Q u i c k S t a r t G u i d e
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The configuration shown in Figure 8 has
two external effects devices connected for
monitoring. Aux 8 send goes to a digital reverb,
which has stereo outputs that feed into the line
inputs of channels 19 and 20. Aux 11–12 goes
out to a multi-effects stereo processor, which
then comes back to the Digital 8•Bus through
the line inputs of channels 23 and 24.
In addition, Aux 1 and 2 are routed to the
internal FX Card which processes the signal
with whatever plug-in has been downloaded to
it. The processed signal is returned to the L-R
bus via the FX 1–4 channel strips in Fader
Bank 3.
• Connect the CR MAIN (or CR NEAR FIELD)
output to the inputs of a power amp which
powers the control room monitors.
• Connect the STUDIO OUTputs to the inputs
of a power amp which powers the studio
monitors.
Note:
If you’re using powered monitors,
connect the CR outputs and Studio outputs
directly to the inputs of the monitor.
• The signal at the CR MAIN, CR NEAR
FIELD, and the STUDIO OUT is determined
by the Control Room Source selection in the
Control Room Section.
• You can connect a pair of headphones to the
PHONES 1 or 2 jack and monitor the signal
there as well. Select CONTROL ROOM as
the source in the PHONES/CUE MIX 1 or 2
Section.
CONTROL ROOM
COPY MIX TO CUE
AUX 9-10
AUX 11-12
LEVEL
PHONES/CUE MIX 1
Hookup for Mixdown
The beauty of the split-console approach is
that you don’t have to repatch your cables
when you finish tracking. You’re always ready
to delve right into mixing down the tracks
you’ve recorded. Refer to Figure 9 for a sample
hookup for mixdown.
• The outputs from your multitrack recorders
should already be connected to the TAPE IN
jacks on the Digital 8•Bus’s Tape I/O cards.
• Connect the Left and Right MASTER OUT
XLR jacks to your 2-track recorder.
• Assign all the TAPE channels (25–48) to the
L-R bus.
The hookup diagram in Figure 9 shows how
to connect a couple of different external effects
boxes.
• AUX 8 is connected to the input of a digital
delay, whose output is connected to channel
20 Line In.
• AUX 11 and 12 feed the input to a stereo
reverb, whose stereo outputs are connected
to the line inputs of channels 23 and 24.
• Any tracks that you want to send through
the digital delay should be sent to AUX 8.
Select AUX 8 in the V-Pot Select Section and
adjust the V-Pot on the channel to set the
send level to the delay.
• The AUX sends are post-fader by default. If
you desire, you can change any of the aux
sends to pre-fader by pressing the GENERAL
button in the Setup Section and selecting
Pre-Post in the Fat Channel Display (press
the NEXT button to scroll to page 2 of the
General Setup menu).
• Use channel 20 to control the amount of
digital delay signal in your final mix.
• Any tracks that you want to go through the
stereo reverb should be sent to Aux 11–12.
• Use channels 23 and 24 to control the
amount of reverb in your final mix.
• Leave the Control Room Monitors connected
as you did for the Tracking hookup. Likewise,
you can monitor the mix using headphones
connected to the PHONES 1 or 2 jack.
• The hookup diagram also shows an optional
connection for a digital 2-track recorder
using the AES/EBU Digital I/O connection,
which provides a digital output of your
stereo mix. Connect the output from the
digital 2-track to the AES/EBU input on the
console, and you can monitor the signal
from the digital 2-track in the Control Room
output by selecting DIGITAL IN 1 in the
Control Room Section.
Hookup for Multitrack Recording
