Tracking and Foldback

Recording and Multitrack Monitoring

Connect and set the input

1. Connect the microphone or instrument to the required Mic or Line input.
2. If using the TRS Line input, engage LINE.
3. If the microphone requires phantom power, mute the channel and reduce speaker/headphone monitoring before engaging 48V.
4. Press MTR FLIP when you need the larger channel meter to display the Mic/Line input.
5. Adjust GAIN while watching the meter and avoid the OVER indication.

Send the input to the recording system

For a straightforward session, the SF path normally feeds the matching multitrack bus.

1. Select the required bus in the routing matrix.
2. Leave the routing source on SF unless the LF path is intentionally being recorded.
3. Raise the Short Fader to establish the level sent to the bus output.
4. Use the Bus Master Trim if the overall standard bus-output level needs further adjustment.

With the Short Fader at 0 dB, it neither boosts nor attenuates the signal.

The source manual also describes two creative uses of the Short Fader:

• Driving analogue tape a little harder for magnetic saturation.
• Increasing preamp gain for a slightly more driven character while reducing the Short Fader to maintain the required recorder level.

These are creative options, not requirements for normal gain staging.

Monitor recorded tracks

DAW/Tape returns arrive on the LF paths by default.

1. Bring up the required Long Faders.
2. Engage MIX on those LF paths.
3. Build the control-room monitor balance on the Long Faders.

Because the recording level remains on SF, the monitor mix can change without altering the signal being sent to the multitrack buses.

Artist Foldback and Tracking with Effects

Create an artist foldback mix

The two Cue buses can combine DAW guide/click tracks with live Mic/Line inputs.

1. Return the click or guide tracks from the DAW to one or more DAW/Tape inputs.
2. Raise the required Cue sends on those LF playback channels.
3. On live-input channels, engage SF beside the relevant Cue send so the Mic/Line recording path feeds the Cue bus.
4. Use the Cue Master SOLO button to audition what the performer will hear.
5. Raise the Cue Master level.
6. In the Foldback section, assign the Cue source to Foldback 1 and/or Foldback 2.

For a stereo cue, treat Cue A as left and Cue B as right.

The manual recommends keeping click/guide returns on dedicated channels where practical so recording channels remain easy to identify.

Track through an insert processor

To commit external processing while recording:

1. Connect the processor between the Mic/Line insert send and return.
2. Engage INSERT ACTIVE in the Mic/Line section.
3. Confirm gain structure through the processor and recording system before recording.

Track through console EQ

1. Engage IN on the EQ section to be used.
2. Engage that section's SF switch.
3. Set the EQ as required.

The shelf and parametric sections can be split independently, so only the desired EQ section has to be committed to the recording.

Continue to Mixing, Outboard and Final Capture.