![]() One person in total control, mixing stress free. The show alone would have required a couple of mix engineers, maybe even three, to mix the event, not to mention record it.Ĭome to think of it, that’s not far off of what we used to actually do for shows that were lesser in scale. ![]() And recording it all in discrete multi-track form? Forget about it. ![]() In addition, with 192 channels, I would have needed roller skates to get from the music inputs to the production inputs quick enough to make the changes, let alone the inability to actually mix the event. It suddenly dawned on me that if this console was built using analog technology and hardware but was required to offer the same input and output capacity, I physically would not be able to operate it – 96 mix buses plus EQ and pre-amp controls along with group assignment buttons, faders, and so on would create a channel strip physically too long or deep to actually reach past about aux 20. I looked down and took stock of what I was sitting in front of in terms of capability versus its physical presence. No, I had a moment of awe at just how effortlessly modern mixing technology was allowing me to handle a channel count approaching 200 on a mixing console that offered up a whopping 32 faders. No, not at how great it was all sounding or the caliber of the musicianship, which was incredible by the way. #Grouping navigation bar access fullWhile the event was in full swing, I had a kind of an “in awe” moment. “Oh, and while you’re mixing it, let’s record it in multitrack form too, OK?” Um … OK. ![]() #Grouping navigation bar access proRecently, I was charged with mixing a massive television event that included a large orchestra, a traditional band ensemble drums, bass, guitars keys, a huge percussion rig, Pro Tools playback, etc., with upwards of 30 handheld vocal microphones along with presenting all of the production elements for the show introductions, video rolls, stage announcements. ![]()
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