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start | overview | signal flow | screen | midi | cue levels and overdub | quick manual | repair
Inhoud:
A. Overdubbing
B. Cue Levels
Overdubbing is the technique used to record new sounds to empty tracks while listening to the sounds already recorded on other tracks.
Monitoring while overdubbing
Monitoring can get surprisingly tricky when overdubbing or punching in. A musician obviously needs to hear herself while recording, but she also needs her own mix of the existing tracks to which she is adding.
What you hear during playback:
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in tape-style monitoring you hear only track playback when the transport is in Play, while
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in ‘standard’ DAW monitoring, you hear the live input mixed with track playback.
In both systems, only live input to record-enabled tracks is monitored when the transport is stopped or when it’s in Record.
(Google "cue level" monitoring)
Behringer UMC1820 – Thomann Nederland
De 10 uitgangskanalen bieden me in samenwerking met Studio One Pro een hele mooie mogelijkheid om zgn. cue-mixes te maken. (voor iedere muziekant een eigen cue-mix op de kloptelefoon).
Foldback Mix
A "foldback mix" is a separate, special tailored sound mix for artists in the studio or on stage. This way, they can hear their own part, and/or other instruments during recording or performing live. This system, called "monitor or cue-system", uses special sound speakers (monitors, or IEM - in-ear monitors) creates a mix that is different from the sound the audience hears.
A system for making one or more separate mixes audible to musicians while performing, recording and overdubbing. Also known as a Cue mix. Some of the mixers have a CUE A and a CUE B for the generation of 2 separate mixes for 2 different live artists. They use multiple artist monitoring systems such as Aviom or Hearback systems, while still being able to record and have engineer speakers and headphones. For more info: search Youtube for "Touring Monitor Engineer".
Cue Mix
Cue Mixes allow you to send audio coming into the mixer to different mono or stereo outputs, these can be inputs from the preamps, but also the audio coming back from your DAW or computer. For example, an artist can monitor themselves directly, while also receiving a foldback mix coming from the DAW. This foldback mix can be different to your main mix, so you can give the artist what they want to hear and not compromise your own mix.
Cue Mixes are very easy to create using the Cue faders on the mixer channels. The overall Cue level can be adjusted using the Cue Masters, the Cue Masters also have a Solo which allows you to preview the mix.
Once you are happy with the Cue Mix, you can use the Routing Matrix found in the System Panel to route it to an analogue or digital output.
Playing Cues for a Show
(https://www.showcuesystems.com/)
Set up the computer and associated equipment as described in the previous section. In tech week (or before) you will need to determine the level required for each cue. Generally speaking, try to set your cue levels such that the sound desk faders can be run at 'unity' or '0'. Determine a cue's level from the Edit window for the cue. The sound desk fader should be set to the optimum position as mentioned earlier, and then use the cue's 'Level' fader and 'Pan' control to set the required cue level and pan.
Bear in mind that a number of factors will affect the level of the sound reproduced. You need to ensure that the only variable will be the level of the fader. Other controls that can affect the level include are Gain control on mixer channel, Equalization, Group faders, Master faders, Stage Monitor levels.
On the whole, you’re better off using fewer cue mixes when you can, because, believe it or not, it usually takes even longer to set up four mixes for four musicians than to negotiate compromises between them on two mixes shared amongst everyone.
Generally, a musician wants to hear himself, loud, plus one or two other key instruments such as bass and drums. Other tracks may or may not be needed in the cue mix, depending on circumstances. Setting up monitoring and cue mixes can get surprisingly tricky and be labour-intensive, but a good cue mix can make a tremendous difference to a musician’s performance.
Cue mixes should be entirely independent of the control-room mix, one reason being that that an engineer can solo up a mic and listen without disturbing the musician’s mix. Currently, Studio One cannot do this; soloing affects all outputs. It’s a significant problem.
Adding Effects
It is common to want to add effects to your cue mixes.
just set up a reverb or effect on an FX or bus channel, as you usually would while mixing, then dial the return into the cue mix send. Many interfaces with hardware-based, low-latency monitoring also include at least basic effects on board. If those effects are acceptable for the purpose, they provide a fast and simple way to give performers reverb, delay and so on in cue mixes. However, onboard effects are often not as flexible or as good as dedicated outboard devices.
There are multiple ways to do it, but I usually create another audio track fed by the same input, add a reverb or effects plug-in set to an ‘all wet’ signal, then dial that in to a cue submix.