Aviom A-16II - Manual (Page 40)

32 A-16ii P
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M
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Playback Monitoring
In the studio, performers also need to listen back to tracks they have just recorded. If each performer is
using a different mix while recording, playback of the track will be different in each set of headphones.
If you can dedicate two inputs on the Pro16 input module for playback, you can easily provide the
performers with a high-quality playback of the track they have just recorded.
Here’s how to set it up:
Set aside the first fourteen channels of the Pro16 input module for audio tracks to be sent •
to the performers as a cue mix.
The remaining two channels (15-16) are reserved for the stereo mix that the engineer
•
creates in the studio.
Connect cables from the mixing console for monitoring the fourteen performer channels
•
as described previously from direct outputs, aux sends, etc.
Patch the output of the stereo mix that you want the performers to hear into the
•
remaining two input module inputs.
The idea is that you will create two Presets on the Personal Mixers for the performers. The first is their
standard cue mix. It uses fourteen channels; the last two channels, 15 and 16, are muted. They can change
it as needed while they work. Save this as Preset #1 in the Personal Mixer.
The other Preset is the exact opposite. The performer’s fourteen cue channels are muted and the two
channels containing the engineer’s playback mix are on. Save this as Preset #16 in the Personal Mixer.
For the example, let’s assume that channels 1 through 14 are used for performer cue playback. Channels
15 and 16 will be used to play back the recorded track.
When the musicians are cutting tracks, have them select Preset #1. Record tracks as usual, with each
musician listening to their personal customized cue mix. When you want to listen back to a recorded take,
have the performers switch to Preset #16. They now hear the engineer’s mix. All players hear the same mix,
that the engineer can control as needed.
Of course the players can create additional cue mixes and save them to the remaining empty Preset
locations 2 through 15 as needed.
Adding Effects to a Monitor Mix
Sometimes you may want to have reverb, delays, etc. sent into the monitor system. This works for live
applications as well as for studio cue systems. There are two ways of accomplishing this:
Patch the effects returns from the mixing console into the Pro16 input module via insert •
points if available.
Connect the effects device’s audio outputs to the Pro16 input module
• first and then use
the Thru jack on the input module to complete the signal chain.
In either case the performers can now decide how much of the effects return is required in their personal
mix. And, they can save up to sixteen mixes with various amounts of effects in each.
Adding Live Ambience to a Monitor Mix
For performers using in-ear monitors in a live performance situation, it may be desirable to add some
room ambience into the monitor system to help add a sense of space. This technique can be used with
most live mixing consoles. All you need is a way to send the signal from one or more room mics into the
Pro16 input module. A pair of mics on either side of a stage provides a stereo ambience signal that can be
added as needed to a performer’s mix.