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THE OFFICIAL CALIFORNIA PLUS BOOMER 'N WHISKERS THREAD! (pg. 170)
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| montie |
| quote: | Originally posted by Photo_bot_2k1
i heard it was pretty good
its just apperantly the fox people dont like puting towers where i live
so i dont get reception |
ahhh no simpsons thats really the only reason to watch TV
that and family guy is supposed to return.
any of you guys wana know how to set up a simple recording chain with a general mixer and with tape recorders?
have fun
i just had to type this up for my music recording class
was very easy but sooooooooo boring and tedious
Introduction
This instruction manual has two parts. The first is meant to familiarize you with the function of the different inputs and outputs of the mixer and how to use all the controls on the mixer. The second part of this manual gives step by step instruction on how to set up an example recording chain consisting of one microphone, one mixer, one sound compressor, one reverb device, one eight track recorder, one master tape recorder, and an amplifier already connected to monitor speakers.
Section 1: What everything does
1.0 Connections
1.1 Input Devices
On most mixers there are generally 16 input channels. The input channels on a mixing console are used for connecting devices which output signal. These devices can be transducers which turn acoustic energy into electrical energy (signal) i.e. a microphone, or any other device which outputs signal. There are generally two basic input types for a mixer board, the Line (which requires a ¼” cable) and the mic (which requires an XLR cable). Microphones generate a low level of signal so the XLR cable, which is very good at minimizing signal degradation, is necessary.
Generally most mixers have 16 input channels. One through eight are used for the input of the signal from the sound being recorded, nine through sixteen are used for input of the recorded sound from an eight track recorder. Most eight track recorders have a special cable for output back to the mixer. This cable has one end which is similar in appearance to a parallel cable (or printer cable) found on most PCs, which is connected to the eight track recorder. The other end consists of 8 ¼” cables each labeled 1-8 corresponding to their respective track on the eight track recording device (connecting the mixer to these eight inputs on the eight track recording device will be discussed in the Output Devices section). It is best practice to connect line 1 on the mixer to line 1 on the eight track recorder and line 2 on the mixer to line 2 on the eight track recorder and so forth. It is also best practice to connect the cable labeled line 1 from the eight track to line 9 on the mixer and to connect the cable labeled line 2 from the eight track to line 10 on the mixer and so forth.
There is also one other input section on the mixer. This is normally found on the back in a section labeled “Master Tape.” Here 4 RCA connecters can be found. Two of them will be designated input, and two of them will be designated output. One of each of the connecters from these two pairs will be labeled “L” (left stereo channel) and the other “R” (right stereo channel). The RCA input here is connected via RCA cable to the master tape recorder (by this time in the chain your signal will have been composited into only 2 channels, the left and right) and is meant for monitoring your final mix after the master recording has been made.
1.2 Output Devices
There are three primary devices that you will output to, the eight track recorder, the master tape recorder and the monitor speakers. On the back of the mixer board there will generally be a section labeled “Direct Out” with 8 ¼” outputs. These outputs are labeled 1-8 corresponding respectively to input channels 1-8. You use a ¼” to ¼” cable to connect each of the 1-8 input channels on the mixer to the eight track recorder. It is best practice to respectively connect output 1 (which is channel 1), output 2 (which is channel 2) and so forth on the mixer to input 1 (which is track 1), input 2 (which is track 2) and so forth on the eight track recorder. On the back of the mixer there will also be an area labeled tape output (described in more detail in the Input Devices section). Here you will find two RCA connecters. You use an RCA cable to connect the output on the mixer to the input on the master tape recorder (be sure you connect the “R” or right output channel on the mixer to the “R” input channel on the tape recorder and connect the “L” or left output channel on the mixer to the “L” or left input channel on the tape recorder). There will also be a section on the mixer labeled “Master Out” here you will generally find two ¼” output ports, one for the right channel the other for the left channel. These outputs send all the signal that is currently being played through the master controls of the mixer. You generally would connect these to the amplifier of your monitoring speakers. Some mixers have a section labeled “Control Room Out.” You would connect your monitor speakers here rather than in the Master Out if the mixer has these output ports. You can also use these outputs for headphone monitors. Most mixers will also have a “cue” or headphone output.
1.2 Auxiliary Sends
Auxiliary sends are used to modify signal before it reaches the final mix, such as when you want to add compression or reverb to a mix. There are two ways to do this, the Insert and the Aux. send.
