Specifications

Introduction
Studio 32 Reference Manual 16
Monitor (Control Room) Mix
This mix is what the engineer and/or performer hears in headphones or the control
room speakers. During overdubbing, this mix is typically controlled by the Studio
32’s MONITOR 1/2 section, and sometimes by the L/R mix. In the monitor mix, the
goal is to set the controls so the performer gets whatever mix they need so they can
perform their overdubs as well as possible. In the engineer’s mix, the goal is to
make sure that he or she can hear any problems with the tracks being recorded, so
they can be fixed before making more overdubs. In either case, the Studio 32 allows
you to adjust the monitor and control room mix (change levels, pan position, or solo
individual channels) without disturbing the signals being recorded to the
multitrack.
In the illustration, the microphone we recorded on track 4 comes back on TAPE IN
#4. The MONITOR 1/2 source switch is set to the TAPE (up) position. The LEVEL
pot (with the purple knob), and the MONITOR PAN determine the mix going to
the MONITOR 1/2 MASTER. At this point, the CONTROL ROOM SOURCE
switch is set to MON 1/2, so the engineer can adjust the monitor mix, and the
HEADPHONES SOURCE switch is set to MON 1/2 as well, so that if the engineer
hits any SOLO buttons, only the control room mix will be affected, not the
headphone mix.
Monitor PAN: Note that the Monitor PAN controls (the black knobs above the
purple knobs) will not affect what track a signal is recorded on. They only affect
the position in the control room speakers or headphones. On the other hand, the
lower row of PAN controls for the channel faders will pan the signal from the
microphone between two tracks of tape (if you’re recording using the Groups instead
of the Direct Outs).
Sometimes you may need another mix for the musicians’ headphones, since some
musicians may need certain instruments louder or softer in the mix in order to hear
their cues. In the Studio 32, a complicated cue mix will usually come from
MONITOR 1/2, and less complicated ones may come from the post-fader AUX sends
(if it’s OK for the Aux mix to change if the engineer makes adjustments to the
channel fader). Don’t forget that MONITOR 1/2, instead of being used as one stereo
mix, may be used as two mono mixes, with careful setting of the MONITOR PAN
controls.
Post-EQ, Pre-Fader: The EQ, 75 HZ filter, and INSERT jack do not affect the
MONITOR 1/2 mix unless both the FADER SOURCE and MONITOR SOURCE
switches have selected MIC/LINE as the source. This feature allows you to hear
what the engineer is doing to the EQ, or to an effect device in the INSERT jack,
when you’re using the MON 1/2 mix for headphones or a stage monitor mix. But the
EQ and INSERT never affect the TAPE side of the MONITOR SOURCE switch, or
if the MIC signal is going through MON 1/2 while TAPE is going through the
CHANNEL FADER. (For clarity, the drawing on the next page doesn’t show this
detail; see the Block Diagram on page Error! Bookmark not defined. for the
complete signal flow.)