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Brandon Symonds Studio Manual

Date post: 04-Jun-2018
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    Studio Manual


  • 8/13/2019 Brandon Symonds Studio Manual


    Health and safety

    No Food & Drinks

    Watch out for trip hazards No Smoking at all times

    No Running

    Keep fire exits clear at all times

    Get Equipment pat Tested regularly( Portable Appliance Testing )

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    Inside The Studio

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    Birdseye view of the studio

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    Mixing Desk Channel


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    Channel strip

    1. The channel input sectionhas bothmicrophone and line inputs whichshare the gain control.

    +48V is Phantom power which shouldbe applied to power a condenser


    The lineswitch selects the line inputjack so you can plug an instrument


    The switch reverses the phase ofthe selected input to compensate for

    conflicting microphones. for exampleif youve got two microphones

    recording simultaneously you can

    take out the conflicting


    A fixed frequency of 100Hz

    can be provided into the mix

    by pressing the 100hz switch

    The SUBswitch allows theoutput from one of 8 mix buses

    to be switched into thechannel path which.

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    2. A Noise gate can be inserted in the

    signal path by pressing IN this is normally

    placed in the monitor path.

    The sidechain is normally fed from the

    source feeding the gate. The FLIP switchswaps the source for the sidechain to the

    other signal path.

    The RNGE switch increases the range of

    the gate from the default setting of 15dBto 60dB

    The THR control is the threshold which

    allows your gate to be varied from -40dB

    to +10dB

    The IN switch places a wide band pass

    filter in the side chain,

    The Rel control is a release

    that varies the recoverytime after the gate is on

    from 0.1 to 4 seconds.

    If the Hold switch is pressedthe release time is fixed at0.1 and the release control

    varies the hold time at

    which is the time delaybetween the trigger signal

    going away and the gate

    starting to close.

    The shut led lights up to

    show when the gate itshut.

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    3.The equalizer is a 4 band swept

    mid design which is arranged as

    two separate sections. Both

    sections are normally placed in

    the channel path but may be

    individually switched into the

    monitor path of mix by pressing

    the MON switch

    The High Frequency section is thesecond part of the equalizer giving

    a 15dB cut or boost at a fixed

    turnover frequency of 12kHz

    The Low Frequency section also

    provides a 15dB cut or boost at afixed turnover frequency of 60Hz

    but is asymmetric to avoid too

    much VLF by a digital system

    The Insert point is located

    before this EQ section and

    moves with it when the MONswitch is pressed.

    The High Middle Frequency

    and Low Middle Frequency

    sections have a peak

    boost/notch cut response at

    center frequencies variable

    between 600Hz12Hz and100Hz- 2kHz

    The entire EQ section HighFrequency/Low Frequencyand High Middle

    Frequency/Low Middle

    Frequency may be switch toIN or OUT with the EQ IN


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    4.Six Auxiliary Sends are providedand are arranged in two sections.Aux 1 and 2 are intended primarily

    for fold back and are normally pre-fade and in the monitor path.

    Pressing Channel sources them fromthe channel and Post makes them

    post-fade. Aux 1 is a stereo send andfollows the channel or monitor evenwhen pre-fade.

    Aux 3 to 6 are intended for effects.They are permanently in the monitor

    path and post fade.

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    XFX moves the source point for the

    channel fader to post the monitor

    fader so that you can use the tape

    send or routing matrix as additional

    sends when mixing.

    When the bounce switch BNCE ispressed the monitor path is unhooked

    from the mix bus and moved to feed

    the group routing switches. This allows

    easy bouncing of tracks and makesthe monitor channel solo safe to

    protect the inputs to the group when

    solo is active.

    The PFL switch allows direct monitoring

    of the signal at either the input of the

    channel fader or the input of the

    channel CUT switch.

    5. The Channel Fader sets the

    level sent to the tape send,

    subgroups busses or mix. Thefader has 10dB of gain at the top

    of its travel and is cut by the CUTswitch.

    The Rev switch swaps the function

    of the channel fader and the

    long-throw fader.

    The CH PANcontrol determinesthe position of the signal within

    the stereo and routes the signal to

    any of the eight group busses via


    panning left you send the signal

    to odd number busses and when

    panning right you send to even


    The MIX switch routes the channel

    signal to the stereo mix bus so

    that you can use the channel

    path as another input on


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    When the monitor solo button if

    pressed mutes all the other monitor


    The Peak led light. Lights up when

    less than 6dB of headroom is

    remaining at the three main placesof the signal chain: the input Pre-

    amp, the high frequency/low

    frequency EQ and the MF EQsections.

    The channel active light is there to

    monitorthe output of the input pre-amp and lights up if the level

    exceeds -20dBu

    6. The monitor path is normally fed

    from the tape return input, to make

    use of the automatic input switching

    in the tape machine. A trim controlwith a range of 10dB is provided on

    the lower section of the input gain

    control and this is at the normal 0dBpoint.

    Pressing the send tape switch feeds

    the monitor path from that modules

    tape send enabling you to hear thesignal being sent to the tape. The

    PAN control positions signal acrossthe stereo bus at a level determined

    by the long-throw monitor fader. This

    fader has +10dB gain at the top of

    its travel and is cut by the CUT


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    7.Four mute switches allow

    the monitor path to becontrolled by the mastermute button.

    MetersThe I/O is sourced from themonitor path and follows themonitor SEND switch to show

    either off tape or group buslevels.

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    Line In - Input for line instruments

    INS Send - Delivery Inserted signals to outboard controls

    INS Return - Returns the signal from the INS send

    Channel Out - Is an alternative to group outputting Tape Send - Does the same thing as Channel out

    Tape Return -Returns the CPU signal from logic back to themixer

    Mon In -Does a similar thing to Tape Return

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    Micing up a drum kit

    Use the correct mics for kick, snare and toms

    Create 8 channels on logic and name them fromKick to Overhead.

    Mic up the drums in the order you have yourchannels on logic

    Kick, Top snare, Bottom snare, Rack tom, Floortom, Hi Hats, Overhead Left, Overhead Right

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    When recording drum kits you have to have each mic ona seperate channel. You need to have phantom poweron for the condenser mics. You need to make sure youhave enough gain to pic up the drums you can use a

    noise gate but it can make the sound of the drums toogeneric. You have to make sure each drum channel is setto a group output on the main desk for example if youhave a channel set to GROUP OUTPUT 1 then you have tohave that channel and MIC INPUT 1 on Logic. You thenarm the channels buy clicking the R that will be indicatedunderneath the channel name. You then check the levels

    of the drums if some are peaking you turn the gain down.Once you have all your levels you will need to arm eachchannel and click record with could be either the recordbutton on logic or R and even * both on the keyboard.Once your drummer has finished playing you need to waitfor the drums to ring out before you stop recording.