The insert sends out the signal from a single channel, before it has a chance to be played in the overall mix, modifies it, then returns it to that same channel to be sent to the overall mix. Generally all the channels will have an insert port next to the input port on the back of the mixer. Inserts use a special cable since they are sent out and returned through the same port. On one end of the cable there is a single ¼” connecter that has two stripes on it. One is for sending the signal, the other is for returning the signal. This end is plugged into the insert on the mixer. On the other end of the cable, there are two regular ¼” connecters, one labeled send, one labeled return. You connect the send connecter to the input of the device you are sending the signal, and the return connecter to the output of that device. Some mixers also have an insert port labeled “Master Insert.” This is used as an insert for the signal from all the channels you are mixing.
The Aux. sends send signal from multiple channels to be modified. You can choose which channels you want to send out. There will be a section on the back of your mixer labeled Aux. send, normally with 6 ¼” output ports. These are labeled Aux 1-6, each corresponding to Aux channels 1-6. You would connect a single double ended ¼” cable to one of these outputs (its best practice to start with Aux. channel 1 for your primary device you are using to modify the signal and work your way up with each subsequent device), you would connect the other end of the cable to the input on the aux. device you are trying to use. There will also be a section on the back of the mixer labeled “Aux Return.” Here there will be normally be 4 pairs of ¼” ports, labeled 1-4, with each pair labeled “L” and “R” (for left and right). Most aux. devices you output to will return the signal as stereo (right and left) you would connect a ¼” to ¼” cable from the right output on the aux. device to the “R” input on the mixer and you would connect a ¼” to ¼” cable from the left output on the aux. device to the “L” input on the mixer. You are only able to return 4 Aux. channels although you are able to output 6. This is because you can also use the Aux. outputs for cue monitors. You can assign which channels you want to be monitored through the cue. It is best to reserve aux. channels 5 and 6 for this.
2.0 Using the Board
2.1 Power
To make your mixer board work the first thing you have to do is turn it on. There will be a switch on the back labeled power. Switch this to “on” to turn the board on. Normally next to this switch will be a smaller switch labeled “+48v” or “Phantom Power.” Only switch this to the “on” position if you are using condenser mics. If this switch is on and you use a ribbon mic, you will fry the microphone. Moving coil mics are unaffected by phantom power.
2.2 Pre-Amp
The first thing that happens to signal when it gets inputted into a channel (even before it gets sent out on an insert) is it gets amplified. The more you amplify the signal, the louder it gets. You adjust the amount of amplification by adjusting the gain knob which is normally located at the top of the channel. Mics generally generate a very weak signal and require a large amount on the gain.
2.3 EQ
Each channel normally has an EQ. On most mixers you will find a parametric EQ. On most low level or semi professional mixers there will be either a 3 or 4 band EQ, labeled “hi,” “hi-mid,” “low-mid,” (just “mid” on the 3 band EQ’s) and “low.” Each of these knobs allows you to cut or boost the signal in whatever the manufacturer has determined the hi, mid and low frequency ranges to be. In more expensive professional mixers, you will find these hi, low, and mid knobs divided into separate partitions with two other knobs in each partition, one labeled “Q” the other “Center Frequency.” The Q knob lets you adjust the contour of the graph of the frequencies you are attempting to boost or cut, and the Center Frequency knob allows you to adjust where the center frequency is where you want to boost or cut the signal.
2.4 Faders
Each channel normally has its own white knob fader. There is also a master fader and a fader for each bus (discussed in the Buses section). These faders adjust the level of the signal allowed into the final mix. The difference between the channel faders and the gains on the channels is that the gains amplify the signal before it goes through any inserts and the EQ. The channel faders adjust the level of the signal after it has gone through all these. There is normally a section on the fader labeled “Unity Gain” it is best to keep all the faders of the channels being used at this position. The bus faders control the overall level of the sound coming through that bus, and the master fader controls the overall level coming through the master mix. It is best practice to do most of the signal amplifying early on in the recording chain so that the output level at the unity gain is around 0 VU.
2.5 Buses
Buses are a single output to which several channels can be assigned. This single output can then be sent to the master mix. It is a way of grouping different channels. Most channels will have a button that allows them to be sent to a certain channel. Sometimes this button is for two buses. When this is the case the Pan knob is used to assign which bus the signal is sent to (the panning knob is discussed in the L/R Pan section).
