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Chapter 3: Audio Connections 19
Connections for Stereo
Monitoring
You can achieve a basic monitoring configura-
tion through Control|24 by using stereo mix
playback in Pro Tools in conjunction with two
25-pin D-Sub breakout cables (one for input and
one for output).
Main and Alt Inputs
To monitor Pro Tools sessions in Stereo Mix mode:
1
Confirm that you have a male 25-pin D-Sub
connector that breaks out to the correct type of
connectors for your patch bay or audio inter-
face.
2
Attach the 25-pin D-Sub end of your breakout
cable to the 25-pin D-Sub connector labeled
PRO TOOLS MONITOR IN.
3
Connect the breakout cables corresponding to
channels 1–2 to your stereo main mix outputs
(usually outputs 1 and 2) of the Pro Tools audio
interface.
Alternate Source Inputs
Control|24 provides three pairs of alternate
source inputs, to integrate stereo returns from
DAT, cassette, or CD players.
To connect alternate (external) source inputs:
1
Attach the 25-pin D-Sub end of a breakout ca-
bles to the EXTERNAL SOURCES IN connector.
2
Connect the breakout cables to balanced ste-
reo sources as desired.
Main and Alt Speaker Outputs
To connect stereo output from Control|24 for
monitoring:
1
Confirm that you have a 25-pin D-Sub con-
nector that breaks out to the correct type of con-
nectors for your patch bay or monitor system
(amplifier, mixer, or powered speakers).
2
Attach the 25-pin D-Sub end of your breakout
cable to the 25-pin D-Sub connector labeled
SPEAKERS OUT.
3
Connect channels 1–2 to the inputs of your
monitor system.
The level to these speakers is adjusted with the
MAIN MONITOR LEVEL control.
To connect an alternate set of speakers:
■
Connect channels 7–8 of the SPEAKERS OUT
cable harness to the inputs of your alternate ste-
reo monitor system.
The level to these speakers is adjusted with the
ALT MONITOR control.
The Communication/Headphones section also
provides level controls and basic monitor rout-
ing controls for Headphone, Aux, Listen Mic
and Talkback Mic levels.
There are many different possible applications
and configurations within the Control Room
Monitor Section, including multiple stereo
source monitoring and submixing extra auxil-
iary return channels. See Chapter 8, “Control
Room Monitor Section.”