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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 CONTROL 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 MONitor 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.

Recording 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 first track to be recorded is the basic

rhythm track, consisting of the electronic

rhythm synthesizer ( L I N E IN, 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 instruments. The cue mix

is created in the same way the stage monitor mix

was done in the previous section. Since, in this

mix, only the bass and synth players need to

hear the rhythm signal, use the AUX 1 send on

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 LEVEL and PAN controls and the

STE R EO L and R FADE RS. Select STE REO
on MONITOR SWITCH RACK and set LEVEL
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

STUDIO speaker system, raise the MONO

MASTER FADER. 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 adjusted

later, many problems are impossible to "fix in

the mix".