2.6 L/R Pan
Each channel normally has a knob which allows you to send the signal to the right or left channels in the stereo mix. By turning the knob to the left you proportionately increase the volume to the left side of the speakers while decreasing the volume to the right side. The opposite is true when you turn the knob to the right. The pan knob can also be used to assign which bus a channel is sent to when the channel’s bus assign buttons send that channel to two different buses. If you pan that channel all the way to the left, the channel will be sent to the odd number bus of the two buses assigned, if you pan all the way the right, the channel will be sent to the even number bus of the two buses assigned.
2.7 Aux. Controls
For each channel there is a knob for each of the Aux. channels which allows you to control how much signal is sent from that channel to the aux channel. The aux. signal that is sent from each channel is layered on top of the signal being output from that channel onto the final mix (adjusting the fader for that channel will not effect the level of signal from that channel sent to the aux. device, only the aux. send knob for that channel effects it). There is also an aux. return knob that lets you adjust the level of the signal returned from the aux. device. This knob adjust the level of everything returned from the aux. device, not the individual channels.
2.8 Mute and Solo
Each channel has a button labeled Mute and a button labeled Solo. The mute button cuts that channel entirely from the final mix. The solo button kills all the other channels except for that channel. These buttons are useful for quick monitoring of single channels.
Section 2: Sample Setup
This guide will show a user how to set up an example recording chain consisting of a microphone, mixer, sound compressor (connected via an insert), reverb (connected via an Aux. send), 8 track tape recorder, a master tape recorder, and an amplifier already connected to monitor speakers..
Step 1
Connect the microphone to the mixer. Use an XLR cable the female end should connect into the microphone, and the male end into the mixer. Plug the male end into the mic input on channel 1.
Step 2
Take the ¼” Y cable and plug the TRS plug connecter (the end with only one plug which has two stripes on the plug), and plug this into the insert port on channel 1. Take the other two ends and plug the connector labeled input into the input port on the sound compressor and plug the connector labeled output into the output port on the sound compressor.
Step 3
Take a ¼” to ¼” TS cable and plug one end into Direct Out 1 on the mixer and the other end into channel 1 input on the eight track recorder. Now take the eight track recorder output cable (the one with one end that looks like a parallel port connect and with the other end that has 8 ¼” connectors) and plug the parallel port end into the output on the eight track and plug in the ¼” cable labeled, track 1 (the track channel 1 should have been plugged into on the eight track recorder), and plug that into the input on channel 9 on the mixer. It is unnecessary to connect the other 7 cables because we don’t have any other devices, besides the mic on channel 1, plugged into the eight track tape recorder.
Step 4
Take another ¼” to ¼” TS cable and connect one end into the Aux. 1 send, and the other end into the input on the reverb device. Now take two more ¼” to ¼” TS cables, and plug one end of one of the cables into the “L” output on the reverb device and plug the other end into the “L” input on Aux. return 1 on the mixer board. Do the same with the other cable except connecting to the “R” output and “R” input on Aux. return 1 on the mixer board.
Step 5
Take an RCA cable and connect the “Master Tape Output” on the mixer board to the input on the master recording device. Now take another RCA cable and connect the output on the recording device to the “Master Tape Input” on the mixer board. Some RCA cables are color coded, make sure you connect like to like. If not, be sure you connect the right output on the mixer to the right input on the tape recorder and so forth.
Step 6
Take two ¼” to ¼” TS cables and connect one to the “L” Master Output on the mixer board. Connect the other end of this cable into the “L” input on the amplifier connected to the monitor speakers. Do the same with the other cable except connecting to the “R” port on both devices.
Now you have a microphone which is connected to channel 1 on the mixer. There is also a compressor on the channel. You also have a Reverb device which will add reverb on top of the signal coming in from channel 1. You also have your recording devices connected. Your eight track recorder for editing and your master tape recorder to record the final mix. You also have monitors so you can listen to your mix. Now the levels have to be set so the final signal can be recorded. This will vary depending on what you are recording, where you are recording and how you want everything to sound. These next steps will be a general guide.
Step 7
Turn up the gain on channel 1 to +10dB. You can adjust this later to a more suitable level once you start monitoring the signal.
