Channel 24 is of course the MIC input. A compressor might be patched into the channel 24 insert. Keep this channel free until the mix absolutely demands its services, just in case you want to add in any last minute singing, or any last minute anything!
The B-channel line inputs (tape returns) can accomodate even more MIDI expanders and synths, etc.
14.4 Lining up record/sample inputs
Set the relevant TAPE OUTPUT and INPUT switches (located at the rear of the console) to match the operating level of your 8-track (consult manual, “phone manufacturer”, or simply “suck & see” to find which setting works best). The sampler’s variable input gain range should be more than wide enough to accept either -10 dBV or +4 dBu. There is no oscillator in the EURODESK MX9000, but you can use a simple unmodulated sustained tone from a keyboard. Choose one around 1 kHz (B above middle C is 997 or 1002 Hz depending on whether you are using the tempered scale or “just” tuning: either way it’s close enough for jazz). Set the channel EQ to OFF, and line up the channel according to the “Setting up procedure” (section 13.1). Route this signal to all subgroups and adjust the SUBGROUP OUTPUT FADERS until the bargraph meters read
0dB. Now put the recorder into INPUT mode on all channels, and the sampler into SAMPLE mode. If the tape operating level switches are correctly set, then 0 dB on the subgroup output meters should also show 0 dB on the tape recorder’s input meters. A discrepancy of +/-14 dB indicates a wrong operating level selection. Small discrepancies may be taken up by the SUBGROUP FADERs, though a better solution would be to get the multitrack, properly aligned. (Refer to multitrack manual and/or qualified personnel.) Adjust the sampler’s input level until it also reads 0 dB.
+Beware of inaccurate/uncalibrated sampler input meters. Work out how hard you can safely drive the sampler’s input, reference this to 0 dB on a EURODESK subgroup meter, then take note of the sampler’s input gain pot setting. (Or use soft adhesive tape etc. to hold it in one position.)
(For more info on digital metering and associated problems see section 13.2.3.)
14.5 Mixdown
The situation here is no different from record, really, save that the subgroups may now be routed directly to the main mix (L/R) bus (S35 to 38) for easier mixing. Remember, you started off with the tape returns coming up on A-channels 1 to 8, therefore there is no need to “flip” them. You will probably (definitely) be running lots of MIDI sequencer tracks live. Take care not to encourage MIDI delays (see section 22 “SEQUENCING LIVE”).
15. 16-TRACK RECORDING WITH 2 SAMPLERS
15.1 Recording
Subgroup outputs/tape sends 1 to 16 should be wired to the multitrack record inputs 1 to 16. Sampler inputs should be connected to subgroup outs 5, 6, 7 and 8 via custom-made Y-adaptors. Lining up is as per the previous example (see section 14.3). When choosing which outputs to assign where, you have to consider that you have got maybe 16 tape and 16 or 20 sampler outputs to accommodate onto 24 A-channels (and 24 B-channels)! Which are you most likely to want to bounce from? We’d suggest all audio tape tracks be returned on A-Channels, while at least one stereo output from a sampler is also brought back on a pair of A-channels for “flying in” (a sampler can pick up e.g. chorus vocal and drop it into all choruses, or sample a particularly nifty bit of flanging on a drum loop etc.; then lay the effected loop back to tape, without re- patching). Most other sampler outputs and MIDI keyboards which need to be heard but not recorded can be assigned to B-channels. The remaining six or so A-channels may then be used for overdubs.
