dMix 128

1.1 · Split Mixers & Profiles

Independent mixers

Split one dMix into independent mixers. The allocation screen supports up to four mixers, distributing input channels, auxiliaries, subgroups, effects, DCAs and mute groups. Each mixer has its own master, shows and scenes. The Matrix and the two CUE buses can be assigned to the mixers that need them.

How to use it

1. Sign in as Admin, open Settings › SESSION and select the ALLOCATION tab.
2. Press + ADD MIXER to add a mixer column, up to four: A, B, C and D. Use the pencil to rename a mixer, for example FOH, Monitor or Broadcast. The × on the last column removes that mixer.
3. Set each mixer's share with − and +: INPUTS, AUX, SUB, FX REVERB, FX DELAY, FX HI-RES and DCA. Press SPLIT EVENLY to divide everything equally.
4. Assign MTX to the mixer that needs the Matrix, and CUE 1 and CUE 2 to the mixers that need a CUE bus.
5. Check the pool totals along the bottom. Each shows allocated / available for the whole console.
6. Press SAVE. The interface reloads with the new layout.

1.2 · Split Mixers & Profiles

Digital trim and gain tracking

Every channel now has a digital trim. When two or more channels use the same input, gain tracking lets a channel follow the main gain set on another, so one preamp feeds several channels without anyone fighting over its gain. Tracking works between channels inside one console and between channels on other dMix units connected to it.

Digital trim

1. Open the GAIN page.
2. Each channel shows TRIM above its fader, with its value in dB, for example TRIM -10.0 dB. Drag the trim control to set the channel's digital level.
3. Trim adjusts that channel only. The analog gain of the input stays as it is.

Gain tracking

1. Find the channels that share an input. The input is shown above each fader, for example IN 1 on both CH 10 and CH 11.
2. Set the main gain on the channel that controls the input.
3. On each other channel that should follow it, press TRACK. The button lights and the channel's gain reading changes colour.
4. The tracking channel now follows the main gain. This works for inputs on this console and for inputs on other dMix hardware units connected to it.
5. Press TRACK again to stop tracking.

1.3 · Split Mixers & Profiles

Operator and Personal Mix profiles

Separate operator and Personal Mix profiles. Profiles can be assigned to a mixer, protected by a PIN and restricted to selected channels, sends and processing functions. A Personal Mix profile can cover up to four Aux mixes. The interface follows that mixer's allocation, including its channel numbering, FX slots and master.

Create a profile

1. Open Settings › SESSION › PROFILES and press + NEW. Enter a name.
2. Choose the profile type: MIXER for an operator or PERSONAL MIX for a musician.
3. Choose the mixer the profile belongs to, for example A or B.
4. Press SET PIN to protect the profile with a PIN. This is optional.
5. Set the permissions (see below), then press SAVE. The profile is created only when you save.

Set up a Personal Mix

1. Under CHANNEL, choose the Aux mix with − and +. Press the + below to add another Aux, up to four. × removes one.
2. Press ASSIGN and select the channels the musician may adjust in their mixes.
3. Under PERMISSIONS, tick the processing pages they may open: GATE, COMP, EQ, GEQ, M-COMP and DE-ESS.

Set up an operator (Mixer) profile

1. Bind the profile to the mixer the operator runs.
2. Use the ROUTING, CONFIG and GAIN CONTROL permissions to limit guarded operations. CONFIG can be narrowed to MAIN, REMOTE, STREAMS and PROFILES.

Sign in

1. When the dMix starts, SELECT YOUR PROFILE lists MIXER profiles on the left and PERSONAL MIX profiles on the right, each labelled with its mixer.
2. Choose your profile and enter the PIN if one is set. The interface opens on that mixer's channels, buses and master.

1.4 · Split Mixers & Profiles

Personal Mix in use

A musician who signs in with a Personal Mix profile sees only their own Aux mixes, the channels assigned to them and the processing they are allowed to use.

How to use it

1. Choose the Personal Mix profile on the sign-in screen and enter its PIN.
2. The left panel lists the profile's Aux mixes, up to four. Select one to adjust it.
3. Adjust the send level and pan of each assigned channel. The profile and mixer name appear in the top bar.
4. Open a channel's processing pages, if the profile allows it.

1.5 · Split Mixers & Profiles

Admin mixer selection

An administrator can choose which split mixer to operate. The Base view permits global setup while keeping operational mixing controls read-only until a mixer is selected, helping avoid accidental changes to the wrong mix.

