18. LIVE CONCERT WITH 24-TRACK RECORDING
Stereo (quadraphonic) P.A. with sidefills, three infills, two wedge mixes, four FX and simultaneous
Channels | Source | Tape route | Destination |
1 | Kick | Direct out | Track 1 |
2 | Snare | Direct out | Track 2 |
3 | Hi Hat | Direct out | Track 3 |
4 | Tom 1 | Subgroups 5 and 6 | Tracks 5 and 6 |
5 | Tom 2 | Subgroups 5 and 6 | Tracks 5 and 6 |
6 | Tom 3 | Subgroups 5 and 6 | Tracks 5 and 6 |
7 | Tom 4 | Subgroups 5 and 6 | Tracks 5 and 6 |
8 | Cymbals (overheads) | Direct out | Track 4 |
9 | Keyboards L | Direct out | Track 7 |
10 | Keyboards R | Direct out | Track 8 |
11 | Bass DI | Direct out | Track 9 |
12 | Trumpet | Direct out | Track 10 |
13 | Trombone | Direct out | Track 11 |
14 | Sax | Direct out | Track 12 |
15 | BVs 1 | Direct out | Track 13 |
16 | BVs 2 | Direct out | Track 14 |
17 | BVs 3 | Direct out | Track 15 |
18 | Conga L | Direct out | Track 16 |
19 | Conga R | Direct out | Track 17 |
20 | Guitar 1 microphone | Direct out | Track 18 |
21 | Guitar 2 microphone | Direct out | Track 19 |
22 | Lead vocal | Direct out | Track 20 |
23 | Main echo / reverb return | (Send = aux 3) | Track 21 |
24 | Main echo / reverb return | (Send = aux 3) | Track 22 |
Tab. 18.1: Channel assignments
None of the tape tracks can be auditioned in this configuration. The channel fader controls the level to tape,
The channel inserts (which are pre fader), may be used as virtual direct outs. Hopefully you will be able to set the input gains (P2) to suit the multitrack on any channel that does not have a massive EQ (i.e. energy) swing away from 0 dB. The consequent lack of any desk EQ on your tape tracks might even be an advantage when it comes to remixing the concert back in the studio.
Using this setup, you can even change the P.A. to a quadrophonic system. Positioning takes place by balancing the main mix (channel fader, PANpot P24) against
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