Filter
Top Products
Applications
44 X2 Reference Manual
Getting the Mix to the Headphones
Once you have the tape tracks returning to the mixer, it is simple to create a cue mix
for the musicians to listen to over headphones while overdubbing. The cue mix is
created using Aux Sends 1 and 2 on the X2, because the signals from these sends are
derived Pre-Fader (before the Channel or Monitor FADER). Aux 1 and 2 or the
Studio output jacks will have to be connected to a headphone amplifier, such as the
Alesis Micro Cue Amp, before proceeding to the following steps (see page 29,
Interfacing to the Headphone Amp).
To route the mix to a headphone amp:
1 If you are monitoring tape on the MONITOR FADER, press the AUX SOURCE
switch to the down position (MON). This selects TAPE IN as the source for Aux
1-2 (and the post-monitor fader signal as the source for Aux 3-4).
• If you’re monitoring tape on the CHANNEL FADER, set the AUX SOURCE
switch to the up position (CHAN). This selects the TAPE IN as the source
for Aux 1-2 (and the post-channel fader signal as the source for Aux 3-4).
2 While monitoring on headphones, turn up the AUX 1-2 control on the Channels
the tape tracks are returning on. Adjust each AUX 1-2 control to a comfortable
listening level, as desired by the musicians.
3 Adjust the PAN control, just below the AUX 1-2 control, to position each tape
track between the left and right signal. For a mono mix, adjust the PAN control
fully left; this will assign it to Aux 1 only.
4 Use the AUX MASTERS 1 and 2 to adjust the overall volume going to the
headphones.
5 If using the STUDIO OUT jacks, raise the STUDIO LEVEL control, and press the
STUDIO AUX 1-2 switch.
Monitoring MIDI Virtual Tracks
If you are using a MIDI sequencer, the tracks being played “live” from sound
modules are effectively the same as additional tracks on tape –– which is why they
are called “virtual tracks.” Synthesizers are normally plugged into the LINE IN
jacks of the channels, and can be monitored on the Channel or Monitor FADERS,
using the procedures above. Just remember that when tape is on the Monitor
FADER, the Line In will be on the Channel FADER, and vice versa. Since the point
of virtual tracks is not to use up a track of tape, just make sure that when the
synthesizer is on the Channel FADER, that its Group Assign switches are OFF.
If you are using the Monitor and the Channel simultaneously for tape return and
virtual track monitoring, the L-R mix should be used for the performers’ headphone
mix, not Aux 1-2. If you’re using the STUDIO OUT jacks, press the CONTROL
ROOM button and set the Control Room source to L-R.