How to use it

1. Sign in as Admin. The console opens in Base, shown as - in the mixer selector.
2. In Base you can make global settings. Mixing controls, shows and scenes are read-only.
3. Open the selector and choose MIX A, MIX B, MIX C or MIX D. The view reloads with that mixer's channels, buses, master, shows and scenes.
4. Choose - to return to Base.

1.6 · Split Mixers & Profiles

Locks, mute groups and scenes per mixer

Locking one mixer, clearing its mutes, naming its mute groups or recalling its show no longer acts on the whole console. Mute groups, bus banners and scene shortcuts follow the mixer that owns them.

How to use it

1. To set up a mixer's mute groups, open ASSIGN and select MUTE. The group buttons carry the mixer's letter, for example C GROUP 1 to C GROUP 4. Select a group and tap channels to add them.
2. MUTE CLEAR releases only the selected mixer's mute groups and channel mutes.
3. Password Lock in Settings › UI locks only the mixer you are operating.
4. Each mixer saves and recalls its own shows and scenes. Scene shortcuts act on the active mixer.
5. Aux and FX pages show the owning mixer's buses.

1.7 · Split Mixers & Profiles

Safer allocation changes

Invalid resource allocations are refused, and browsers that are already open cannot keep writing to an out-of-date allocation. Reallocation refreshes meters and channel layouts, separates stereo pairs cut by a mixer boundary, and keeps Default workspaces available.

How to use it

1. Give every mixer at least one input, Aux, subgroup and FX. Otherwise SAVE is refused with: "Cannot save: every mixer needs at least one channel of each type".
2. The − and + controls stop at the remaining pool and at each mixer's limits.
3. When you save, the interface pauses and reloads with the new layout. Other open browsers reload too, rather than continuing on the old layout.
4. A stereo pair split by a new mixer boundary is unlinked.
5. Every mixer without a usable show gets its own Default workspace.

1.8 · Split Mixers & Profiles

Consistent permissions and profile saving

Restricted users can no longer get round gain and phantom power, routing, global configuration or profile permissions through another screen. A new profile is created only when you press Save, and PIN digits can be typed on a keyboard.

How to use it

1. GAIN CONTROL covers both analog gain and +48 V phantom power. Without it, the user sees "GAIN CONTROL permission is required".
2. Opening a show is a routing operation. A profile without ROUTING is told: "This profile cannot open shows: it has no ROUTING permission."
3. CONFIG and its MAIN, REMOTE, STREAMS and PROFILES permissions control the matching settings pages.
4. + NEW asks for a name and opens a draft. Nothing is created until you press SAVE. Cancel the prompt or discard the draft and no profile is left behind.
5. On in-GUI PIN pads, such as Password Lock and SET PIN, you can type digits on a keyboard, use Backspace and confirm with Enter.

1.9 · Split Mixers & Profiles

Aux-DCA workflow

Each Aux now has its own set of eight DCAs. Use them to ride groups of channels inside a monitor mix, such as drums or backing vocals, without touching the individual sends. Aux VU metering now includes the DCA contribution correctly. On a split console, Aux-DCAs belong to the mixer that owns the Aux.

How to use it

1. Select the Aux you want to work on.
2. Press DCA in the channel panel. The AUX DCA page shows the eight DCA faders for this Aux.
3. Select a DCA, then open its SOURCE page to choose member channels. Members are highlighted. Channels, FX returns and subgroups can all be members.
4. Return to the Aux DCA page and adjust the DCA fader to raise or lower all its members in this Aux.
5. You can also set members from ASSIGN › AUX DCA: choose a DCA from 1 to 8 along the top, then tap channels to add or remove them. Members are highlighted.

2.1 · Matrix, Routing & Network

Twelve sends per Matrix

The Matrix now has 12 sends, up from 8. Each of the twelve Matrix mixes (MTX 1 to MTX 12) combines up to twelve sources, so you can build larger zone, broadcast and recording feeds.

How to use it

1. Open » MTX and select a Matrix, MTX 1 to MTX 12, in the left panel.
2. The page shows that Matrix's twelve send strips, MTX-S 1 to MTX-S 12, and its master on the right.
3. Tap the source button at the top of a send to choose its source, for example CH 127 or SUB 12L. Unused sends show NONE.
4. Set each send with its polarity (Ø), PRE switch, pan, fader and mute.
5. Use the Matrix master strip for the output level, delay and cue.

