Sample Tracking Setup

This diagram shows a typical hookup for tracking. Four microphones are connected to channels 1–4 for vocals. Two of them are condenser mics, which require phantom power, so the +48V PH switch is pushed in on those channels. A vocal enhancer is connected to the channel 1 INSERT jack to add a special effect to the lead vocal.

Note: During tracking, dynamics control, like compression and limiting, are often included (insert or onboard) at the beginning of a signal path. Effects, like reverb, delay, and chorus are best left for adjustment during mixdown, or during tracking for monitor use only.

Various instruments are connected to the line inputs of channels 11–14, either directly from their line-level outputs or through effects boxes or direct boxes.

Each input from channels 1–24 is assigned to a tape output, which can be connected to an 8-, 16-, or 24-track recorder—simply use the appropriate I/O card for your setup. You can assign any input (1–48), any return (FX 1–16, RET 1–8), and Bus 1–8 to any unused tape out using the ROUTE TO TAPE button in the Bus Assignment Section (refer to Chapter 2 for review).

Monitoring

Connect the outputs from the recorders to the TAPE Inputs on the Digital 8•Bus. This allows you to monitor the signal as it’s being recorded (assuming your recorder has that capability).

To do this:

•Assign channels 25–48 (or whatever channels are being used for tape returns) to the L-R bus.

•In the Control Room Section, assign MASTER L-R as the Control Room Source.

The configuration shown has two external effects devices connected for monitoring. Aux 8 send goes to a digital reverb, which has stereo outputs that feed into the line inputs of channels 19 and 20. Aux 11–12 goes out to a multi-effects stereo processor, which then comes back to the Digital 8•Bus through the line inputs of channels 23 and 24.

In addition, Aux 1 and 2 are routed to the internal FX Card, which processes the signal with whatever plug-in has been downloaded to it. The processed signal is returned to the L-R bus via the FX 1–4 channel strips in Fader Bank 3.

The signal at the CR MAIN, CR NEAR FIELD, and the STUDIO OUT is determined by the Control Room Source selection in the Control Room Section.

You can connect a pair of headphones to the PHONES 1 or 2 jack and monitor the signal there as well. Select CONTROL ROOM as the source in the PHONES/CUE MIX 1 or 2 Section.

D8B Manual • Chapter 4 • page 100