Step 8
Press the button to send channel 1 to bus 1 and 2. We will send channel 1 only to bus 1, so turn the pan button all the way to the left.
Step 9
Put the faders for channel 1, bus 1 and master at unity gain.
Step10
Turn up the Aux. send knob to about half way. Turn the Aux. return knob to about half way.
Now test the setup. Listen to it through the monitors. Adjust reverb to a setting you find suitable by turning the aux. send and return knobs. Keep messing with all the settings until an optimal level is found. Now you are able to record. |
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| Photo_bot_2k1 |
| quote: | Originally posted by montie
ahhh no simpsons thats really the only reason to watch TV
that and family guy is supposed to return.
any of you guys wana know how to set up a simple recording chain with a general mixer and with tape recorders?
have fun
i just had to type this up for my music recording class
was very easy but sooooooooo boring and tedious
Introduction
This instruction manual has two parts. The first is meant to familiarize you with the function of the different inputs and outputs of the mixer and how to use all the controls on the mixer. The second part of this manual gives step by step instruction on how to set up an example recording chain consisting of one microphone, one mixer, one sound compressor, one reverb device, one eight track recorder, one master tape recorder, and an amplifier already connected to monitor speakers.
Section 1: What everything does
1.0 Connections
1.1 Input Devices
On most mixers there are generally 16 input channels. The input channels on a mixing console are used for connecting devices which output signal. These devices can be transducers which turn acoustic energy into electrical energy (signal) i.e. a microphone, or any other device which outputs signal. There are generally two basic input types for a mixer board, the Line (which requires a ¼” cable) and the mic (which requires an XLR cable). Microphones generate a low level of signal so the XLR cable, which is very good at minimizing signal degradation, is necessary.
Generally most mixers have 16 input channels. One through eight are used for the input of the signal from the sound being recorded, nine through sixteen are used for input of the recorded sound from an eight track recorder. Most eight track recorders have a special cable for output back to the mixer. This cable has one end which is similar in appearance to a parallel cable (or printer cable) found on most PCs, which is connected to the eight track recorder. The other end consists of 8 ¼” cables each labeled 1-8 corresponding to their respective track on the eight track recording device (connecting the mixer to these eight inputs on the eight track recording device will be discussed in the Output Devices section). It is best practice to connect line 1 on the mixer to line 1 on the eight track recorder and line 2 on the mixer to line 2 on the eight track recorder and so forth. It is also best practice to connect the cable labeled line 1 from the eight track to line 9 on the mixer and to connect the cable labeled line 2 from the eight track to line 10 on the mixer and so forth.
There is also one other input section on the mixer. This is normally found on the back in a section labeled “Master Tape.” Here 4 RCA connecters can be found. Two of them will be designated input, and two of them will be designated output. One of each of the connecters from these two pairs will be labeled “L” (left stereo channel) and the other “R” (right stereo channel). The RCA input here is connected via RCA cable to the master tape recorder (by this time in the chain your signal will have been composited into only 2 channels, the left and right) and is meant for monitoring your final mix after the master recording has been made.
1.2 Output Devices
There are three primary devices that you will output to, the eight track recorder, the master tape recorder and the monitor speakers. On the back of the mixer board there will generally be a section labeled “Direct Out” with 8 ¼” outputs. These outputs are labeled 1-8 corresponding respectively to input channels 1-8. You use a ¼” to ¼” cable to connect each of the 1-8 input channels on the mixer to the eight track recorder. It is best practice to respectively connect output 1 (which is channel 1), output 2 (which is channel 2) and so forth on the mixer to input 1 (which is track 1), input 2 (which is track 2) and so forth on the eight track recorder. On the back of the mixer there will also be an area labeled tape output (described in more detail in the Input Devices section). Here you will find two RCA connecters. You use an RCA cable to connect the output on the mixer to the input on the master tape recorder (be sure you connect the “R” or right output channel on the mixer to the “R” input channel on the tape recorder and connect the “L” or left output channel on the mixer to the “L” or left input channel on the tape recorder). There will also be a section on the mixer labeled “Master Out” here you will generally find two ¼” output ports, one for the right channel the other for the left channel. These outputs send all the signal that is currently being played through the master controls of the mixer. You generally would connect these to the amplifier of your monitoring speakers. Some mixers have a section labeled “Control Room Out.” You would connect your monitor speakers here rather than in the Master Out if the mixer has these output ports. You can also use these outputs for headphone monitors. Most mixers will also have a “cue” or headphone output.
