Study your flashcards anywhere!

Download the official Cram app for free >

  • Shuffle
    Toggle On
    Toggle Off
  • Alphabetize
    Toggle On
    Toggle Off
  • Front First
    Toggle On
    Toggle Off
  • Both Sides
    Toggle On
    Toggle Off
  • Read
    Toggle On
    Toggle Off

How to study your flashcards.

Right/Left arrow keys: Navigate between flashcards.right arrow keyleft arrow key

Up/Down arrow keys: Flip the card between the front and back.down keyup key

H key: Show hint (3rd side).h key

A key: Read text to speech.a key


Play button


Play button




Click to flip

24 Cards in this Set

  • Front
  • Back
  • 3rd side (hint)
we want to use a compressor on the bass guitar while tracking and make sure we record this to tape. If we didn't want to use the onboard compressors in the console, where can we patch this in?
INSERT SEND to the input of the compressor, and from the output of the compressor to INSERT RETURN.
usually an fx send/return.
We are setting up our control room mix while tracking, and decide to put a noise gate on the snare drum. Where would we patch this in?
MTR RETURNS to the input of the gate, and from the output of the gate to MONITOR INPUTS.
we're tracking, and listening.
We need to DeEss to lead vocals when we are mixing down a session. How can this be accomplished using one outboard DeEsser?
MODE C/O or FLOAT the channel faders to the routing matrix. Next assign the channels to the same buss and patch from GROUP OUTPUTS to the input of the DeEsser. From the outputs of the DeEsser, return sig to an open I/O via the CHANNEL LINE INPUT for the large fader, or the MONITOR INPUTS for the small fader.
Durring a mix we used up all of our AUX. sends on the SSL 6K, and we still need to use a reverb on I/O number 16. How can this be accomplished?
Utilize the channel output function. The small fader will be your level send to the processor. The patch points are from the GROUP OUTPUT of the buss you selected to the input of the reverb, and from the output of the reverb to any open I/O via the CHANNEL LINE INPUT for the large fader, or the MONITOR INPUT for the small fader.
we want our signal to end up at a large or small fader.
We need to de-ess a vocal track but our de-esser is in the shop. How can we use onboard gear to create a de-esser?
remove the highs with the ___?
How can we set up a mono signal to delay on the left channel only?
Patch the left output of the delay to an open channel. Pan the return from the delay left, and the dry signal right.
We have ourselves a rambunctious producer that wants three cassettes made of the mix we just did pronto! How can we record three cassettes at one time w/o daisy chaining them?
Patch the stereo buss outputs to a mult. From the mult you can patch to the three cassette machines simultaneously.
We wake up the next day and walk into a studio to encounter a 16- buss console when we have a 24-track session coming in about an hour. How can we get signal to tracks 17-24? The instrumentation includes 2 guitars, drums, bass, vocals, a keyboard, turntables, a sampler, and a drum machine.
Input the drums, bass, guitars, and vocals on channels 1-16. Use 17-24 for all of your line level devices and engage the direct switches which bypasses the routing matrix and takes you straight to tape.
A band member wants to listen to a CD in the studio while the band is taking a break. However, our studio CD player is in the shop so the band member brought his own. How would we patch this in? What will we use for a level control?
Patch the CD player into external source repro and use the control room volume for level control. You can also patch it into two open I/O’s and use the large faders for level control via the channel line input.
We are tracking a session and notice that the kick drum just doesn’t have any punch to it. When we solo the individual channels everything sounds fine but together it sounds thin. We remember we recorded the kick with two microphones. What could our problem be? If It’s not that, what else could it be?
The kick drum could have been recorded with the two microphones phase canceling each other, or the bass guitar is masking the kick drum.
We decide we want to record our mix to our personal DAT machine so we have a copy of the session. How can we get signal to the DAT?
Stereo buss outputs to the inputs of the DAT machine.
The bass player decides he wants to do his overdubs in the control room with us. His amplifier will be in the studio and we will be miking the bass amp. How can we set it up so this is possible?
Patch his bass in to the mic lines, and from the corresponding output in the mic panel to his bass amp.
The seven tracks of drums on the session we just recorded are really groovy and we decide we want to record them to our personal DA-98 so we can take them home and sample them. The drums are on channels 1-7. How can we record these channels on our DA-98? What will act as our level control? What type of connectors will we need? If we wanted to monitor our DA-98 how can this be accomplished? (mix mode)