2.2 · Matrix, Routing & Network

Matrix outputs as channel sources

A channel can now be fed directly from a Matrix output, either on this console or on a remote dMix. Use it for returns, broadcast feeds or any signal that is already being built in a Matrix.

How to use it

1. Open Routing › INPUTS.
2. Expand the Mtx family under This Mixer for a local Matrix, or under a remote mixer's group for a remote Matrix.
3. Patch the Matrix output to the destination channel.
4. Check the channel's source chip. It shows the Matrix number, and for remote sources the owning device as well, for example MTX 1 or DEMO-STAGE MTX 1.

2.3 · Matrix, Routing & Network

Monitor, Aux and Subgroup into Matrix

Monitor/CUE, Aux and Subgroup buses can now be routed into Matrix inputs, so you can build Matrix feeds from any of the mixer's bus families.

How to use it

1. Open ROUTING and select the MATRIX tab.
2. On the source axis, expand the Monitor/Master, Aux or Sub family.
3. Patch the bus you want to the Matrix input.

2.4 · Matrix, Routing & Network

Offline remote devices

Build your remote-device layout before the hardware arrives. You can now create a remote device directly from the Remotes screen without the unit being on the network, so a show can be prepared in advance and matched to the real equipment on site.

How to use it

1. Open Settings and select REMOTE.
2. Clear any selection in the discovered-device list on the right. + ADD creates an offline device only when no discovered device is selected.
3. Press + ADD. The ADD OFFLINE DEVICE dialog opens.
4. Choose the MODEL, for example dMix128.
5. Type a unique NAME for the device.
6. Press CREATE. The device takes the next free DEVICE slot and is marked OFFLINE.

2.5 · Matrix, Routing & Network

Offline AES67 receive definitions

Keep planned AES67 receive streams in your show even when their transmitter is not on the network. An offline definition stays in the receive list, can be patched in Routing like any live stream, and can be deleted when you no longer need it.

Create an offline stream

1. Open Settings, select STREAMS and choose the RECEIVE tab.
2. Press + ADD OFFLINE STREAM.
3. Enter the stream name and channel count, then press OK.
4. The definition appears in the receive list. Select it to see its details in the right-hand panel.

Patch it

1. Open ROUTING and select the INPUTS tab.
2. Find the offline stream on the source axis and patch its channels to the destination channels as you would any live stream.

Delete it

1. Return to Settings › Streams › RECEIVE.
2. Select the offline definition and press REMOVE. The saved definition is deleted from the list.

2.6 · Matrix, Routing & Network

Remote and session matching

Adding remotes, opening shows and importing sessions now share one matching workflow. Whenever the dMix needs to reconcile the equipment a show expects with the equipment actually on the network, you see the same controls.

Match a remote slot to a discovered device

1. Open Settings › REMOTE.
2. Select an occupied DEVICE slot, such as an offline device you created earlier.
3. Select a device in the discovered list. Compatible devices are highlighted and incompatible ones are dimmed.
4. The add button changes to ← ADD. Press it to bind the selected device to the highlighted slot.

Match a show or session to this mixer

1. Open or import a show. If it references equipment, the MATCH SESSION TO THIS MIXER panel opens.
2. The IN SHOW FILE column lists each device the show expects. Unmatched items are shown in red. The IN MIXER column lists devices on this system and whether they are compatible.
3. For each item, choose MATCH, WAIT, REMOVE or CREATE OFFLINE. Use MATCH SUGGESTED, WAIT ALL or REMOVE UNMATCHED to resolve several items at once.
4. Press DONE to apply, or CANCEL to leave the show unchanged.

2.7 · Matrix, Routing & Network

Device-owned routing buses

The routing browser now groups each mixer's buses under the device that owns them. On a network with more than one console you can see immediately which mixer a bus belongs to.

How to use it

1. Open ROUTING and select INPUTS.
2. On the source axis, each mixer appears as its own group: This Mixer first, followed by remote mixers by name.
3. Press + on a mixer group to expand its families (Analog, AES, MADI, Expansion, Master, Aux, Sub, Fx, Mtx and so on).
4. Press − to collapse groups you are not using and keep the grid focused.

2.8 · Matrix, Routing & Network

Source family colours and labels

Routed sources now carry their correct family colour and a logical label, so a glance at the patch tells you what each channel is fed from and which device it comes from.

