API Audio THE BOX - Manual (Page 84)

API “The BOX” Operator’s Manual
84
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API 500 Series Slot Patches: Channels 3 & 4 only. In additional to the
insert, external signal processor may be connected via the PREAMP
OUTPUT and 500 SLOT INPUT connections on the rear panel. Refer to
section 2.4.2 500 Slot.
5) Set the input channel fader to 0dB (unity gain)
6) Use the preamp to set the channel level and polarity
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Make fader adjustments as needed*
7) The DAW feed will be controlled by the channel fader and mute
* The preamp is built with a transformer output. When set to high levels, the preamp
can drive the transformer to “magnetic saturation” before unpleasant distortion is
heard. When done carefully, the top of the input/output transfer curve starts to
flatten-out, giving a slightly compressed sound. Since this characteristic is
magnetically based, the sound can be loosely associated with the “punch” of magnetic
tape. However, setting the preamp at such a high level will likely be too high for the
DAW analog-to-digital converters. To achieve the saturated sound without A-to-D
overload, use the channel fader to attenuate the channel output to an appropriate
level.
CAUTION: This effect is subtle and it may take some time to learn to recognize the
sound and set it up properly. Care should be taken not to induce
unwanted distortion in the preamp or DAW converters. If you’re not
familiar with this technique, experiment with a percussive source and
listen to what happens to the attack as you drive the transformer harder.
Also listen for undesirable distortion (don’t go too far!). The waveform
display in the DAW will visually display the effect and reinforce what
you’re hearing.
14.1.2 Summing Inputs While Recording
1)
Use summing inputs 1-16 and unused input channels to route DAW multitrack
returns to the program bus for control room monitoring and the cue/aux buses
for headphone feeds and effects sends.
2) Connect the outputs of the DAW to the SUMMING INPUTS 1-8 and SUMMING
INPUTS 9-16 connectors, as well as to the LINE INPUTS on input channels not
used for recording.
3) Route the previously recorded tracks, as well as the new tracks to be recorded to
the DAW outputs according to their console connections.
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If the session has a large number of tracks, the DAW tracks can be sub-
mixed to stereo or larger stems before assignment to DAW outputs.
4) Set DAW faders to 0dB (unity gain) and turn off DAW fader automation
5) With summing faders down, engage the PGM switch on the summing inputs and
input channels carrying DAW returns to assign them to the program bus.
6) Set the program master fader to 0dB (unity gain).
7) Select the PROGRAM as the C/R SOURCE and set the loudspeakers to a modest
level (no more than 85dB please!).
8) Use faders and pans to carefully push up a balanced stereo mix.
9) Use cue sends to create a mix for headphones or send the program bus to cues.
10) Use the aux sends for effects sends.