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2 seperate Mixes with Firepod?

Discussion in 'Recording' started by Nik_the_barber, Jan 17, 2006.

  1. Ok... Let me reword this. I can't create 2 seperate mixes with my firepod. When I go to assign the output for the cue mix. There is no seperate output for the cue mix outputs. Does anyone have a suggestion. I believe it may be software problem. I use Sonar 5 producer edition. Anyone please?
  2. RemyRAD

    RemyRAD Guest

    Sep 26, 2005
    I know you have already tried to reword your question but considering the dearth of responses you have here, I believe most of your question is still a non sequitur to most of us here?

    Separate mixes? You're talking about computer recording to begin with and you have the ability to create an almost unlimited amount of " virtual tracks" so once you finish one mix, simply go back and create a second mix, 3rd, 4th, etc.. Save them with different names and/or numbers.

    I'm certainly not clear as to your application of what you're trying to request for?

    Ms. Remy Ann David
  3. Ummm, that I'm aware of. I'm talking about creating to 2 LIVE SEPERATE MIXES. One Monitor Mix, and one Cue or Headphone Mix. These have to be played together. But with 2 serpate out puts. One to the Headphone Amp, and One to the control room. My question is How do use the Cue mix out as a seperate output. For the second Mix that will be sent to it.
  4. wayout

    wayout Guest

    If I understand yr question correctly...
    I would use a headphone amp and use regular outputs (3-8) other than the cue mix outputs on the firepod.

    One way to do this is to set up a channel that has its outputs assigned to any open output on the firepod... (3-8), then use sends on channels you want in the cans to pipe the signal to the output(s).
    The output goes to the headphone amp...

    Problem with this is you might have latency issues (as usual).
    To avoid this whole debacle, I use the cue mix for the phones, and just listen to the same mix that the musician(s) are hearing.

    I find that hearing the same thing that the artists are is really helpful, I have done hours worth of overdubs with singers who said at the end of the session... "Sounds good, but it was weird to only hear myself in one side of the headphones." You can catch stuff like this before it affects the performance, and you can do sneaky things like raise or lower the levels at which people hear themselves sing, to try and coax more or less force out of the performance by making the singer compensate for the levels.
    I find that secrecy and subtlety are key in this transaction, and that it often is very good for the performance.


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