Connect signal processors, such as compressors to the insert jack using a special insert ‘Y’ cable. This allows the signal to be sent and returned to the mixer using only one connector.
Refer to Section 7 for wiring information.
It is also possible to connect the processor to the console without using the insert jacks by connecting an instrument direct to the processor first. However, the advantage of using processors in the mix/group or channel inserts is that any level changes made by the processor can be monitored by the mixers meters.
NB: A signal processor can be used in a channel to control one audio source, across a group to control a number of audio sources or across the entire mix.
Multitrack machines are used for initial track-laying in either studio or live recording situations.
For more sophisticated work, a stand-alone machine offers better sound quality and greater versatility than a cassette multitracker. The new generation of digital multitracks are also very attractive, but analogue, open-reel multitracks are also capable of professional sounding results. Aim for a minimum of eight tracks if your budget will allow.
Your final mix should be recorded on the best quality machine that you can afford. A recording is only as good as the weakest link in the chain, and a good cassette machine is fine for demos, but for more serious work, consider a DAT machine or perhaps a second hand, open-reel 2-track.
A high-powered hi-fi amp of around 50 watts per channel is fine for home recording, but to ensure adequate head-room you should consider a well-specified rack mount amp. Similarly, a pair of accurate hi-fi speakers will do the job, but for more serious work we would recommend purpose-designed nearfield monitors. Always remember that no matter how good the recording or performance, a poor monitoring set-up will not allow you to make qualitative judgements about the mix.
When choosing headphones for monitoring, you’ll obviously want a pair that give the best sound reproduction for the price. But, bear in mind that in order for you to fully concentrate on the mix, the headphones should exclude outside noise - therefore open-back designs will be of little use.
Furthermore, you could be wearing the headphones for several hours at a stretch so comfort is essential.
NB: Make Sure that the IMPEDANCE of your headphones matches the specification of your mixer.
PA work requires high-powered, rugged, and honestly specified amps and FOH (Front of House) speakers. The power rating of the system will depend on the size of venues you will be playing.
See PA Mixing, Section 4, for more information.