1.2 Auxiliary Sends
Auxiliary sends are used to modify signal before it reaches the final mix, such as when you want to add compression or reverb to a mix. There are two ways to do this, the Insert and the Aux. send.
The insert sends out the signal from a single channel, before it has a chance to be played in the overall mix, modifies it, then returns it to that same channel to be sent to the overall mix. Generally all the channels will have an insert port next to the input port on the back of the mixer. Inserts use a special cable since they are sent out and returned through the same port. On one end of the cable there is a single ¼” connecter that has two stripes on it. One is for sending the signal, the other is for returning the signal. This end is plugged into the insert on the mixer. On the other end of the cable, there are two regular ¼” connecters, one labeled send, one labeled return. You connect the send connecter to the input of the device you are sending the signal, and the return connecter to the output of that device. Some mixers also have an insert port labeled “Master Insert.” This is used as an insert for the signal from all the channels you are mixing.
The Aux. sends send signal from multiple channels to be modified. You can choose which channels you want to send out. There will be a section on the back of your mixer labeled Aux. send, normally with 6 ¼” output ports. These are labeled Aux 1-6, each corresponding to Aux channels 1-6. You would connect a single double ended ¼” cable to one of these outputs (its best practice to start with Aux. channel 1 for your primary device you are using to modify the signal and work your way up with each subsequent device), you would connect the other end of the cable to the input on the aux. device you are trying to use. There will also be a section on the back of the mixer labeled “Aux Return.” Here there will be normally be 4 pairs of ¼” ports, labeled 1-4, with each pair labeled “L” and “R” (for left and right). Most aux. devices you output to will return the signal as stereo (right and left) you would connect a ¼” to ¼” cable from the right output on the aux. device to the “R” input on the mixer and you would connect a ¼” to ¼” cable from the left output on the aux. device to the “L” input on the mixer. You are only able to return 4 Aux. channels although you are able to output 6. This is because you can also use the Aux. outputs for cue monitors. You can assign which channels you want to be monitored through the cue. It is best to reserve aux. channels 5 and 6 for this.
2.0 Using the Board
2.1 Power
To make your mixer board work the first thing you have to do is turn it on. There will be a switch on the back labeled power. Switch this to “on” to turn the board on. Normally next to this switch will be a smaller switch labeled “+48v” or “Phantom Power.” Only switch this to the “on” position if you are using condenser mics. If this switch is on and you use a ribbon mic, you will fry the microphone. Moving coil mics are unaffected by phantom power.
2.2 Pre-Amp
The first thing that happens to signal when it gets inputted into a channel (even before it gets sent out on an insert) is it gets amplified. The more you amplify the signal, the louder it gets. You adjust the amount of amplification by adjusting the gain knob which is normally located at the top of the channel. Mics generally generate a very weak signal and require a large amount on the gain.
2.3 EQ
Each channel normally has an EQ. On most mixers you will find a parametric EQ. On most low level or semi professional mixers there will be either a 3 or 4 band EQ, labeled “hi,” “hi-mid,” “low-mid,” (just “mid” on the 3 band EQ’s) and “low.” Each of these knobs allows you to cut or boost the signal in whatever the manufacturer has determined the hi, mid and low frequency ranges to be. In more expensive professional mixers, you will find these hi, low, and mid knobs divided into separate partitions with two other knobs in each partition, one labeled “Q” the other “Center Frequency.” The Q knob lets you adjust the contour of the graph of the frequencies you are attempting to boost or cut, and the Center Frequency knob allows you to adjust where the center frequency is where you want to boost or cut the signal.
2.4 Faders
Each channel normally has its own white knob fader. There is also a master fader and a fader for each bus (discussed in the Buses section). These faders adjust the level of the signal allowed into the final mix. The difference between the channel faders and the gains on the channels is that the gains amplify the signal before it goes through any inserts and the EQ. The channel faders adjust the level of the signal after it has gone through all these. There is normally a section on the fader labeled “Unity Gain” it is best to keep all the faders of the channels being used at this position. The bus faders control the overall level of the sound coming through that bus, and the master fader controls the overall level coming through the master mix. It is best practice to do most of the signal amplifying early on in the recording chain so that the output level at the unity gain is around 0 VU.