How to use it

1. Open Routing › INPUTS and look at the source chips beside each destination channel.
2. The chip colour identifies the family, and the label names the bus.
3. For sources on another mixer, the label is prefixed with the device name.

2.9 · Matrix, Routing & Network

Stable routing scroll during folding

Collapsing or expanding a routing group no longer throws you back to the top of the grid. The view stays where you were working.

How to use it

1. Scroll the routing grid to the area you are patching.
2. Collapse or expand a group with its + or − control.
3. Carry on patching. The grid keeps its position. If a fold makes the grid shorter than your previous position, the view moves only as far as the new edge.

2.10 · Matrix, Routing & Network

Remote output ownership

When a remote device's outputs are already patched, V2 shows which mixer is supplying each one. Check ownership before you change a patch so you don't take over another engineer's feed by mistake.

How to use it

1. Open Routing › OUTPUTS.
2. Expand the remote device and its output block, for example ANALOG Out.
3. Read the label beside each output. It names the owning mixer and the source, for example DEMO-OWNER · AUX 1 or DEMO-STAGE · M L.
4. Unpatched outputs show a dash.

2.11 · Matrix, Routing & Network

Visible device conflicts

A device with an unresolved device, IP address or AES67 stream conflict now stays flagged with a red CONFLICT badge, instead of looking healthy.

How to use it

1. Open Settings › REMOTE. A device in conflict shows its model badge in red, marked CONFLICT.
2. Identify the cause: two devices with the same identity, a duplicate IP address, or a clashing AES67 stream.
3. Correct the conflicting setting on the device or network.
4. Refresh the rig view and confirm the badge has cleared.

2.12 · Matrix, Routing & Network

Meters clear when offline

When the control connection is lost, VU meters now drop to zero rather than freezing at their last level. A silent meter means no data, not a stuck signal.

How to use it

1. Watch the link indicator in the top bar. Green means the GUI is connected.
2. If the connection drops, the indicator turns red, OFFLINE appears in the top bar, and all meters return to zero.
3. Meters resume as soon as the connection is restored.

3.1 · Mixing & Processing

Channel Copy/Paste across the mixer

Copy any channel and paste it onto as many destinations as you like, choosing exactly which parts of it to paste. Destinations can be channels, Aux, subgroups, FX or Matrix inputs anywhere on the mixer. It is one of the most advanced copy and paste systems on any console.

How to use it

1. Right-click the name of the channel you want to copy, for example Snare, and choose COPY.
2. Right-click any channel and choose PASTE. The Paste from Snare dialog opens.
3. Under WHAT, select the parts to paste. Lit buttons are included. Use Select all or Clear all to start from everything or nothing. The count at the bottom shows how many parts are selected, for example 19 keys.
4. Under TO, choose a destination type: CHANNELS, AUX, SUB, FX or MTX-IN. Then tap each destination to select it. The source channel is shown locked. Clear deselects all destinations.
5. Press Apply to paste, or Cancel to leave everything unchanged.

3.2 · Mixing & Processing

Aux mix Copy/Paste

Copy an entire Aux mix and paste it into another Aux, choosing exactly which range of channels to copy and where they land. Ideal for building similar wedge or IEM mixes quickly.

How to use it

1. Open the » AUX page and select the source Aux in the left panel.
2. Press COPY MIX. A snapshot of that mix is taken.
3. Select the destination Aux and press PASTE MIX.
4. In the PASTE MIX dialog, set the source range under FROM, for example CH 1 … SUB 12. The colour key shows channels (CH), FX returns (FX-R) and subgroups (SUB).
5. Set the matching destination range under TO.
6. Press OK to paste, or CANCEL to leave the destination unchanged.

3.3 · Mixing & Processing

Processing Copy/Paste

Every processing page now has Copy and Paste buttons beside its presets. Copy a block's settings from one channel and paste them onto another block of the same type.

How to use it

1. Open the processing page on the source channel.
2. Press the Copy button (two overlapping pages) to the right of the PRESETS menu.
3. Select the destination channel and open the same processing page.
4. Press the Paste button (clipboard) and confirm.

3.4 · Mixing & Processing

Aux sends follow source mute

An optional setting makes Aux sends obey the source channel's mute. When you mute a channel at the main mix, it also leaves the monitor mixes. A per-send override lets you keep a specific send live on purpose.

