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15.2 Headphones
While auxless headphone monitoring (see section 14.2) is still an option (and a pretty good one), a small
general purpose studio might require a more straightforward way of working using one or two discrete
headphone mixes. Here, it would be best to keep aux sends 1 and 2 free for monitoring purposes until mixdown
time.
Aux returns 3/4/5//6 can be routed directly to headphones 1 and/or 2. A good idea would be to drive HP1 from
a combination of aux return 3 (S55) and MIX-B (S76), while HP2 picked up its signal from aux return 4 (S69)
and MIX-B (S88). Channel auxes 3 and 4 would be routed to A-channels. In this configuration a reasonable
degree of balancing between the MIX-B and aux 3/4 level into the cans is possible by adjusting P55/68 (minus
infinity to +15 dB).
+ With the headphone configuration shown below, there is no easy way to get FX returns into
the cans. Bring these back on A or B channels instead, until mixdown time.
Fig. 15.1: Headphones
15.3 Mixdown
With 24 A-channels and up to 36 significant tape and sampler tracks to accommodate, some thought will need
to be given to mixdown assignments. Tracks which need little EQ and no access to the main track reverbs/
echoes on auxes 1 and 2 may be parked on B-channels. Lead tracks and prominent rhythm/melodic voices
should be placed onto A-channels. Remember that auxes 3/4/5/6 can be dedicated either to A or
B-channels by SOURCE switch S17.
16. PROFESSIONAL 24-TRACK STUDIO
16.1 Recording
Chances are youll occasionally want to record more than eight tracks at once, e.g. youre recording a band
playing together live. The following example covers a rock band with drums, bass, two guitars, percussionist,
brass section, lead and backing vocals. In the real world, youll hardly ever be taking all these artists at once,
but if you are: