Headphone/Cue mixes w/ multiple sumixes-cards

Discussion in 'Mixing & Song Critique' started by Bebopper, May 30, 2001.

  1. Bebopper

    Bebopper Active Member

    Feb 11, 2001
    San Mateo, CA
    Home Page:
    Hi Dedric,
    I am two weeks deep into my new Paris system and am loving the sonic experience. Thanks for your helpful comments and suggestions.

    As far as the multiple submix structure of Paris, I am still trying to get a handle on it. My first task was learning how to swap card assignements after filling up the first 16 tracks on submix A. Got that down. Took me awhile to get this logic straight. I always thought that you could just patch your inputs to the next set of channels but this is not the case for one MEC configurations.

    Now, I am having problems with keeping the headphone/cue mix together. After swapping card assignments, I lose my monitor mix. How do you work around this? There is no way, to physically route it back to submix A so how do you create a headphone mix (from submix A) as you record to submix B?

    The obvious would be...give the recordee the L/R mix rather than an aux/headphone mix or to bounce a stereo/cue mix and add it to editor B.

    Am I thinking about this the correct way or do you have any suggestions on working more efficiently with Paris. Between this workaround and the submix card swap the process can be a bit of a vibe killer when overdubbing. Any suggestions on making the workflow more smooth would be appreciated. Thanks again for your time!


  2. Dedric

    Dedric Guest


    I usually open up a blank submix for tracking, and so either bounce or update virtual submixes and send a L/R. For multiple musicians with different submixes, it really is easier to either have more than one MEC and dedicate one to submixing, or to track into a submix with bounced submixes included in its' 16 tracks (i.e. vocal submix, rhythm section submix, keys, etc) with send to Aux buses, then send the auxes to an external mixer for separate level setting for each musician (which could be a second MEC and submix). Or with a second MEC, the second submix could be all bounces with each Aux feeding separate headphone mixes. An outboard mixer or more than one MEC makes this easier, but so far the L/R feed has worked for me as most of my tracking is one musician at a time, or direct in the control room.

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