How to use it

1. Open Settings › UI and tick AUX SENDS FOLLOW SOURCE MUTE.
2. Mute a source channel. Its sends to every Aux now follow that mute.
3. To keep one send live while the source is muted, press that send's ON button on the Aux Send page. This applies an unmute override to that send only.
4. Press the send's ON button again to clear the override.

3.5 · Mixing & Processing

Selectable HPF and LPF bands

The high-pass and low-pass filters are now real EQ bands. Select them like any other band, and see their effect included in the combined EQ curve.

How to use it

1. Open the channel's EQ page.
2. Under BAND SELECT, choose the HPF icon (left) or the LPF icon (right).
3. Switch the band on and set its frequency and slope.
4. Check the combined curve at both ends of the spectrum.

3.6 · Mixing & Processing

EQ selection and reset handling

Band selection and reset are more predictable in V2. The band you select is the band you edit, and the HPF and LPF overlays stay correct as you move between bands.

How to use it

1. Select the band before you adjust it, either by tapping its handle on the graph or from BAND SELECT. The selected band's frequency, gain and Q appear at the top left of the graph.
2. Adjust the band. The other bands, including HPF and LPF, keep their settings and stay visible on the curve.
3. Use RESET to return the EQ to its default, then check which bands remain switched on.

3.7 · Mixing & Processing

RTA smoothing and page isolation

The real-time analyser curve is now smoothed for easier reading, and it stays on the page where you enabled it. Moving to another processing page no longer leaves a stray analyser trace behind.

How to use it

1. On the EQ page, press RTA to show the analyser for the selected channel.
2. Read the smoothed curve behind the EQ response.
3. Move to another processing page, such as COMP. That page shows only its own graph.

3.8 · Mixing & Processing

Overview PRE/POST meters

The Overview page has a PRE/POST selector, so you can check input levels before the fader or mix levels after it.

How to use it

1. Open OVERVIEW.
2. Choose PRE to see levels before the fader, for example when setting gain.
3. Choose POST to see levels after the fader, for example when balancing a mix.

3.9 · Mixing & Processing

Aux and FX follow the Mixer viewport

The Aux Send and FX Send pages now open on the same channels you were looking at in the main Mixer, so you don't have to scroll to find your place again.

How to use it

1. Scroll the main Mixer to the channels you are working on.
2. Open » AUX or » FX. The send page shows the same channel range.

3.10 · Mixing & Processing

Delay units: samples, time, feet and metres

The delay popup lets you enter and read delay in samples, milliseconds, feet or metres. Work in whichever unit suits the job, such as distance for aligning a delay speaker or samples for fine phase work.

How to use it

1. Open the channel's delay popup.
2. Choose the unit: SMP (samples), TIME, FT or M.
3. Enter a value, drag the slider, or use the nudge buttons. The nudge steps match the unit, for example ±1, ±10, ±100 samples or ±0.01, ±0.1, ±1 m.
4. The equivalent values in the other units are shown below the main reading.

3.11 · Mixing & Processing

GO TO navigation

The GO TO panel jumps straight to a channel bank or bus family.

How to use it

1. Open the right panel.
2. Under GO TO, choose a channel range (1-16 to 113-128) or a family: FX-R, FX, SUB, MTX, AUX or DCA.
3. The Mixer jumps to that bank. Check the strip labels at the bottom of the screen to confirm.

4.1 · Interface & Reliability

Small, Medium and Large left panels

Choose how wide the left navigation panel is: narrow to save space on a small display, or wide to show longer labels.

How to use it

1. Open Settings › UI.
2. Under LEFT PANEL SIZE, choose SMALL, MEDIUM or LARGE.
3. Return to the mixer. The left panel uses the new width.

4.2 · Interface & Reliability

Intentional pointer hiding and recovery

On the console's local screen you can hide the mouse pointer for a cleaner touch-screen view. Shake the mouse to bring it back. Pointer recovery in kiosk mode is also more reliable.

How to use it

1. On the console's local screen, open Settings › UI.
2. Tick HIDE MOUSE POINTER (SHAKE THE MOUSE TO BRING IT BACK). The pointer disappears.
3. To get it back, shake the mouse quickly from side to side. The pointer reappears and the option is cleared.

4.3 · Interface & Reliability

Smoother metering under load

When a display can't keep up with meter updates, the GUI now skips out-of-date meter frames and draws only the latest one. Meters stay current and the rest of the interface stays responsive, even on slower tablets and laptops.

