How do you route the DM 4800 mix back into Logic?
- Thread starter TorchMusic
- Start date
TascMan
Soundaholic
I have always used the monitor outputs (CR--Control Room) with TRS 1/4" plugs out to XLRs on the other end into my monitors, and I have the stereo mix going through those. The advantage here is you will have a separate volume knob (CR) for your monitors, allowing you to adjust your input faders and your stereo fader all the way to unity, 0db, while keeping your monitors at a comfortable listening level. I think of the XLR outs more as a FOH output for use in a live setting.
BTW, glad it's starting to come together for you. You obviously don't have to use FW channels 31/32, that suggestion was just for convenience. 15/16 is no different at all. You can use any pair of channels you like, although most DAWs seem to prefer a stereo pair that starts with odd numbers...1/2, 27/28, etc.
One other note,
If you want to send your ITB stereo mix out to some outboard gear, I have found that it works better to send the actual FW OUTPUT stereo pair that you have assigned in your DAW, that is going to your mixer, directly out to the gear to be used, rather than sending it to a pair of DM channels, and then out through the stereo buss, then out to the gear.
For example, Say you want to send your ITB mix out to an external comp. Instead of going: 2 channels out of the DAW to a paired set of channels in the DM, then out through the stereo buss, and out through the assign sends and into the comp/out of the comp, through assign receive to a stereo pair of FW channels back to your DAW, try this:
Assign 2 FW channels with your STEREO mix out from your DAW (say SLOT1-1 and SLOT1-2) sent directly to Assn Send via your routing page, out to your comp, then back into assgn receive. Now set those Assin receives to SLOT1-15/SLOT1-16--in your case--) back into a stereo track in your DAW. Doing this keeps the original signal level the same throughout, avoiding any issues with routing through a paired set of faders and the stereo buss.
You should also assign the same pair of Assign receives to a pair of DM channels to monitor what your comp is doing. This way is best as the post comp signal is sent to BOTH to the FW directly and to a pair of DM channels, without fader volume affecting the signal being sent back out to the DAW.
BTW, glad it's starting to come together for you. You obviously don't have to use FW channels 31/32, that suggestion was just for convenience. 15/16 is no different at all. You can use any pair of channels you like, although most DAWs seem to prefer a stereo pair that starts with odd numbers...1/2, 27/28, etc.
One other note,
If you want to send your ITB stereo mix out to some outboard gear, I have found that it works better to send the actual FW OUTPUT stereo pair that you have assigned in your DAW, that is going to your mixer, directly out to the gear to be used, rather than sending it to a pair of DM channels, and then out through the stereo buss, then out to the gear.
For example, Say you want to send your ITB mix out to an external comp. Instead of going: 2 channels out of the DAW to a paired set of channels in the DM, then out through the stereo buss, and out through the assign sends and into the comp/out of the comp, through assign receive to a stereo pair of FW channels back to your DAW, try this:
Assign 2 FW channels with your STEREO mix out from your DAW (say SLOT1-1 and SLOT1-2) sent directly to Assn Send via your routing page, out to your comp, then back into assgn receive. Now set those Assin receives to SLOT1-15/SLOT1-16--in your case--) back into a stereo track in your DAW. Doing this keeps the original signal level the same throughout, avoiding any issues with routing through a paired set of faders and the stereo buss.
You should also assign the same pair of Assign receives to a pair of DM channels to monitor what your comp is doing. This way is best as the post comp signal is sent to BOTH to the FW directly and to a pair of DM channels, without fader volume affecting the signal being sent back out to the DAW.
Last edited by a moderator:
captdan
In Memoriam
Sorry for the confusion; I wasn't at my mixer when I wrote the previous instructions.
Yes - selecting the inputs in banks of 8 means that you have to mentally translate those banks in numerical order. So the second bank refers to numbers 9 thru 16, etc.
I use outputs 15/16 for my stereo mixback to ProTools. The reason is, I never need more than 16 outputs from the DM, so to save PC processing power, I've designated that Firewire carry 16 channels from the mixer instead of 32.
I mention this because, whatever selection is made in the DM will be reflected in the DAW's input availability.
Me, too. I use a passive monitoring system with two separate types of nearfield monitors. The CR pot is necessary for maintaining a consistent DB level output from both systems. When I'm preparing a final mix, or doing a mastering session, I set the sound pressure RMS (and/or pink noise) to about 85db for the big monitors, and about half that for the smaller speakers. The CR pot is marked accordingly for quick resetting.
CaptDan
Yes - selecting the inputs in banks of 8 means that you have to mentally translate those banks in numerical order. So the second bank refers to numbers 9 thru 16, etc.
I use outputs 15/16 for my stereo mixback to ProTools. The reason is, I never need more than 16 outputs from the DM, so to save PC processing power, I've designated that Firewire carry 16 channels from the mixer instead of 32.
I mention this because, whatever selection is made in the DM will be reflected in the DAW's input availability.
Me, too. I use a passive monitoring system with two separate types of nearfield monitors. The CR pot is necessary for maintaining a consistent DB level output from both systems. When I'm preparing a final mix, or doing a mastering session, I set the sound pressure RMS (and/or pink noise) to about 85db for the big monitors, and about half that for the smaller speakers. The CR pot is marked accordingly for quick resetting.
CaptDan
Last edited by a moderator:
Jarno
Soundaholic
I have JBL 6328s so I put them on the Large speaker out. Everything looks good now! I'm going to do my first "official" mix later tonight or tomorrow!
From the Test mix I did on the DM 4800 it sounded different from the Apple Logic summed mix. It seemed "smoother" and I felt like I could push the Bass more. Maybe I'm imagining it. I'll know more tomorrow.
From the Test mix I did on the DM 4800 it sounded different from the Apple Logic summed mix. It seemed "smoother" and I felt like I could push the Bass more. Maybe I'm imagining it. I'll know more tomorrow.
Headroom
Veteran
I don't think there is any difference between the Large and the Small out's. They are justed marked as such on the board for your convenience.
gr, Frans
gr, Frans
I am so sick right now :-( I think I just blew my tweeters!
You know those two channels I was supposed to mute so I didn't get that bad sound? Well, I forgot to mute them. I'm hoping maybe there's some overload protection on these JBL 6328. Does anyone know if this is the case?
You know those two channels I was supposed to mute so I didn't get that bad sound? Well, I forgot to mute them. I'm hoping maybe there's some overload protection on these JBL 6328. Does anyone know if this is the case?
captdan
In Memoriam
Have you tested the monitors at normal volume? Inspected the cones and the surrounds for damage?
I don't know about overload protection, but I'd be more concerned about the speakers' condition at this point. Chances are they're okay.
Obvious caveat: when performing unfamiliar routing maneuvers, keep the volume down in case of error.
CaptDan
I don't know about overload protection, but I'd be more concerned about the speakers' condition at this point. Chances are they're okay.
Obvious caveat: when performing unfamiliar routing maneuvers, keep the volume down in case of error.
CaptDan
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