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Also shown 1s the performers' CUE system which
provides selective signals to headphones. In our
example we use a T ASCAM MH-40B Head
phone Amplifier.
The CONT R O L ROOM system is driven from
MONitor OUTPUT system. The signals available
are switchable, using the MONITOR SWITCH
RACK, allowing the engineer to make critcial
evaluation of the various mixes. Additionally,
the SOLO system automatically switches any
signal selected to the SOLO buss to appear at
the MO Nitor OUTPUTs.
The STUDIO system is connected to the MONO
OUTPUT jack. This allows the engineer to play
back various mixes or other sources for the
rehearsal usage by the in-studio talent. Once
actual recording commences, this output is
closed to eliminate track bleed through and the
performers can hear only through their head
phones. Since the CUE system is driven from
the AUX sends, the composition of the signal
can be quickly changed and controlled, depend
ing on the needs of the performers.
Record ing the Basic Tracks
Remember, in the live session we needed to mix
all the signals simultaneously, ultimately achiev
ing a stereo left and right signal pair. Here, we
will use the four PGM busses, but we don't
have to mix and record all the signals at one
time. By building the multitrack master tape
in layers, one track at a time, we can actually
record more information overall than if we
recorded all four at once.
The f i rst track to be recorded is the basic
rhythm track, consisting of the electronic
rhythm synthesizer ( L I N E I N , Channel 4),
mono synthesizer ( L l N E IN, Channel 1 ) . and the
bass ( LI N E I N , Channel B). Assign channels 1 , 4,
8 to PGM buss 1 (Track 1 ) . Set the PAN control
all the way to the left. Using the techniques
described i n the preceeding section, set and
balance the signal levels.
Now we can begin to set up the studio cue feed
so the performers can hear each other and play
in time with the other i nstruments. The cue mix
is created in the same way the stage monitor mix
was done i n the previous section. Since, in this
mix, only the bass and synth players need t o
hear the rhythm signal, use the AUX 1 send on
38
the electronic rhythm input channel. This feeds
the headphone amp used in the previously
detailed cue system. To create your control
room monitor mix which will probably be
different from the cue mlx, simply press the
TAPE RTN switch on MONITOR section 1 ,
set the L E V E L and PAN controls and the
STE R EO L and R FADE RS. Select STE REO
on MONITOR SWITCH RACK and set L E V E L
CONTROL for a comfortable listening level.
This allows you to:
1 . Hear the signal as it's actually being recorded,
and
2. Verify the signal continuity to and from the
mixing console and the recorder.
Once these steps are complete, you can record
the track. When the recording is complete,
rewind the tape and play it back through the
control room speaker system. You don't have to
change any control settings to do this! You
should hear exactly the same mix as while you
were recording. If playback is also desired on the
STUD I O speaker system, raise the MONO
MAST E R FAD E R . When fin ished, remember
to lower the MONO MASTER FADE R . Once
you are satisfied with first track, you can
continue to build the tape one track at a time.
This technique is known as overdubbing. Over
dubbing is the process of adding new material
to one track of tape, in time with a previously
recorded track. Again for example, track 2 could
be the lead guitar and the left hand side of the
stereo synthesizer, track 3 the lead vocals, and
track 4 could contain the right side STE R EO
section and the background vocals. Keep in
mind, as each track is recorded, the previous
tracks can be sent to the cue system for re
ference by selecting the L I N E input to A UX 1
of the appropriate channels.
A Iter every pass, play back the newly recorded
material, first alone, then together with the
previous tracks. This will allow you to hear if
any audio or acoustical problems are emerging,
such as improper tuning, voicing timing errors,
etc. I f problems are found, correct the cause
and re-record the track. While certain tonal
characteristics can be equalized and adj usted
later, many problems are impossible to "fix i n
the mix".
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