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Fig. 14.3: Slightly more complicated auxless headphones mix
Alternatively:
If you need to hear the harmonies, but they’re putting the vocalist off key, you’ll want to be able to delete
channels from the headphone mix. If you still don’t want to assign a couple of aux buses to headphones
monitoring because this would disturb the main mix, the following suggestion might prove useful. Set up a
separate channel assignment on a spare subgroup pair. Feed the output into aux return 3. Route aux return 3
to headphones 1 (S 55) and de-assign the main mix (S77). Now you can delete distracting channels from the
vocalist’s backing track mix (see fig. 14.4).
Fig. 14.4: Subgroup-driven auxless headphones mix
This configuration does not allow for anything coming in on B-channels to be sent to headphones. If you need
to do this, S76 must also be depressed.
+ In all cases the WET/DRY balance of the extra vocal signal takes place within the FX processor.
+ The above example refers to aux 3 return > headphones 1. An analogous situation is possible
for aux 4/5/6 return > headphones 1 or 2.
14.3 Returns
Channels 1 to 8: When you’ve only got eight tape returns, you can afford to bring them back on main
channels to enable e.g. chorus vocal comps. or recorded real-time mixing effects such as frequency sweeping
to be quickly bounced or sampled off via subgroups.
Channels 9 to 23: The most important SYNTH/SAMPLER outputs. Those most likely to need full EQ or to be
recorded to tape. You might have one minimoog, but half-a-dozen uses for it. Put it on an A-channel. You’ll
want to record and/or sample it in action.