Carvin SL40C Standard Studio Mixer Setups, Channel, S/L series consoles are designed for In-line

Figure 5-2

MULTI-TRACK RECORDER

5. Standard Studio Mixer Setups

Figure 5-1

DIRECT OUT

The following section describes two of the more common Studio recording setups. These setups are not the only setups you can use, many of the connections described here can be combined and customized to provide the best setup for you. The first Setup is based on the In-Line recording method and the second setup is based on the Split recording method.

In-Line Recording Setup.

CHANNEL

MIC

LINE PAD

line pad (-11dB)

TAPE IN

MIC-PRE

INSERT

FADER

4 BAND

CHANNEL EQ

CONTROLS

TAPE

AUX

SENDS

AUX TAPE

SWITCHS

The S/L series consoles are designed for In-line

recording. In-line recording is where each mixer channel can handle a mic input, a direct output to a multi-track and a tape return input from the multi-track. This is due to the dual in-line channel format of the S/L series console. The dual In-line channel is made up of two individual channel signal paths, a minor path for monitoring and a main, full featured path for tracking and final mix down. These two signal paths are sourced by two inputs at the MIC input (including LINE IN) and the TAPE IN. With the use of the TAPE switch, either of the two input paths can flow through either of the two signal paths.

When the TAPE switch is OUT, the MIC/LINE IN goes through the main signal path providing access to: the channel insert, the EQ section, all the Auxiliaries, the Fader, the DIRECT OUTPUT and Bus assignments. The tape input goes through the minor path, which can be accessed via the Aux 7-8 “TAPE” switch or the Aux 5-6 “TAPE 5-6” switch. This is the typical setup for tracking (recording instru-

ments to the multi-track unit’s individual tracks), where a mic is plugged into the channel’s XLR MIC input. Then via the channel DIRECT

OUTPUT, the mic is recorded on one track of the recording unit. At the same time on the chan- nel, the output of the recording unit can be mon- itored via the tape input and the Aux 7-8 TAPE switch.

When the TAPE switch is IN the inputs are flipped and the tape input goes through the main path and the MIC goes through the minor path. This is the typical setup for mix down (where all the recorded tracks are mixed to a

stereo mix). The MIC input can be used as an input in the mix down to add more effects returns and/or midi tracks to the stereo mix. Figure 5-1shows a block diagram of the chan- nel and the modes of the TAPE switch. When the TAPE switch is fully understood, it can become a very powerful recording tool.

TRACK OUTPUT

TRACK INPUT

Figure 5-2shows channel input connections for the In-line format. Here the mic and line inputs are both used in the example, but typically one or the other would be used. In the example the multi-track recorder is showing the inputs and outputs of one track. The rest of the tracks would be setup on the other channels in the same manner. One of the key points here is that these connections can be left connected in both the tracking and mix down modes because the TAPE switches re-patch the inputs for the two modes internally.

PHANTOM

POWER

169-16

DIRECT OUT

TAPE

IN

LINE

IN

MIC

INSERT

DIRECT OUT

TAPE IN

LINE IN

MIC IN

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