Analog mixer with daw
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Performers always need a dedicated monitor (cue) mix in their headphones while recording. There’s another monitoring-related advantage to using a small analog mixer. That way, during recording the performer(s) are listening to both the recorded tracks, and their own signals before those signals pass through any latency-inducing computer signal path, eliminating any potential subconscious or subliminal distractions from even small amounts of latency.įig 2 True Zero Latency Monitoring Cue Mixes The main stereo output of the DAW is also routed to the analog mixer, where it not only feeds the speakers, but also feeds that same headphone amp. While live signals (mics, instruments) plugged into an analog mixer are routed to the interface/DAW to be recorded, those signals can also be (split and) routed via the hardware mixer’s Sends to a bus/output feeding a headphone amp. With an external analog mixer in the picture, any latency can be eliminated, for true zero latency monitoring. And if the performer is able to hear a bit of their own signal in the room (or in their head, as with singers), this can sometimes cause a subtle flanging/phasing effect against the delayed signal in the phones, even with a very small amount of latency. Most performers are fine with this, but some-especially drummers and rhythm instrument players-might still be sensitive to even a small amount of latency. Many interfaces offer a feature that routes the live signal right back out again to the performer’s headphones before it passes through the computer, though there’s still a little converter latency involved-this is sometimes referred to as near-zero latency monitoring. Remember, latency is a delay caused by the signal passing through the interface’s AD/DA converters and the computer’s RAM buffers, and-depending on the computer specs, interface, and connection-this can sometimes be enough of a lag to throw the performer’s timing off just enough to compromise the performance a bit. This is fine, but with a live signal going into the interface, through the DAW, and back out to the headphones, there’s always a certain amount of latency. When musicians monitor themselves in headphones during a recording session, they’re usually hearing a blend of any already-recorded tracks along with their own live signal(s) in the phones. There are several advantages provided by this kind of setup. Any additional inputs could be used to set up more flexible monitor mixes for a group of performers, with the patchbay providing simple rerouting capabilities for different session requirements.
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The main stereo output from the DAW would be sent into a spare stereo input on the analog mixer for monitoring. Various input signals could be plugged into the analog mixer, and its direct outs or subgroup outs patched into the line inputs of the interface. This kind of design would be a good companion for an 8x8 (8-in 8-out) interface, providing additional routing and monitoring possibilities, and offer the convenience of a second physical workstation that could be manned by an assistant during the session, taking on some of the workload from the primary engineer.Ī flexible setup might also incorporate a patchbay, to make it easier to re-route signal paths if/when needed. Project studio operators that want to incorporate a small analog mixer often choose a rackmount 16-channel unit (like the ubiquitous Mackie 1604VLZ or similar mixers from other manufacturers). For example, if several musicians are being recorded all at once, or if multiple mics are being used on a particular instrument but recorded on a single track (stereo or mono) track, having a small external analog mixer can help with both the signal routing and the logistics of the session. But sometimes a small mixer can come in handy, especially for slightly larger sessions. Most small project studios nowadays don’t need a hardware (analog) mixer-they can run signals directly into and out of their interface, monitoring through powered speakers and/or headphones.