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Introduction
X2 Reference Manual 11
more) happening simultaneously in order to complete the task of overdubbing. The
comprehensive systems and logical layout of the X2 Mixer will make it relatively
easy for you to accommodate even the most complex monitoring requirements. The
following are a few of the typical mixes that may occur during a session:
• Multitrack Mix: The first mix would be the mix that is being recorded onto
tape. This mix is derived from the Channel Faders and the Tape Outs or the
Group Outs. These levels are nominally adjusted so that the optimum signal
level reaches tape in order to ensure the least amount of noise or distortion. This
level averages about 0 VU on the meters of an analog multitrack tape machine,
or -15 dB on the inserts of a digital multitrack tape machine, such as the Alesis
ADAT. However, the transient peaks of instruments such as percussion may
exceed this average level by 10 to 15 dB. One of the key factors in setting the
proper mix for the recorder is being aware of the headroom available on the
tape, and making sure it isn’t exceeded.
• Monitor Speaker (Control Room) Mix: If you were to listen only to the
multitrack mix, you would probably find that it would be terribly out of balance
since the optimum recording level (the primary concern of a multitrack mix) is
not necessarily the best listening level. Therefore, a second mix is required
called the monitor mix, which provides the engineer with a useful instrument
balance and enables him or her to make changes and adjustments to the mix
(such as muting or soloing channels) without disturbing the signals being
recorded on tape.
• Cue Mix: Many times a third separate mix is required which is sent to the
musicians’ headphones for overdubbing. This is called the cue mix. This mix can
be radically different from what the engineer is listening to (the monitor mix),
since the musicians may need certain instruments either played louder or
removed from the mix in order to hear their cues (hence the name “cue mix”).
This mix is derived from the Pre-Fader Sends, so that the headphone mix will not
change if the engineer makes fader adjustments to the monitor mix. Since the X2
Mixer has two Pre-Fader Aux Sends (Aux 1-2), either 2 separate mono cue
mixes or 1 stereo cue mix may be created.
Mixdown
After all the desired musical parts have been performed and recorded satisfactorily,
the mixdown stage takes place. During this stage, the musical parts are blended
together, tonally enhanced with EQ and effects, positioned in the desired stereo
spectrum with the PAN controls, and finally recorded onto a mixdown tape deck
(such as a DAT machine, 2-Track reel-to-reel or cassette recorder, or 2 tracks of an
ADAT). During mixdown, the engineer should be hearing the exact same mix the
recorder is receiving. For this purpose, the Control Room section of the X2 provides
two independent pairs of stereo External Inputs for listening to the playback from
the mixdown tape deck.