F. Using a Dedicated
“In-Line” Mixing Console
For recording projects beyond 8 track, a
multipurpose console is usually inadequate, being
unable to cope with the additional multitrack
sends and returns and with all the repatching that
is required between recording and mixdown. In
such cases, a dedicated “in-line” recording console
is necessary. An example of the input strip of such
a console is shown here.
Virtually all of the features and facilities are
identical to a standard mixer - except one: As well
as including full channel input facilities and a
direct out (here called a tape send), the strip also
includes an extra input for a multitrack tape
return as well as some basic rotary level control
and pan facilities for that input. This second
input is known as the
Monitor Input
or
Monitor
Return
. Using this technique allows a signal to
and from a multitrack to be handled by one
input strip, saving space and avoiding the
confusion of having to find corresponding send
and return signals in different areas of the
console.
The major advantage of using an “in-line”
recording console is that repatching is
unnecessary. This is because both channel and
tape return inputs can be swapped (using the
switch marked “Chan/Mntr Input Rev”), giving
the signal coming from multitrack all the EQ,
Auxiliaries and the linear fader of the channel
input for the mixdown process. This also leaves
the monitor input free for sequenced MIDI gear
such as keyboards. If more facilities are required
for these sound sources, then EQ and auxiliaries
may be shared between the two inputs.
With two inputs per channel, a 16 channel “in-
line”console actually has 32 inputs available. This
high input count and compactness has made “in -
line” consoles extremely popular with project
studios, programming and remixing suites and
commercially successful bands’ home studios.
With prices tumbling all the time, “in-line”
consoles are now barely more expensive than
standard designs.
Multitrack Recording and Mixing with an
“In-Line” Console
A more complex recording set up with an “in-line” console
is shown opposite in Fig 6.4. Both multitrack ins and outs
are plugged into the same channel strip, avoiding the need
for repatching, whilst for sound proofing purposes,
musicians are recorded in a separate room. Effects and
signal processors are connected in an identical way to any
other console via auxiliary sends and returns and insert
points.
G. Recording Instruments
and Voices
VOCALS
• Use a cardioid condenser mic positioned 9 inches
(225mm) from the singer.
• A pop shield will reduce explosive ‘p’ and ‘t’ sounds.
• If sibilance is a problem, change to a dynamic mic or
move the singer back from the mic.
Recommended effects/processor settings:
EQ:
Not normally required. But, if necessary, use the HPF
(High Pass Filter) to reduce rumble.
Compressor:
Attack as fast as possible;
Release around 0.5S, ratio between 4:1 and 8:1.
Reverb:
Try a decay time of around 3 seconds and a pre-
delay of 50mS.
DRUMS
• Place mics 2 inches (50mm) from the heads of snare and
kick drum.
• For the kick drum, place the mic inside - pointing
directly at where the beater strikes the drumhead.
• To fully mic a kit, use separate mics on all toms and hats.
• Use condenser mics 5ft (1.5m) overhead, spaced around
5ft (1.5m) apart, to pick up the entire drum sound,
cymbals and “ambience”.
Recommended effects/processor settings:
EQ:
Boost at: 80Hz to add weight to kick drums, 6kHz to
add sizzle to cymbals or edge to a snare. Cut at 250-300Hz
to reduce boxiness on a kick drum or low toms.
Gate:
Fast attack setting to allow percussive transients to
pass through. Precise settings will depend on microphone
type and placement.
Reverb:
Keep kick drum ‘dry’. Try a percussion plate
setting with a 2.5S decay time on other drums.
SECTION 6: In the Studio
28
15
15
12
12
9
9
6
6
3
3
0
– +
15
15
12
12
9
9
6
6
3
3
0
– +
15
15
12
12
9
9
6
6
3
3
0
– +
5
5
4
4
3
3
2
2
1
1
0
MIC
LF
10
0
HF
SEND
RETURN
INSERT
LINE
TRACK
+48v
DIRECT
0
– +
LINE
-20dB
EQ TO
MNTR
15
15
12
12
9
9
6
6
3
3
0
– +
15
15
12
12
9
9
6
6
3
3
0
– +
10
0
10
0
10
0
15
15
12
12
9
9
6
6
3
3
0
– +
15
15
12
12
9
9
6
6
3
3
0
– +
5
5
4
4
3
3
2
2
1
1
0
10
5
0
5
10
15
20
30
23
CHAN
PAN
PK
PFL
ON
MNTR
FDR
MNTR
PAN
AUX
4
AUX
3
MNTR
FB2
TAPE
TRIM
60dB
10
40
30
20
15
CHAN/MNTR
INPUT REV
GAIN
50
100
200
300
400
800
1.6KHZ
500
1k
2k
3k
4k
8k
16KHZ
HMID
CHAN
L
R
L
R
PK
PFL
ON
40
MIX
1-2
3-4
5-6
7-8
∞
23
20
10
LMID
CHAN
FB1
AUX
1
AUX
2
FIG. 6.3
13924 Inners 7/8/01 2:56 pm Page 28
Summary of Contents for Spirit SX
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