Using a Dedicated “In-Line” Mixing Console
For recording projects beyond 8 track, a multipurpose console is usually inadequate, being unable to cope with the additional multitrack sends and returns and with all the repatching that is required between recording and mixdown. In such cases, a dedicated “in-line” recording console is necessary. An example of the input strip of such a console is shown here.
Virtually all of the features and facilities are identical to a standard mixer - except one: As well as including full channel input facilities and a direct out (here called a tape send), the strip also includes an extra input for a multitrack tape return as well as some basic rotary level control and pan facilities for that input. This second input is known as the Monitor Input or Monitor Return. Using this technique allows a signal to and from a multitrack to be handled by one input strip, saving space and avoiding the confusion of having to find corresponding send and return signals in different areas of the console.
The major advantage of using an “in-line” recording console is that repatching is unnecessary. This is because both channel and tape return inputs can be swapped (using the switch marked “Chan/Mntr Input Rev”), giving the signal coming from multitrack all the EQ, Auxiliaries and the linear fader of the channel input for the mixdown process. This also leaves the monitor input free for sequenced MIDI gear such as keyboards. If more facilities are required for these sound sources, then EQ and auxiliaries may be shared between the two inputs.
With two inputs per channel, a 16 channel “in-line” console actually has 32 inputs available. This high input count and compactness has made “in -line” consoles extremely popular with project studios, programming and remixing suites and commercially successful bands’ home studios. With prices tumbling all the time, “in-line” consoles are now barely more expensive than standard designs.
Multitrack Recording and Mixing with an “In-Line” Console
A more complex recording set up with an “in-line” console is shown opposite in Fig 6.4. Both multitrack ins and outs are plugged into the same channel strip, avoiding the need for repatching, whilst for sound proofing purposes, musicians are recorded in a separate room. Effects and signal processors are connected in an identical way to any other console via auxiliary sends and returns and insert points.
