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a) Aux returns 1 and 2
Aux returns 1 and 2 have full subgroup routing matrices to enable returning FX to be sent to tape, plus main
mix bus assignment. The functions for aux return 1 (mirrored by aux return 2) are: ROUTING (S49/50/51/52/
53) LEVEL (P49), BALANCE (P51) and SOLO (S54). LEVEL controls the amount of signal being blended
into the mix or a subgroup, while BALANCE controls the relative amounts of L and R processed signal. We
doubt if youll often want to adjust BALANCE away from center.
+ As always, there are exceptions to -above rule. Some short stereo delay effects (say 30 ms to
L, 50 ms to right) cause a psychoacoustic effect where the earlier delay seems louder. A
similar effect is noticeable when harmonizing in stereo: a slight pitch shift upwards will seem
louder than one that goes down. In both cases use the BALANCE control (P51) to compensate.
+ When carrying out the above mentioned information, or any other stereo imaging exercise,
dont just rely on the control room monitors. Get a pair of headphones and listen in stereo and
in reverse stereo, to allow for any hearing discrepancy between your ears.
b) Aux returns 3 to 6
And so to aux returns 3 through 6. These too have a routing matrix (S55 to 58 for aux return 3), but this time
it is designed to facilitate monitoring rather than recording. The options are MAIN (L/ R) MIX, and PHONES
1/2. Gain pots and solo switches complete the picture.
c) SOLO
Below each column of aux returns lies a local solo LED (L61 & L74). These illuminate whenever a SOLO
button in the column above is pressed.
There is no absolute reason why the send from aux 1 should feed into a processor whose outputs are sent to
the aux return 1. The processor could just as easily be patched into the aux return 3, or even a pair of
channels. For many purposes, however, it is sensible to set up a default patch where the aux outputs and
inputs correspond. It is logical to put your premier FX units into the aux 1 and aux 2 loops, since these returns
enable you to record to tape without re-patching.
+ An exception to the above is when recording a group of performers live to multitrack. (See
section 16.3 Wet monitoring).
+ Sometimes an engineer wants to narrow the stereo width of a reverb field. To do this you will
have to come back on either A or B-channels, which have full PAN facilities.
6.2 MIX-B master
Fig. 6.3: Mix-B
Only two controls occupy the MIX-B master (fig. 6.3). P48 offers the standard EURODESK gain of up to
+15dB. S48 is crucial: it routes the MIX-B bus output into the main mix bus. MIX-B can have three basic
functions:
It can act as an entirely separate mixer-within-a-mixer to provide a completely separate mix (S48 UP, S23
DOWN). (See also section 17.)
It can act as an additional stereo aux feed to FX as well as a pre fader monitoring aid during mixdown (S48
UP, S23 DOWN).