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Mixing, Outboard and Final Capture

DAW Returns, Subgroups and EQ​

Bring DAW audio into the console​

Recorded tracks normally return through the DAW/Tape inputs and appear on the Long Faders.

  1. Leave MTR FLIP in its normal position so the large meters display the DAW/Tape returns.
  2. Engage MIX on each LF path required in the stereo mix.
  3. Bring the Long Faders to approximately 0 dB as a starting point.
  4. Confirm level on the main stereo meters and through the control-room monitors.

Create subgroups​

ASP8024-HE provides eight subgroup paths using buses 1–8.

  1. On each channel to be grouped, engage LF beside the bus-routing matrix so the Long Fader mix signal feeds the buses.
  2. Select the required bus or bus pair.
  3. For a stereo subgroup, engage FOLLOW PAN and select an odd/even pair such as 1/2.
  4. Pan the source channels as required.
  5. On the subgroup masters, engage MIX, set subgroup pan and raise the subgroup faders.

With Follow Pan active, odd buses represent the left side and even buses the right side of the stereo pair.

Add channel EQ​

Engage IN on the required EQ section. With its SF switch disengaged, that section acts on the LF/DAW return path.

  • Use the shelf bands for broad high- or low-frequency changes.
  • Use the parametric mids when a specific frequency range needs more precise adjustment.
  • Adjust Q/BW to make the affected range wider or narrower.

Outboard, Mix Bus Processing and Final Capture​

Channel and subgroup inserts​

Use an insert when an external processor should act directly in series with one channel or subgroup.

For a DAW/Tape return, connect the processor between that channel's insert send and return and engage the DAW/Tape INSERT ACTIVE switch. Subgroup inserts work in the same way and are useful when several channels need the same bus processing.

Auxiliary effects​

Use an auxiliary when several channels should feed the same processor without replacing the dry signals.

  1. Connect the required Aux output to the processor input.
  2. Return the processor to an unused input channel or Stereo EFX input.
  3. Raise the Aux send on each contributing channel.
  4. Raise the corresponding Aux Master.
  5. Use the Aux Master SOLO control to check the feed to the processor.

Stereo Mix Bus​

The stereo mix is summed through John Hardy 990C discrete amplifiers and then passes to the Heritage Output Card.

With RETRO IRON engaged, the Carnhill transformer stage is inserted. LOW BUMP adds the broad 60 Hz lift and HIGH LIFT the broad 20 kHz lift.

The stereo Mix Insert follows the Heritage stage. For stereo outboard processing, use a true stereo/stereo-linked unit or a well-matched pair to maintain left/right balance.

Add Mix Bus compression​

The stereo VCA compressor follows the Mix Insert.

  1. Engage IN.
  2. Set THRESHOLD and RATIO for the required amount of compression.
  3. Adjust ATTACK and RELEASE for the desired transient and recovery behaviour.
  4. Use BASS EXPAND when low frequencies are causing unwanted detector action.
  5. Restore output level with GAIN MAKE-UP while comparing the processed and bypassed levels.

Capture the final mix​

Connect one of the three stereo Mix Outputs to the DAW or another stereo recorder and record the mix from beginning to end.

Fader rides and control changes can be performed in real time during the pass. When DLC/Faderlink is fitted, eight channels of VCA movement and Cut automation can instead be recorded and recalled from the DAW.

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