2.5 Buses
Buses are a single output to which several channels can be assigned. This single output can then be sent to the master mix. It is a way of grouping different channels. Most channels will have a button that allows them to be sent to a certain channel. Sometimes this button is for two buses. When this is the case the Pan knob is used to assign which bus the signal is sent to (the panning knob is discussed in the L/R Pan section).
2.6 L/R Pan
Each channel normally has a knob which allows you to send the signal to the right or left channels in the stereo mix. By turning the knob to the left you proportionately increase the volume to the left side of the speakers while decreasing the volume to the right side. The opposite is true when you turn the knob to the right. The pan knob can also be used to assign which bus a channel is sent to when the channel’s bus assign buttons send that channel to two different buses. If you pan that channel all the way to the left, the channel will be sent to the odd number bus of the two buses assigned, if you pan all the way the right, the channel will be sent to the even number bus of the two buses assigned.
2.7 Aux. Controls
For each channel there is a knob for each of the Aux. channels which allows you to control how much signal is sent from that channel to the aux channel. The aux. signal that is sent from each channel is layered on top of the signal being output from that channel onto the final mix (adjusting the fader for that channel will not effect the level of signal from that channel sent to the aux. device, only the aux. send knob for that channel effects it). There is also an aux. return knob that lets you adjust the level of the signal returned from the aux. device. This knob adjust the level of everything returned from the aux. device, not the individual channels.
2.8 Mute and Solo
Each channel has a button labeled Mute and a button labeled Solo. The mute button cuts that channel entirely from the final mix. The solo button kills all the other channels except for that channel. These buttons are useful for quick monitoring of single channels.
Section 2: Sample Setup
This guide will show a user how to set up an example recording chain consisting of a microphone, mixer, sound compressor (connected via an insert), reverb (connected via an Aux. send), 8 track tape recorder, a master tape recorder, and an amplifier already connected to monitor speakers..
Step 1
Connect the microphone to the mixer. Use an XLR cable the female end should connect into the microphone, and the male end into the mixer. Plug the male end into the mic input on channel 1.
Step 2
Take the ¼” Y cable and plug the TRS plug connecter (the end with only one plug which has two stripes on the plug), and plug this into the insert port on channel 1. Take the other two ends and plug the connector labeled input into the input port on the sound compressor and plug the connector labeled output into the output port on the sound compressor.
Step 3
Take a ¼” to ¼” TS cable and plug one end into Direct Out 1 on the mixer and the other end into channel 1 input on the eight track recorder. Now take the eight track recorder output cable (the one with one end that looks like a parallel port connect and with the other end that has 8 ¼” connectors) and plug the parallel port end into the output on the eight track and plug in the ¼” cable labeled, track 1 (the track channel 1 should have been plugged into on the eight track recorder), and plug that into the input on channel 9 on the mixer. It is unnecessary to connect the other 7 cables because we don’t have any other devices, besides the mic on channel 1, plugged into the eight track tape recorder.
Step 4
Take another ¼” to ¼” TS cable and connect one end into the Aux. 1 send, and the other end into the input on the reverb device. Now take two more ¼” to ¼” TS cables, and plug one end of one of the cables into the “L” output on the reverb device and plug the other end into the “L” input on Aux. return 1 on the mixer board. Do the same with the other cable except connecting to the “R” output and “R” input on Aux. return 1 on the mixer board.
Step 5
Take an RCA cable and connect the “Master Tape Output” on the mixer board to the input on the master recording device. Now take another RCA cable and connect the output on the recording device to the “Master Tape Input” on the mixer board. Some RCA cables are color coded, make sure you connect like to like. If not, be sure you connect the right output on the mixer to the right input on the tape recorder and so forth.
Step 6
Take two ¼” to ¼” TS cables and connect one to the “L” Master Output on the mixer board. Connect the other end of this cable into the “L” input on the amplifier connected to the monitor speakers. Do the same with the other cable except connecting to the “R” port on both devices.
Now you have a microphone which is connected to channel 1 on the mixer. There is also a compressor on the channel. You also have a Reverb device which will add reverb on top of the signal coming in from channel 1. You also have your recording devices connected. Your eight track recorder for editing and your master tape recorder to record the final mix. You also have monitors so you can listen to your mix. Now the levels have to be set so the final signal can be recorded. This will vary depending on what you are recording, where you are recording and how you want everything to sound. These next steps will be a general guide.
Step 7
Turn up the gain on channel 1 to +10dB. You can adjust this later to a more suitable level once you start monitoring the signal.
Step 8
Press the button to send channel 1 to bus 1 and 2. We will send channel 1 only to bus 1, so turn the pan button all the way to the left.
Step 9
Put the faders for channel 1, bus 1 and master at unity gain.
Step10
Turn up the Aux. send knob to about half way. Turn the Aux. return knob to about half way.
Now test the setup. Listen to it through the monitors. Adjust reverb to a setting you find suitable by turning the aux. send and return knobs. Keep messing with all the settings until an optimal level is found. Now you are able to record. |
Exactly. |
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| montie |
I’ve been the one to party until the end.
Looking for the after party to began
I’m going down to…La La land.
I hope to see you soon in…La La Land.
Something about those little pills, unreal, the thrills, they yell, until they kill a million braincells
Now I need to go. Who’s going to give me a ride to the aftershow (me!!!),
I hope that I have enough change , so I can make my brain rearranged
I’m going down to…La La Land,
I hope to see you soon in…La La Land
Ooohw, what have I done,
what happened to the morning.
I passed the time away, hi today!!!!!
(I’ve got to find a way to fill the space in time, I’ve got to fill the space)
La La land is where I need to be, La La Land, is the place that (ah) sets me free
(La la land, la la land, la la land, la la land)
Has anybody seen my brain today? (hey) |
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| Boomer187 |
| quote: | Originally posted by montie
I’ve been the one to party until the end.
Looking for the after party to began
I’m going down to…La La land.
I hope to see you soon in…La La Land.
Something about those little pills, unreal, the thrills, they yell, until they kill a million braincells
Now I need to go. Who’s going to give me a ride to the aftershow (me!!!),
I hope that I have enough change , so I can make my brain rearranged
I’m going down to…La La Land,
I hope to see you soon in…La La Land
Ooohw, what have I done,
what happened to the morning.
I passed the time away, hi today!!!!!
(I’ve got to find a way to fill the space in time, I’ve got to fill the space)
La La land is where I need to be, La La Land, is the place that (ah) sets me free
(La la land, la la land, la la land, la la land)
Has anybody seen my brain today? (hey) |
for some reason I never get sick of this song. Its a cool one...
and did you say family guy is suppose to come back...???
oh and....24 OWNS. I love that show, mainly cause of teh hot chick :). |
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| Photo_bot_2k1 |
| quote: | Originally posted by Boomer187
and did you say family guy is suppose to come back...???
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in a year |
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| montie |
[QUOTE]Originally posted by Boomer187
for some reason I never get sick of this song. Its a cool one...
QUOTE]
hell yeah. i've been playing it over and over all nite. |
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| Emil |
Hello Hello,
Whisk, thanks for the pic, it's awesome! You guys posted good today, one of the busier nights so far. Echo, can't wait to see your pic. ;)
Oh ya, tomorrow morning I am switching my phone service to Verizon. Hopefully I'll get a cool phone, and I get to keep my number.
Emil |
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| whiskers |
speaking of TV.........
heh....... replace the TV with a PC and you've got me |
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| arj1o1 |
| quote: | Originally posted by Photo_bot_2k1
west coast thread beats ur thread :) |
blablablablabal
as sai in florida forum blaa:D |
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| Boomer187 |
| quote: | Originally posted by arj1o1
blablablablabal
as sai in florida forum blaa:D |
MUHAHAHAAA, now do you see why we rule. But hey, I remember way back a few weeks ago when we only had 400 replies.
now we are shooting for teh longest thread EVAR!!!1111 |
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| whiskers |
| quote: | Originally posted by Boomer187
MUHAHAHAAA, now do you see why we rule. But hey, I remember way back a few weeks ago when we only had 400 replies.
now we are shooting for teh longest thread EVAR!!!1111 |
the post padding room had 1100+ pages... crazy!
how about TeH longest NON-SPAM thread EVAR!!!111oneoneone
?
;):haha: |
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| Echo of Silence |
Helloooooooooooooooo California plus Boomer 'n Whiskers!!
I was going to say Good Morning but I think I'm a couple of minutes late :)
We are listening to Oakenfold - Dance Department Live on Radio 538 - Live 11/15/03 and thinking about studying. |
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