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16.2 Very tricky headphones
In a multi-musician scenario youll probably want as many different headphones mixes as you can muster.
With the current channel/group/track assignments it is possible to set up four independent, or semi-independent,
headphone feeds while still keeping back auxes 3/4/5/6 for wet monitoring (see 16.3).
Subgroup 7 => aux return 3 => headphones 1 Subgroup 8 => aux return 4 => headphones 2
Main mix (and)/or MIX-B => headphones 1 Main mix (and)/or MIX-B => headphones 2
Active switches: S55/(S82, S77)/S76 Active switches: S69/(S82, S89)/S88
See also fig. 14.4 Subgroup driven auxless headphones mix and associated text.
In the above configuration HP1 and HP2 comprise a blend of the main mix, MIX-B and an additional feed from
a subgroup. The subgroup feed can be used to select which channel(s) should be boosted in the cans relative
to the main mixes.
+ Choose to send to subgroups 7 and 8 from channels which are routed to tape from their
DIRECT OUT. Otherwise CHANNEL PAN, which will already have been set for recording via
another group, is unlikely to be pointing to where you want the cue signal to go. Aux sends 1
and 2 are available as two separate mono headphone feeds, or as a single stereo headphone
feed. Youll need an extra stereo amplifier to amplify the aux 1 and 2 outputs to drive headphones
properly.
Overdubbing:
Its all change. Flip the recorded music onto A-channels, in order to feed from tape into all the headphones
buses.
Alternatively:
(and probably much more sensibly): use the headphones routine outlined in section 15.2 (fig. 15.1).
16.3 Wet monitoring
It is customary with live recording to lay tracks dry. (Not so with MIDI setups: often a tape track is used to
record a complex effect. In a MIDI studio a take is generally MIDI sequencer driven, and hence reproducible
should the recorded effected track eventually prove to be unsuitable, in live recording, a great take is irreplaceable!
Hence the extra caution when laying live tracks.) With dry recording you will probably want to audition tape
tracks with some reverb and/or echo, to get a better idea of how the final mix might sound. By pressing the AUX
3/4/5/6 SOURCE switch (S17), aux buses 3 and 4 are available to the B-channels, i.e. tape monitoring. You
could send to reverb from input channels, but the FX would disappear on tape playback. Bring the FX back on
aux returns 1, 2, 5 or 6. Remember 3 and 4 have been used for headphones patching.
16.4 Mixdown
All aux sends and subgroups are now available for mixing, as are A-channels 23 and 24.
+ If you have two different instruments recorded onto one track, the mixdown settings for each
might be totally different. Set up two A-channels. One for each instrument, and switch between
them.
The B-channels may be used e.g. as FX returns in place of the normal aux returns (the advantage being that
these channels have PAN and EQ) or as an extra stereo aux send.
17. LIVE P.A. WITH 2-TRACK RECORDING
In this example we'll use the aux sends 1 and 2 for stage foldback, and 3/4/5/6 for front-of-house effects. The
P.A. is driven from the main mix. MIX-B will be used to set up the mix to DAT.