Alesis 1622, Reference Manual

19

INTRODUCTION TO MULTITRACK RECORDING

The function of the 

1622

MIXER

, or any recording console for that matter, is to provide control of

volume, tone, and spatial positioning of signals from microphones, electronic instruments, and
tape machines, then to route these signals to a monitor system and tape recorder so they can be
heard and recorded.  Before the introduction of multitrack tape recorders, these signals had to be
mixed together as a "live" performance.  If the desired performance wasn't correct because of a
musical mistake or balance problem, the performance had to be recorded again and again until
the performance was deemed satisfactory.
The introduction of multitrack tape machines changed this recording method forever.  Most
recording today has evolved into a multi step process.  These are:

RECORDING

 (or Tracking)  -  Instead of needing an entire band available to capture a live

performance, recordings can be made one instrument at a time and constructed in a building
block fashion.  With the advent of drum machines and sequencers (such as the 

A

lesis

 HR-16,

HR-16:B, 

and

 MMT-8

) 

it is possible to build an entire song before ever having to record on tape.

Using this method of recording one instrument at a time also allows for fixing the mistakes
(normally called "punching in") of an incorrectly played part.  By "punching in", or replacing, the
misplayed part, you can record a performance over and over again until it's perfect.

MONITORING

  -  In order to properly record a performance, both the engineer, producer, and

all of the players must be able to hear the performance first.  This is called Monitoring when
listening to the speakers in a control room, and Cue when the musicians are listening to
headphones while overdubbing.

Monitoring is a more complex operation than it might seem at first glance since there are many
mixes that can occur simultaneously.  Often, there are 3 separate mixes (sometimes more)
happening simultaneously in order to complete the task of just a simple overdub. The
comprehensive systems and logistical layout of the 

1622 MIXER

  will make it relatively easy for

you to accommodate even the most complex  monitoring  requirements.  The following are a few
of the typical mixes that can occur during a session:

MULTITRACK MIX

The first mix would be the mix that is being recorded onto tape.  This mix is
derived from the channel faders and the direct outs (channels 1-8, typically) or
the submaster outputs.  These levels are normally adjusted so that the optimum
signal level reaches tape in order to insure the least amount of noise and
distortion.  This level is usually about 0 VU (on the tape machine meters)
although signal levels as low as -10 VU may be appropriate for instruments with
high frequency transients, such as cymbals and snare drums.

MONITOR SPEAKER (CONTROL ROOM) MIX

If you were to only listen to the multitrack mix (see above), you would probably
find that it would be terribly out of balance since the optimum recording level is
the primary concern of that mix.  Therefore, a second mix is required which is
called the monitor mix.  This is a separate mix which provides the engineer with
a useful instrument balance and enables him to make changes and adjustments
to the mix (such as muting or soloing channels) without disturbing the signals
being recorded on tape.  The 

1622 MIXER

  can be configured to create a control

room mix.  

See Section 2 - INTERFACING TO THE MULTITRACK TAPE

RECORDER

CUE MIX

Many times a third separate mix is required as well.  This mix is sent to the
musicians headphones for overdubbing and is called a CUE mix.  This mix can
be radically different from what the engineer is listening to since the musician
may need certain instruments louder or even absent in the mix in order to cue
off of (hence the name).  This mix is derived from the PRE-FADER SENDS,