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[Al Rettich]

Just wondering if anyone had any tips or tricks for a SC48?

[Greg_Cameron]

Just wondering if anyone had any tips or tricks for a SC48?

Check out the DUC. Most of that stuff is already posted there.

http://duc.avid.com/forumdisplay.php?f=25

[Thomas Lamb]

Just wondering if anyone had any tips or tricks for a SC48?

From a workflow perspective when I'm doing monitors from FOH I use the multifunction area a lot during sound check but not so much for tweaking later. So let's say 8 mixes from FOH we start with kick snare------ in the multifunction area I can mix individual ch for all 8 mixes which is quick. Then later when individuals are asking for tweaks I use the encoder row so I can tweak the entire mix instead of one ch at a time. 

[Greg_Cameron]

From a workflow perspective when I'm doing monitors from FOH I use the multifunction area a lot during sound check but not so much for tweaking later. So let's say 8 mixes from FOH we start with kick snare------ in the multifunction area I can mix individual ch for all 8 mixes which is quick. Then later when individuals are asking for tweaks I use the encoder row so I can tweak the entire mix instead of one ch at a time.

You know Thomas, you made a point. I don't shift the encoder functions very much, usually I just toggle between gain and HPF. It would definitely be more speeding dialing up the mixes the way you describe. I've been using the more "analog" method of punch up the auxes on the right encoders and going channel by channel. Hard to break old habits.

[Thomas Lamb]

You know Thomas, you made a point. I don't shift the encoder functions very much, usually I just toggle between gain and HPF. It would definitely be more speeding dialing up the mixes the way you describe. I've been using the more "analog" method of punch up the auxes on the right encoders and going channel by channel. Hard to break old habits.

Greg I used a profile for a long time and while you can do it the same way on it I find it much easier on the sc48 because of the scribble strips which really help my brain keep the mixes straight. When I work on profile I still toggle the encoder rows but really notice how much quicker it is using the multifunction as described. So now when I'm teaching on the console I always start them out in the multifunction area once they get comfortable and I notice them trying to tweak I start explaining how to mix more efficiently and for me using both tools (multifunction and encoder) really seems to work best.


Al,
Another huge thing I stress is that for most things less is more. The stock Chanel based comps and gates are excellent. Don't get me wrong there are some great plugins out there but my rack that I always start out with will have Gerry few plugins. Mainly verbs and delays and always a parametric inserted on the main buss as well as wedges if I have any (mostly iems these days)

[Jay Barracato]

Greg I used a profile for a long time and while you can do it the same way on it I find it much easier on the sc48 because of the scribble strips which really help my brain keep the mixes straight. When I work on profile I still toggle the encoder rows but really notice how much quicker it is using the multifunction as described. So now when I'm teaching on the console I always start them out in the multifunction area once they get comfortable and I notice them trying to tweak I start explaining how to mix more efficiently and for me using both tools (multifunction and encoder) really seems to work best.


Al,
Another huge thing I stress is that for most things less is more. The stock Chanel based comps and gates are excellent. Don't get me wrong there are some great plugins out there but my rack that I always start out with will have Gerry few plugins. Mainly verbs and delays and always a parametric inserted on the main buss as well as wedges if I have any (mostly iems these days)

Like Greg, I probably don't shift the monitor mixes to the encoders or faders enough. I do typically split all of my vocal channels into a FOH and monitor channel when mixing monitors from FOH.

My drums, and backline instruments basically go on one layer, vocals and "star" instruments on the second layer, after soundcheck, I basically stay on the vocal layer as "home" unless I need to go get something specific.

I use the VCA's to bring control of all this to one place. One of the VCA's is also used for the sends to the vocal effects. I usually pin that VCA to the flex fader so I can pull them out between songs.

[Robert "VOiD" Caprio]

My favorite "trick" on an Avid desk is to use the Events to recall Snapshots.  The most basic use of this technique is let's say you have your money channel (probably a lead vocal) with all its fancy plugins, dynamics, EQ and such.  All of a sudden during the show the mic goes out and you need to switch to the backup.  Typically this would involve using another channel with duplicate settings (or in rare cases physically repatching the input) but with Events and Snapshots you can set up a Function button to recall an Event that recalls a Snapshot of the money channel's input (scoped only to the Pre In) and switches it to the backup input.  That way your $$$ channel stays in the same place with all its settings intact.  Neat.

[Kristo Kotkas]

Just wondering if anyone had any tips or tricks for a SC48?

On SC48, with only 16 faders available, I call my first VCA MAIN and assign 16 *most wanted* channels to that VCA. And then I pretty much mix that VCA *spilled*, that way I have all the really important channels right there in front of me at all times.

Then I try to create other VCA's so that the channels I don't have in the MAIN VCA group will be accessible in other VCA's. That way I never go out of the spill mode, just select next VCA and instantly the associated channels will be in front of me, and then, with just selecting the first VCA I will be back on my MAIN channels.

This is also good for bringing FX returns to the same Layer.

My typical MAIN VCA group for a rock band would look something like Kick, Snare Top, Sn Bottom, Hat, Bass, Gtr1, Gtr2, Keys1, Keys2, Voc1, Voc2, Voc3... and Voc Reverb, Voc Delay. Second VCA would then be Toms, next VCA Overheads, ect.

Also worth mentioning is that you actually can assign a Aux Master to a VCA too. That way you can use one VCA for riding your Lead Voc delay send for example.

[Brian Wynn]

On SC48, with only 16 faders available, I call my first VCA MAIN and assign 16 *most wanted* channels to that VCA. And then I pretty much mix that VCA *spilled*, that way I have all the really important channels right there in front of me at all times.

Then I try to create other VCA's so that the channels I don't have in the MAIN VCA group will be accessible in other VCA's. That way I never go out of the spill mode, just select next VCA and instantly the associated channels will be in front of me, and then, with just selecting the first VCA I will be back on my MAIN channels.

This is also good for bringing FX returns to the same Layer.

My typical MAIN VCA group for a rock band would look something like Kick, Snare Top, Sn Bottom, Hat, Bass, Gtr1, Gtr2, Keys1, Keys2, Voc1, Voc2, Voc3... and Voc Reverb, Voc Delay. Second VCA would then be Toms, next VCA Overheads, ect.

Also worth mentioning is that you actually can assign a Aux Master to a VCA too. That way you can use one VCA for riding your Lead Voc delay send for example.

Sound's to me like you would like the pop groups on the Midas Pro series.

[Vladimir Angelovski]

Yes, my thoughts exactly. Though, last time working on Pro I found myself not using POPs at all, just VCAs as Kristo does.






typo

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