Vision manual page:27
9.0 Instructions for operation
The Vision is designed to be the perfect answer for multitrack and MIDI studios as well as live sound mixing.
In order to get more familiar with the Vision, we shall discuss the entire recording process and divide it into five basic
sequences.
Sequence 1 through 4 are for the more conventional recording studios, and sequence 5 is for the MIDI studio.
The session
- Recording from microphone or line input onto the multitrack machine. This could be from one or more
channels at a time.
The playback
- In this mode you would listen to what has been recorded on
the
multitrack machine.
The overdub
- Overdubbing is listening to already recorded tracks and recording on empty tracks until all tracks are filled.
The remix
- Playing of all recorded tracks together with signal processing equipment and all that is necessary to
create the final mix down.
The MIDI or Virtual Tracking
- Programmed keyboards, drum machines, reverbs, effects, Amy singing and who knows what
else, all at the same time direct to your DAT Machine, two track master machine, or cassette deck.
Sequence 1 - The Session
Record -
This is the beginning of a session. All input channels are placed in the mike mode by leaving the line
switch in the up position if the microphone input is to be used in this channel. Phantom powering is applied if necessary.
The EQ switch should be in the up position unless you require EQ on that channel signal.
The signal flows through the fader and is available post fader to be routed by way of the assignment
switches which can feed the input to your multitrack recorder. The GROUP LED bar graph reads the outgoing signal.
Microphone / Line Gain
The amount of gain required may depend on the type of microphone being used, the sound pressure level, and the
distance between the sound source and microphone. When the line switch is activated, the same gain control varies the
gain of the separate electronics for the balanced line input. The “phase” switch affects the mike input only.
After plugging in a mike or line signal, depress the channel solo switch above the channel fader you are setting, set the
solo status switch to pfl in the master section, then turn the gain control (of that channel) clockwise until a “0" output
level is reached on the master meters. Now slide up the channel fader to “0". Now switch the solo out. If the signal
source gets louder or softer, it may be necessary to re-check this setting. The volume will also fluctuate if you boost
or cut the equalizer section.
Monitoring
With the Vision series, you are able to monitor your multitrack by way of the separate monitor section in the group
output modules. The monitor section of group output module allows you to have a monitor signal with EQ.
Multiple Modules Assigned to One or Two Tracks
When more than one microphone or line signal has to be recorded on a single track or in stereo on two tracks, a
sub mix facility is required. This can be done easily on the Vision by way of the internal subgroup amplifiers located on
the group modules. Simply route to one of the 4/8 subgroups by activating a channel routing switch on as many input
modules as required.
Decide on which track you wish to record these signals and activate the related number. The channel metering will show
the channel level while the subgroup meter shows the subgroup level which can be changed overall by the group fader.
In order to monitor these tracks, the RET (tape) switch should be in the up position for monitoring pre-tape
(console out) and in the down position for monitoring post-tape (RET, tape switch down). If you wish to route
several inputs to a track higher than 8, you would use the direct outputs on the individual channels, or would use Y
cords and extra group returns to listen to the tape returns.
Insert Channel / Group
For high dynamic range types of inputs, a signal processor such as a compressor / limiter can be inserted in the channel or
in the group insert if an entire group signal is to be processed.
Headphone (Cue)
During recording it is essential that the talent hears an independent mix of what the engineer and producer are hearing.
Headphone mixes are usually derived from pre-fader auxilliaries. In the Vision aux 1
and/or 2 are ideal for this purpose. The best way to build a mix
for the headphones is to have the monitor section of the group module feed aux busses 1 and or 2. When there is
limited time to set up
a headphone mix, give the talent the CRM mix (in the Phones section of the master modules) and build up an
independent headphone mix on aux 1 & 2 when time allows.
