Yamaha RM800 - Manual (Page 22)

General System Setup 19
Stereo jack connected
to INPUT CH INSERT
d U i
a
[X>
Mono jack to the Mono jack to the
effect processor's .effect processor's
Input
output
Insert cable
(stereo->2 X mono)
tape returns to the AUX 5-6 busses and set the level and pan to taste using the
MONI/AUX 5-6 controls. Additionally, you could already assign the TAPE IN
signal to the input section (set M/L TAPE at the top of such an input module
to TAPE) and do some anticipated mixing while recording.
Equalization. There are no hard-and-fast rules for using the equalizer when
recording. Most engineers prefers to keep all options open and therefore record
the signals ‘as is’, unless they definitely need some touching up. Microphone
positioning (see below) is usually the best ‘equalizer’ at the recording stage.
Effects to be recorded. Again, you should shy away from recording too obvious
effects (reverb, chorus, etc.). There is no way to remove an effect once it has
been recorded - and it may not be the right effect after all. Other signal proces­
sors, however, such as compressors, limiters, and noise gates are frequently
used at the recording stage. To ensure that only the desired signal sources is
processed, you should take advantage of the INPUT CH INSERT jacks.
The obvious choice for using insert effects are the signals assigned to Groups 7
and 8 because the RM800 is equipped with GROUP INSERT I/O 7/8 connec­
tors. You should therefore plan your source/track assignment in such a way
that the two required signal sources can be processed before being recorded.
To take full advantage of the RM800’s flexibility, you may want to connect your
input sources to modules 9-16. All those modules are indeed equipped with an
INPUT CHANNEL INSERT jack that allows you to ‘patch in’ any signal pro­
cessor you may need.
Effects to enhance the monitor signal. Many musicians perform a lot better
when the monitor mix is ‘happening’, i.e. when what they hear while recording
comes close to the finished product. That is especially true of singers who need
a bit of reverb to check their pitch against that of the instruments or who are
used to a live ambience. The RM800 allows you to give them what they want
by using the AUX 1-4 controls on each input module to add the required
effects. Connect the inputs of your outboard effects processors to the AUX
SEND +4dB 1-4 jacks and their outputs to the AUX RETURN +4dB 1-4 jacks.
Assign the AUX RETURN signals to the MONI/AUX 5-6 bus by pressing the
switches of the same name in the Aux Return section. Use the AUX RETURN
level and BAL/PAN controls to set the level and balance (for stereo signals) or
stereo position (for mono signals connected to only one RETURN jack of a
pair) of the signals sent by the outboard effects processors. If you wish to pro­
cess a TAPE IN signal assigned to the monitor section, connect the effect to the
AUX SEND/RETURN 4 jacks. Doing so allows you to add the effect to the sig­
nals assigned to the monitor section, while AUX 1-3 can only be assigned to
the input section of a module.
Closing remark. To keep things easy to follow, we told you to work on a 1/1
basis for the input sources. Groups, and tape returns. There is no need to so.
You could assign input module 1 to Group 8, for example and return the
recorded signal to input module 16. Feel free to use any combination you need
in a given situation - but do write everything down to keep track of what’s on
track 1,2,3, etc. Most engineers, by the way, work with fixed assignments; kick
on track 1, snare on tracks 2 and 3, HiHat on tracks 4 and 5, etc. That may not
always be easy with an 8-track recorder, but you should at least try to acquire
RM800 User's Guide