with even more gain, from unity to +15dB. For example, when you want a super “wet”

sound(mostly reverb), the extra gain allows you to bring the channel fader part way down (and the AUX send way up) so the sound is mostly reverb with just a touch of “dry” signal.

Don’t worry about having mono effects sends: almost all effects units, mono or stereo, have mono inputs. Even if there are two jacks labeled Left and Right, they are almost always combined into mono internally. In the rare cases when an effect actually has true stereo inputs, it is often more convenient to ignore that and treat it as mono anyway. If you really need to send in stereo, just use two AUX sends from the console. Route AUX 1, for example, to the left input and AUX 2 to the right. Then adjust the stereo perspective by favoring one or the other send. For instance, if you have a stereo synth into channels 23 and 24, use AUX 1 on channel 23 and AUX 2 on channel 24.

Note: In PRE mode, all AUX SENDS are connected pre-fader but post-EQ. This is usually the most useful setup, but if you prefer, all AUX SENDS can be modified to be pre-EQ, pre-fader. See Appendix C: Modifications on page 52.

AUX 1 & 2

Auxiliary sends 1 & 2 (24) have two independent level controls and share a common PRE/ POST switch.

When in the normal post mode, sends 1 & 2 get their signal after the channel fader and the MUTE switch. This is the usual configuration for an effects send, since the level of the effect should follow the volume adjustments made by the channel fader.

PRE (1&2)

With the PRE switch (25) depressed, AUX SENDS 1 & 2 receive their input from a point before the channel fader and MUTE switch, and are not affected by changes in these con- trols. This is the normal switch setting for creating stage monitor and/or studio cue headphone sends.

AUX 3, 4, 5, 6

Auxiliary sends 3, 4, 5, and 6 (26) are very similar to sends 1 & 2. The differences are in the SHIFT and SOURCE switches. Read on.

SHIFT

The SHIFT button (27) connects the two level controls, as a pair, to either sends 3 & 4 (in the up posi- tion) or to sends 5 & 6 (in the down position). Twice the sends in half the space.

SOURCE

The SOURCE switch (28) breaks AUX Sends 3-6 away from the main channel strip world that sends 1 & 2 are stuck in, and allows the sends to tap from another source: the MIX-B signal for that channel. This is a very handy thing, whatever you happen to be using MIX-B for.

If MIX-B is an additional input for your mix- down, then (when the SOURCE switch is depressed) AUX Sends 3-6 are effects sends connected to that source. If MIX-B is your studio monitor submix from the recorder, then AUX Sends 3-6 are a great source of headphone cue signals. They will follow playback, record and punch-ins automatically as your recorder does its stuff.

PRE (3-6)

The PRE switch (29) for Sends 3-4-5-6 functions just like the PRE switch sends 1 & 2, when the AUX SOURCE switch is in the CHANNEL (up) position.

Additionally, the PREswitch will tap the pre- level (and pre-mute) signal of whichever SOURCE you have selected-channel or MIX B.

 

 

T

 

 

I

 

 

V

 

 

I

 

 

T

 

 

Y

+4

-40dBV

MIC/LINE

10dB

50dB TAPE

TRIM

 

GAIN

 

 

 

FLIP

1

U

 

 

 

OO

+15

 

2U

OO

+15

AUX

PRE

3U

5

OO

+15

4U

6

OO

+15

AUX

SHIFT

16

PRE

CHANNEL

MIX-B

SOURCE

9