Bounce or Float the channel faders to the routing matrix and assign the seven channels to group outputs. Patch from the group outputs to the inputs on the DA-98 and your channel faders will act as a level control. You will need TT or ¼” cables to a 25 pin D-sub connector depending on the patch bay. If we wanted to monitor the outputs of the DA-98 we would need the same type of connector to be patched into the channel line inputs of 7 open I/O’s.
The EQ on I/O module #45 is not working for some reason. We decided that on this track we would like to use an outboard EQ anyway. How can we utilize this EQ?
Insert send to the EQ, and from the EQ to the insert return.
If we wanted to add more thickness to the kick drum on channel #1, what would our options be?
• We could either copy the signal to another track and double it up, or we could dial in a 40 Hz tone on the oscillator, and patch the oscillator into the channel path of an open module via the channel line inputs. Utilizing the gate on that channel, se the threshold just above the 40 Hz tone. Then take the MTR Return of the kick drum and patch that into the key input of the gate.
Buss number eight is giving us all kinds of problems. However, we need to get a signal to track eight on the multitrack tape machine. How can we do this?
Buss the signal to an alternative buss, and patch from the corresponding group output to MTR send number eight.
A cat walks in the studio and would like to record 24 tracks of a sequence he has been working on. He likes to stay in the control room while recording because he feels a better vibe. How can we hook his rig up through the patchbay?
Take the outputs of his gear and run them through a DI box. The next step is to patch them into the channel mic inputs.
A producer walks in and wants to do an overdub using his own preamp and DA-38 tape machine. He would like to use our microphone selection to get different sounds. If the vocalist is in the live room, how can we patch in the preamp to the DA-38? How can we hook up the DA-38 to monitor what we’re doing?
Patch from the mic lines to the input of the preamp, and from the preamp to the input of the DA-38. We could then patch from the output of the DA-38 to the channel line input of an open I/O.
Durring a mix, you would like to have signal from I/O #1, show up in the channel path of I/O #’s 1 and 2. why would you want this to happen? How would you patch this in?
You could patch from the MTR Return of I/O number one, to the channel line input of I/O number two. Since these are half normaled you would have the signal on both modules. you would probably want to do this to make a mono signal pseudo stereo.
I need an extra processor on channel #14 so I decide to use the channel output function. I would like to see my meters because it gives me a sense of independence and self-reliability. Where in the patchbay can I return my processors outputs?
MTR Returns
I would like to compress channels 1-9 togeather as I’m mixing. How can I accomplish this and what steps will I need to go through to get this done?
Send channels 1-9 to the routing matrix via mode c/o or float switch. Next send them out two group outputs to the input of two compressors. From the output of the compressors, patch to any I/O’s through the channel line inputs. Either that or you could buss two open channels and engage the subgroup master switch.
I’m doing a group whose vocalist wants to sound like he’s in a meat grinder. He wants the warm fuzzy feeling, but with a “take your head off” kinda feel to it. How can I get this done when none of my processors have the type of effect he’s looking for?
Send the signal to the routing matrix via the mode c/o or float switch. Next, choose a buss and patch from the corresponding group output to the channel mic input of another I/O and voila!!! Now use the preamp of the module to make that vocal as gritty as grape nuts.
You are working with a producer on a song with an English and Spanish vocalist on the SSL6k. At the last minute he tells you that he needs an instrumental mmix, a mix with the Spanish vocalist, and a mix with the English vocalist. He would like the instrumental recorded on DAT, and the English and Spanish versions on analog two track. How can we do all three mixes @ the same time to three separate tape machines? Better hurry, he has a flight in 30 minutes!
Assign all of the instruments to stereo buss A, the Spanish vocalist to stereo buss B, and the English vocalist to stereo buss C. In the master section, engage the A to B, and A to C switches. Next, take the stereo buss outputs of A to the DAT machine, the stereo buss outputs of B to one two track, and the stereo buss outputs of C to the second two track.
I’m working on the Neve and I would like to record a clean guitar on track one, and record the same guitar on track two with a chorus on it simultaneously. How can I get the job done? What patches will have to be made?
Since the aux. sends are normally located in the channel path on the Neve VR, patch your signal from an open aux. send to the input of the chorus. From the output of the chorus we can patch into the channel line input of I/O number 2. Now we have dry signal on track 1, and our chorus on track 2.
use an aux