press CHAN again to restore normal, single channel control, when done making
adjustments.
Hint: Although the GAIN control is shown for other source types, it really only has
any effect on inputs configured as Mic types in TriCaster’s audio input source
selector.
21.7.10
TALK
Push the small
ON
button to the left of the knob to toggle the Talk (Talk Over) feature for
Mic sources.
21.7.11
SOLO & MUTE
Two larger buttons labeled
SOLO
and
ON
(Mute) are positioned below the knob; that is, above each of the eight
faders (Figure 21-56). These two buttons are outside the Knob Set group, and thus independent of the mode
established by the of Knob Set selectors.
That’s just a wordy way of explaining how it is that a
SOLO button
always toggles the Solo feature for its
respective source; and likewise the
ON
(Mute) buttons always mute or un-mute them – even when you might
be in a different mode.
Hint: As with most convenient rules, there is one exception to the above. If the SOLO and ON buttons are
unresponsive, check to see if the
SHIFT LOCK
button (i.e., the left
SHIFT
button on the control surface) is lit; if
it is, turn it off.
At the time of writing, multi-selection of Solo is not supported on the Artist Mix surface (though it can be
performed in the TriCaster user interface).
FIGURE 21-56
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