How to use it

1. No action is needed. The improvement works automatically.
2. On a slower client, set FRAME RATE LIMITS in Settings › UI to 60, 50, 30 or 24 to reduce drawing load. ∞ draws as fast as the display allows.

4.4 · Interface & Reliability

Allocation-aware layouts

Layouts now adapt to the size of the channel allocation. FX Send pages centre their strips, and Overview groups stay fully visible instead of overflowing, which helps when the console is split or a small allocation is in use.

How to use it

1. Open » FX. FX send strips are centred in the available space.
2. Open OVERVIEW. Every group stays on screen, whatever the allocation.

4.5 · Interface & Reliability

Context menu keeps your channel selection

Right-clicking another strip no longer changes the selected channel. You can rename, copy, reset or apply a preset to one strip while you keep working on another.

How to use it

1. Select the channel you are working on.
2. Right-click the name area of another strip. Its context menu opens with options including PRESETS, RENAME, COLOR, RESET, COPY and PASTE.
3. Choose an action. It applies to the strip you right-clicked, and your original channel stays selected.

4.6 · Interface & Reliability

Firmware update for remote devices

Remote devices are updated from the Remotes screen using a firmware file you select.

How to use it

1. Open Settings › REMOTE and select the device to update.
2. Press CONFIG. The device's settings panel opens.
3. Next to FILE, press CHOOSE and select the firmware update file.
4. Press UPDATE and wait for the process to finish. Don't power off the device or disconnect the network during the update.

4.7 · Interface & Reliability

Updated language catalogs

All supported interface languages now include the new V2 controls and settings.

How to use it

1. Open Settings › MAIN.
2. Choose a language: ENGLISH, DEUTSCH, ESPAÑOL, PORTUGUÊS, 中文 or 日本語.
3. Accept the restart. The interface reloads in the new language.

5.1 · dMix Studio

dMix Studio at a glance

Violet Audio releases the full V2 Offline Editor and Network Manager for the dMix series as a stand-alone application. It provides complete show preparation and system configuration without needing to be connected to a mixer. Create and edit shows offline, then push them directly to dMix hardware when connected.

In one linePrepare the show, connect the network and restore the setup when the rig changes.

5.2 · dMix Studio

Network Manager

The integrated Network Manager automatically scans the network for dMix devices, regardless of their currently programmed IP address or subnet. Use it to identify units, assign custom names and change IP settings quickly.

How to use it

1. Connect the computer to the dMix network and open the Network tab.
2. dMix Studio monitors every eligible IPv4 interface on the computer and lists each device it finds under DNET devices, with its name, serial number, model, IP address, interface and when it was last seen.
3. Press Refresh to rescan. The time of the last update is shown beside the button.
4. If a device shows IP CONFIG, press Configure in its row to change its name and IP settings so it can join the network.
5. Check Interfaces to see the computer's own network ports, with their IP address, mask and MAC address.

5.3 · dMix Studio

Offline Editor

The Offline Editor uses the same mixing interface as the console, so you can build a complete show on a computer with no mixer connected. When the hardware is available, send the show straight to it.

How to use it

1. Open the Offline Editor tab. A new, untitled show opens.
2. Edit the show as you would on the console: routing, channel processing, Aux and FX mixes, and scenes.
3. Save the show, or open an existing one. Shows can be imported and exported via the computer or a USB drive.
4. When the dMix is connected, press Send to device at the top right to push the show to the hardware.

5.4 · dMix Studio

Live dMix

Live dMix connects dMix Studio to a mixer on the network.

How to use it

1. Open the Live dMix tab.
2. Open the Device list. Each live device is shown by model, name, serial number and IP address, for example Dmix128 · dmixv2 (VA2552ACBF6101) — 169.254.16.15.
3. Select the device you want to work with.

5.5 · dMix Studio

Recovery support

When the rig changes, dMix Studio helps you get back to a working system. It matches the devices in a saved show to the equipment available, keeps routing for sources that are missing, and flags device and IP conflicts so the saved setup can be restored.

How to use it

1. Open the saved show. Match each device it expects to a device on the network, or keep it offline. See Remote and session matching.
2. Routing for missing sources, such as offline AES67 streams, is kept so patches are ready when the source returns.
3. Resolve any device or IP conflict shown by a red CONFLICT badge (section 2.11) or by IP CONFIG in the Network tab.
4. When recovery finishes, dMix Studio confirms that it has reconnected to the dMix network and that all audio devices are online and synchronised.