Audient ASP8024 Large Format Recording Console - Manual (Page 8)

Operation Manual
8
Using the ASP8024
© 8.21
THE RECORDING PROCESS
Recording is generally a two stage process,
unless you are making a classical recording
where very simple microphone
configurations are often used to record
straight down to stereo. Popular music is
usually tracked first of all to get all the
instruments onto some storage medium
— usually a multi-track tape recorder. The
second stage of the process involves
returning the recorded tracks back into the
console to combine them into a stereo mix.
When instruments are under midi control
it is not necessary to record them as they
can be played live into the mix when
required. If a mix has many midi controlled
instruments then much of the tracking
stage of the recording process can be
eliminated.
BASIC TRACKING
This is the first stage in the creation of a
title. The starting point may well be a blank
reel of tape on the multi-track recorder
which is of course fully connected to the
mixing console. The group outputs feed
the inputs to the different tracks of the
recorder while the recorder outputs are
connected to the tape inputs on the
console.
The FLIP switch should be in the UP
position as this will ensure that the
microphone or line inputs travel through
the SF path to the tape recorder while the
tape returns will travel through the LF path
to the stereo mix bus.
A guide track is often recorded first. This
could be anything from a click track to a
drum kit to some very raw vocals -
anything in fact that subsequent
recordings can be based on - the guide
track will then most likely be destroyed.
Having established a guide track it is then
important to be able to hear it in order that
subsequent tracks can be laid down in
time with it.
Enter the auxiliaries and foldbacks !
The guide track can now be played
through the LF path of the console where
it can be used as a source for AUXILIARY
A simply by turning up the control for AUX
A on the channel that is carrying the guide
track. At this time it is not really necessary
to have the long fader open so switch the
auxiliary to PRE and ensure that it is
selected for use with the LF path. On the
master section of the console AUXILIARY
A can now be selected as the source for
FOLDBACK A. The output of FOLDBACK
A should be connected to a headphone
amplifier and the performer of course
needs to wear the headphones.
Let’s assume that the performer is male,
playing a guitar and the guide track is a
steady drum beat previously laid down by
the band’s drummer. Another track on the
recorder is put into REC-READY mode and
the guitarist starts playing. The guitar is
plugged into an amplifier and in this
instance let us assume that there is a
microphone placed in front of the guitar
loudspeaker. The microphone is connected
into the MIC input of a channel on the
console which sends it through the SF
path to the routing matrix.
RECORDING WITH THE ASP8024
ASP8024 has an In-line architecture. This
means that the ‘channel path’ and the
‘monitor path’ are both included in the
same physical strip.
Because the two signal paths are
integrated in this way, in-line consoles
have sometimes been seen as confusing.
However great care has been taken in the
cosmetic and ergonomic design of the
ASP8024 to make the two paths easily
distinguishable from one another.
Dark areas of the control surface and dark
switch buttons are associated with the
short fader (SF) or channel path while light
areas of the control surface are associated
with the long fader (LF) or monitoring path.
For the remainder of this manual the
signal paths will be referred to as the
LF and the SF paths.
IN-LINE ARCHITECTURE.
As a default condition the Mic/Line input
feeds the SF path while the Tape return
signal uses the LF path. This assignnment
can be reversed using the FLIP switch. To
identify which mode has been selected
back lit legends indicate the signal source
for each path.