Yamaha RM800 - Manual (Page 35)

32 System Examples
to the ‘other’ section (with respect to the M/L TAPE selection) by setting the
MONI/AUX 5-6 switch to the correct position. As a rule, only‘ready to go’
signals (such as synthesizers, modules, etc.) should be connected to the AUX
5-6 bus because there is no way to adjust their frequency response or status
(on or muted). Note that monitor sources can only be processed by the effect
connected to the AUX SEND/RETURN 4 jacks, so plan your effect connec­
tions accordingly. Finally, assign the MONI/AUX 5-6 busses to the stereo
signal by pressing the TO ST switch in the Aux Return section.
Optimize the input signal levels —^this is an important stage and you
should take time and care setting these levels. Listening to each channel in
turn, use the GAIN control and PAD switch to optimize the input signal
level. Levels for all input channels are displayed on the meters. Use the PEL
switches to select each input section channel in turn. If you’re monitoring
via the stereo outputs, raise each fader in turn to about 0 dB. You can always
readjust later.
Apply EQ —The EQ should be used to filter out any unwanted hiss, hum,
or frequency abnormalities in a sound. You’ll probably need to readjust the
EQ when listening to all sounds in the mix. EQ’ing can be carried out in two
ways: (i) by boosting the frequencies that are too soft, or (ii) by reducing
the level of a frequency that is too prominent in a mix. The second approach
is usually wiser because it keeps the sound image transparent. In other
words, if the bass isn’t powerful enough and you feel like boosting its 200Hz
frequency content, first listen to the mix and try to find the signal source that
swallows up all the energy in that frequency range, and reduce its 200Hz
content. Listen again. Chances are that your bass now has the power you
want it to have.
Pan the sounds —pan allows you to position sounds from left to right in
the stereo field. This is often used to provide space for individual instru­
ments. Lead vocals are usually panned around center. Rhythm guitar maybe
panned to the left and lead guitar or piano, to the right. A drum kit with two
overhead microphones and one front microphone would have the overhead
microphones panned hard-left and hard-right and the front microphone
panned center. Backing vocals can be panned to the left or right as required.
Bass sounds are not very directional, so it’s usually best to keep them panned
about center.
Balance levels —once you’ve optimized the input levels, applied some cor­
rective EQ, and positioned instruments using pan, you’re ready to balance
the levels. You should already have some idea of how you want the mix to
sound. This will, obviously, depend on the application and the instruments
being mixed. Start with all faders at about OdB. This is an optimum setting
with regard to mixer performance and leaves you with some headroom to
increase levels later. If one particular instrument is too quiet, rather than
increasing its level it may better to try reducing the levels of some of the other
instruments. If you keep raising faders bit-by-bit, you’ll soon end up with
some faders set at maximum and no room for further adjustment. Vocal and
instrument levels should be balanced to create an agreeable sound mix.
RM800 User's Guide