Thanks to all for the responses on this topic. I'm
frankly astonished at the gear I can afford for a little
home studio now - 20 years ago when I worked in college radio,
having stuff like this would have been prohibitively expensive.
Now that I can afford it, I find there's a lifetime's work
learning it all - but what fun!
On Mon, 17 Feb 2003 06:07:41 -0800 (PST)
R Parker <rtp405@xxxxxxxxx> wrote:
> 2. I run seperate studio room (headphone) and monitor
> (control room) mixes.
>
> These are both equally important but the second one
> might be more interesting to us because it's a
> technical solution that's achievable with a software
> feature. If the following capability doesn't exist in
> a DAW, then it should.
It's funny you should mention this - I just worked out
a way of doing this when using the cedar closet... err..
vocal booth when the vocalist wants a different mix than
what I'm hearing.
> I achieve distinct mixes with an external digital
> mixer by sending all signals to both the monitor buss
> and Aux busses 1,2. The studio rooms, musicians,
> listen to Aux_1,2 while I listen to the monitor mix.
I use the mixer in my Delta 1010 for the "engineer's"
mix and send outputs to my outboard Behringer mixer, the
output of which goes to my new Behringer 4 channel headphone
amp. (How _do_ they make this stuff so damn inexpensive??)
I then have a LOT of leeway to do a decent headphone mix.
> If you've got to print keeper vocals during the
> initial tracking stage, then learn to pay very close
> attention to the vocals.
Taking careful notes here - this is GREAT advice!
> I'm a big fan of printing what I want and not fixing
> problems. Of course, I'm a dumbass and invariably
> there's something to fix but those things should be
> trivial. . . .
> BTW, a week ago, with all the above accounted for, I
> printed a keeper vocal that has pops in it. LoL
Whew, I feel better :)
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Without deviation from the norm, "progress" is not possible. - FZappa
