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Channels Source Route Destination
1 Kick Direct out Track 2
2 Snare Direct out Track 3
3 Hi Hat Direct out Track 4
4 Tom 1 Subgroups 5 and 6 Tracks 5 and 6
5 Tom 2 Subgroups 5 and 6 Tracks 5 and 6
6 Tom 3 Subgroups 5 and 6 Tracks 5 and 6
7 Tom 4 Subgroups 5 and 6 Tracks 5 and 6
8 Cymbals (overheads) L Direct out Track 7
9 Cymbals (overheads) R Direct out Track 8
10 Bass microphone Subgroup 3 Track 1
11 Bass DI Subgroup 3 Track 1
12 Escaping prisoners Subgroup 4 Who knows?
13 Trumpet Subgroups 1 and 2 Tracks 9 and 10
14 Trombone Subgroups 1 and 2 Tracks 9 and 10
15 Sax Subgroups 1 and 2 Tracks 9 and 10
16 BVs 1 Subgroups 7 and 8 Tracks 11 and 12
17 BVs 2 Subgroups 7 and 8 Tracks 11 and 12
18 BVs 3 Subgroups 7 and 8 Tracks 11 and 12
19 Conga L Direct out Track 13
20 Conga R Direct out Track 14
21 Guitar 1 microphone Direct out Track 15
22 Guitar 2 microphone Direct out Track 16
23 Lead vocal Direct out Track 17
Tab. 16.1: Channel assignment
Tape Monitoring will be via MIX-B in tape return mode. Once tracks are layed, they will be flipped onto the
A-channels (1 to 17), and overdubbing can commence via tracks 18 to 24. Also “bouncing”, reducing several
tracks onto one or a stereo pair, requires access to the full routing matrix. This is available to the A-channels,
but not the B-channels.
16.2 Very tricky headphones
In a multi-musician scenario you’ll probably want as many different headphones mixes as you can muster.
With the current channel/group/track assignments it is possible to set up four independent, or semi-independent,
headphone feeds while still keeping back auxes 3/4/5/6 for “wet” monitoring (see 16.3).
Subgroup 7 => aux return 3 => headphones 1 Subgroup 8 => aux return 4 => headphones 2
Main mix (and)/or MIX-B => headphones 1 Main mix (and)/or MIX-B => headphones 2
Active switches: S55/(S82, S77)/S76 Active switches: S69/(S82, S89)/S88
See also fig. 14.4 “Subgroup driven auxless headphones mix” and associated text.
In the above configuration HP1 and HP2 comprise a blend of the main mix, MIX-B and an additional feed from
a subgroup. The subgroup feed can be used to select which channel(s) should be boosted in the cans relative
to the main mixes.
+ Choose to send to subgroups 7 and 8 from channels which are routed to tape from their
DIRECT OUT. Otherwise CHANNEL PAN, which will already have been set for recording via
another group, is unlikely to be pointing to where you want the cue signal to go. Aux sends 1
and 2 are available as two separate mono headphone feeds, or as a single stereo headphone
feed. You’ll need an extra stereo amplifier to amplify the aux 1 and 2 outputs to drive headphones
properly.