Recording Handbook - Hol.gr

c. Effect Sends and Returns
There are several ways to get signal to your effects and to hear those effects back. The easist is the
dedicated sends and returns on the mixing board. Sends can usually be switched between pre and post EQ.
Returns generally have little or no EQ, so if you want to EQ effects, that's one more reason to have more
channels than tape machine tracks. If you have more effects than sends, repatch the busses as sends or use
the direct outs to get into your other effects.
d. Insert Points and Patchbays
It's really nice to plug everything into the board and not have to mess with it. This is where patchbays are
a necessity and incredible convenience. Every in and out on the board, all tape machine inputs and returns
and all inputs and returns from your effects are duplicated in the patchbay. Every channel also has an
insert point as well for individually accessing the signal path. When it's all plugged in, you can change,
rearrange and repatch it all from here. BACK TO INDEX
5. Mixer Automation
Initially available only on profesional consoles, automation systems have evolved over the last 25 years,
becoming less expensive and more powerful in the process. Today there are moving fader and VCA based
systems available. Many only require insert points on the console and can be up and running fairly
quickly. Cheap VCA's and MIDI have brought automation to the masses.
a. SMPTE
We discussed SMPTE earlier in reference to locking up tape machines. It has also become the industry
standard for running automation systems. An obvious advantage is that one track of SMPTE is all you
have to give up on your multi-track to give you both synchronization and automation capabilities.
b. VCA vs. Moving Faders
I'm a big moving fader fan, particularly the "Flying Fader" system used on Neve VR consoles. Moving
fader systems utilize sophisticated mechanical, motorized faders running under the control of a computer
and software that keeps track of the physical position of the faders relative to the SMPTE timecode on the
tape. After recording a move, you simply rewind the tape and the faders replay your moves. With this type
of automation, the fader is actually in the audio path controlling the output of the signal.
Initially only available in very expensive hi-end consoles, motorized faders are showing up in low priced
consoles like the Yamaha 01v(about $1800), the O2R rev2(about $6000) and O3 consoles, Mackie has the
d8b (about $9000), the Panasonic DA7(about $5000), the TASCAM TM-d4000(about $4000) and the
Roland VM-72 system(about $4000). In 2000, Sony came out with its little "Oxford", the DMX-r100 for
about $25,000. None of these machines existed in 1995!
A VCA or "voltage controlled amplifier" is the heart of the SSL automation process. In this type of system
the fader controls the output of the VCA which is actually passing the signal. As in moving fader systems,
a computer and software keep track of the fader movements relative to SMPTE. Instead of the faders
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