brandon symonds studio manual

8/13/2019 Brandon Symonds Studio Manual

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Studio Manual

BRANDON SYMONDS


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Health and safety

No Food & Drinks

Watch out for trip hazards No Smoking at all times

No Running

Keep fire exits clear at all times

Get Equipment pat Tested regularly( Portable Appliance Testing )


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Inside The Studio


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Birdseye view of the studio


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Mixing Desk Channel

Strip


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Channel strip

1. The channel input sectionhas bothmicrophone and line inputs whichshare the gain control.

+48V is Phantom power which shouldbe applied to power a condenser

microphone.

The lineswitch selects the line inputjack so you can plug an instrument

in.

The switch reverses the phase ofthe selected input to compensate for

conflicting microphones. for exampleif youve got two microphones

recording simultaneously you can

take out the conflicting

signals

A fixed frequency of 100Hz

can be provided into the mix

by pressing the 100hz switch

The SUBswitch allows theoutput from one of 8 mix buses

to be switched into thechannel path which.


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2. A Noise gate can be inserted in the

signal path by pressing IN this is normally

placed in the monitor path.

The sidechain is normally fed from the

source feeding the gate. The FLIP switchswaps the source for the sidechain to the

other signal path.

The RNGE switch increases the range of

the gate from the default setting of 15dBto 60dB

The THR control is the threshold which

allows your gate to be varied from -40dB

to +10dB

The IN switch places a wide band pass

filter in the side chain,

The Rel control is a release

that varies the recoverytime after the gate is on

from 0.1 to 4 seconds.

If the Hold switch is pressedthe release time is fixed at0.1 and the release control

varies the hold time at

which is the time delaybetween the trigger signal

going away and the gate

starting to close.

The shut led lights up to

show when the gate itshut.


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3.The equalizer is a 4 band swept

mid design which is arranged as

two separate sections. Both

sections are normally placed in

the channel path but may be

individually switched into the

monitor path of mix by pressing

the MON switch

The High Frequency section is thesecond part of the equalizer giving

a 15dB cut or boost at a fixed

turnover frequency of 12kHz

The Low Frequency section also

provides a 15dB cut or boost at afixed turnover frequency of 60Hz

but is asymmetric to avoid too

much VLF by a digital system

The Insert point is located

before this EQ section and

moves with it when the MONswitch is pressed.

The High Middle Frequency

and Low Middle Frequency

sections have a peak

boost/notch cut response at

center frequencies variable

between 600Hz12Hz and100Hz- 2kHz

The entire EQ section HighFrequency/Low Frequencyand High Middle

Frequency/Low Middle

Frequency may be switch toIN or OUT with the EQ IN

switch.


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4.Six Auxiliary Sends are providedand are arranged in two sections.Aux 1 and 2 are intended primarily

for fold back and are normally pre-fade and in the monitor path.

Pressing Channel sources them fromthe channel and Post makes them

post-fade. Aux 1 is a stereo send andfollows the channel or monitor evenwhen pre-fade.

Aux 3 to 6 are intended for effects.They are permanently in the monitor

path and post fade.


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XFX moves the source point for the

channel fader to post the monitor

fader so that you can use the tape

send or routing matrix as additional

sends when mixing.

When the bounce switch BNCE ispressed the monitor path is unhooked

from the mix bus and moved to feed

the group routing switches. This allows

easy bouncing of tracks and makesthe monitor channel solo safe to

protect the inputs to the group when

solo is active.

The PFL switch allows direct monitoring

of the signal at either the input of the

channel fader or the input of the

channel CUT switch.

5. The Channel Fader sets the

level sent to the tape send,

subgroups busses or mix. Thefader has 10dB of gain at the top

of its travel and is cut by the CUTswitch.

The Rev switch swaps the function

of the channel fader and the

long-throw fader.

The CH PANcontrol determinesthe position of the signal within

the stereo and routes the signal to

any of the eight group busses via

the ROUTING SWITCHES. When

panning left you send the signal

to odd number busses and when

panning right you send to even

busses.

The MIX switch routes the channel

signal to the stereo mix bus so

that you can use the channel

path as another input on

mixdown


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When the monitor solo button if

pressed mutes all the other monitor

paths.

The Peak led light. Lights up when

less than 6dB of headroom is

remaining at the three main placesof the signal chain: the input Pre-

amp, the high frequency/low

frequency EQ and the MF EQsections.

The channel active light is there to

monitorthe output of the input pre-amp and lights up if the level

exceeds -20dBu

6. The monitor path is normally fed

from the tape return input, to make

use of the automatic input switching

in the tape machine. A trim controlwith a range of 10dB is provided on

the lower section of the input gain

control and this is at the normal 0dBpoint.

Pressing the send tape switch feeds

the monitor path from that modules

tape send enabling you to hear thesignal being sent to the tape. The

PAN control positions signal acrossthe stereo bus at a level determined

by the long-throw monitor fader. This

fader has +10dB gain at the top of

its travel and is cut by the CUT

switch.


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7.Four mute switches allow

the monitor path to becontrolled by the mastermute button.

MetersThe I/O is sourced from themonitor path and follows themonitor SEND switch to show

either off tape or group buslevels.


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Patchbay

Line In - Input for line instruments

INS Send - Delivery Inserted signals to outboard controls

INS Return - Returns the signal from the INS send

Channel Out - Is an alternative to group outputting Tape Send - Does the same thing as Channel out

Tape Return -Returns the CPU signal from logic back to themixer

Mon In -Does a similar thing to Tape Return


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Micing up a drum kit

Use the correct mics for kick, snare and toms

Create 8 channels on logic and name them fromKick to Overhead.

Mic up the drums in the order you have yourchannels on logic

Kick, Top snare, Bottom snare, Rack tom, Floortom, Hi Hats, Overhead Left, Overhead Right


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Recording

When recording drum kits you have to have each mic ona seperate channel. You need to have phantom poweron for the condenser mics. You need to make sure youhave enough gain to pic up the drums you can use a

noise gate but it can make the sound of the drums toogeneric. You have to make sure each drum channel is setto a group output on the main desk for example if youhave a channel set to GROUP OUTPUT 1 then you have tohave that channel and MIC INPUT 1 on Logic. You thenarm the channels buy clicking the R that will be indicatedunderneath the channel name. You then check the levels

of the drums if some are peaking you turn the gain down.Once you have all your levels you will need to arm eachchannel and click record with could be either the recordbutton on logic or R and even * both on the keyboard.Once your drummer has finished playing you need to waitfor the drums to ring out before you stop recording.

brandon symonds studio manual

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