Download Studio Mixer Dj
Gregory Muench
This little guy has been my biggest gripe about the sound studio 3. It felt super handy, but I'm struggling with it. I'm primarily running the DFAM direct into IF and the M32+SH+Microfreak (occasionally) into the mixer and IF input 2. I learned the hard way that almost every cable/adaptor combo in my immense cable pile is mono, except for one. (that meant I wouldn't get any signal from whatever was in the L jacks in the mixer). I just ordered what seems to be a proper 1/4-1/8" balanced stereo cable so I'm hoping I'll eventually have a good experience with this thing. I'm also looking to get a new 4+ input interface since having 2-3 synths on one track isn't ideal.
I also just tried to run everything direct from the mixer to an amp, and I'm getting a lot of popping/noise from the current stereo 1/8" cable/1/4" adaptor now. I could barely hear the Microfreak, despite the others' volumes being down low.
A reader recently sent me an e-mail asking for help with his home recording studio setup. He was using Reaper recording software (excellent choice!) on his computer, along with a mixer, a drum machine and a keyboard synthesizer, along with some mics plugged into the mixer as well.
He had an audio interface, but a very limited one, called the Behringer UCA 222, which is not designed for multi-track recording, but rather for you to plug in line-level signals from things like tape decks, mixers, and other consumer audio devices, as well as electronic instruments like keyboards, drum machines, etc.
The trouble with that is the preamps in a mixer like the 1202, though decent, are pretty cheap by necessity. There are 4 of them on a 1202, and if they used top-notch recording quality preamps, it would drive up the cost of the mixer by a lot.
So my question is would an external mixer help with doing remote live recordings with clients instead of using a virtual mixer to route everything? The virtual mixer works pretty well but lately, it sometimes gets static noise so I am trying to find a remedy to my solution. Like I said it works flawlessly when I am just doing the recording to adobe audition and the like. The problem is when I want to do remote recording on the browser-based IPDTL alternative platforms online.
I have actually got it to work using the virtual mixer program free program called voicemeeter as that routes everything to get it to work when I do remote recording but it is a hit or miss. And I need this problem resolved. As you are aware clients want to do remote recording and not just get the file by e-mail.
Ok thanks for your help on that. So when you say plug the monitoring output into the mixer use another trs to trs balanced cable that I would have to buy and put it into an external mixer then? And I would be able to rout things like that?
With a small analog mixer, your advice is well-taken. A full-size analog mixer, however, will likely provide an insert jack on each input channel. With this you can route an individual preamplified (and pre-eq as well) signal from each channel to a multi-track computer interface, while st the same time using the mixer as usual to provide a control-room stereo mixdown. An even better choice these days is a compact digital mixer, most of which can handle up to 16 input channels. The advantage here is that a digital mixer can act as a multichannel interface with your laptop networked directly to the mixer. The individually digitized channels are transmitted over ethernet, directly to your laptop, eliminating the need for a separate multi-track digital interface.
Your question lacked an important detail: are you using multiple monitors and wanting to have a full-screen mixer on a different monitor from the Edit/Arranger window? If that's what you're asking, you can certainly do that. This is the way I always work in S1. As in the pic in jasonwilmans' answer below, click the 'Detach' button. This makes the mixer a separate window. You can then drag it to your second monitor and maximize it. If you create a template with that arrangement, it would effectively be the default, at least for any song you base on that template. You could also maximize it on the one screen if you only have one, but you'll be switching between them a lot.
This is a very good request and the issue is the same on Windows 10 as well. Most commenters here don't realize that the detached mixer window is not actually a "window" in the operating system sense. The whole Studio One is just one window as far as the OS is concerned. My workflow in Reason was/is to place the sequencer and mixer on separate virtual desktops so I can quickly switch between them on a keyboard (ctrl+win+left/right on Windows, ctrl+left/right on a Mac). Here's how it works with Reason (and as I understand from OP in Logic as well). You can't do this in S1 at the moment which is a shame.
When i reopened my project all my mixer channels (besides the Main one) and their effects racks were completely purged. The effects volume states are still there, and when the sound plays the volume indicators still "dance" as they receive imput, but none of the plugins are there, and their name, color and track volume are reset to default.I removed the VST folder just to make sure there's no plugin that cause this, but it's not the case.The backups are saved the same. No effects.I have an older backup, it does have the effects, but is just half of my project, so the newer ones are not there stil.
I want to send some of my individual drums to separate channels in my DAW. The only way I can find to do this, is to route the individual channels of the "Mixer" within Abbey Road. That works fine if you just need the kick, or snare, or toms. But I want to send the "stick clicks" to an individual channel. Currently, the stick clicks are coming through only in the "Room mic" and "Overhead mic" on the Abbey Road mixer. I need to create a separate channel on the Abbey Road mixer for the stick clicks, but I can't figure out how to do that. It would also be fine to replace the "Tom 1" channel with the stick clicks, but I can't figure that out either.
Thanks for looking into this, but this is not quite my problem. Your solution allows me to route the individual channels of the Drummer Mixer to outputs in Kontakt, which I can then route to individual channels in my DAW. But the problem I have is that I can't figure out how to customize what is going into the Drummer Mixer channels. For example, in Abbey Road Modern Drummer, the mixer channels are: "Kick", "Snare", "HiHat", "Tom1", "Tom2", "Tom3", "Tom4", "Clap", and "Chop". I don't need four channels of toms for the track I'm working on, but I do need one channel of "Sticks" and another of "Cowbell". After I get those channels into my Drummer Mixer, then I can route them out to my DAW as you described in your response, but how do I customize what is going IN to the channels on the Drummer Mixer?
I tried switching drivers but that didn't make a difference. For some reason, the tracks stopped playing and aren't showing up in the mixer as well. They were playing, then just suddenly stopped. Also, I accidentally tied track 1 and 2 together and don't know how to undo that (that was done after the audio stopped playing.
So with the file in my screenshot, if I add anything new to it and play the song, there is nothing and it doesn't show up in the mixer either.
Also, if I restart FL studio, that doesn't help.
Whats weird is that it starts to play, then after 20 repeats or so (different each time) it just suddenly stops sending to the mixer and no audio is heard. And it does it onepattern at a time with about 1 second between each one going silent.
If I start a whole new project, it will play, then does it all over again with the problem. Regardless of what plugin I use. It's very odd.
I'm running a very powerful PC. 5 monitors, 20TB of space, 32 gigs of ram, and i7 processor. So it shouldn't be the computers hardware causing this.
The Model 742A Audio Mixer is expressly designed for use in electronic-news-gathering (ENG) vehicles and small production truck applications. Many other fixed and mobile audio production, on-air, and utility applications can also be supported. Model 742A features include four mic/line inputs with +48 volt phantom power, four line inputs, two output buses, LED level metering, flexible monitoring, and AC and DC powering. The Model 742A was specifically designed as a dual-channel audio mixer, rather than as a typical stereo device. This approach makes it excellent for "dual-path" on-air applications. As a utility mixer the Model 742A can create two independent monaural signals, excellent for general signal monitoring, talent cueing, or intercom support uses.
Associated with each mic/line input channel is a 3-position output bus assignment switch. This allows each input to be assigned to bus 1, bus 2, or both, quickly creating two fully independent audio "feeds." Bus assignment switches, rather than the more-typical "pan pots," were specifically selected for the Model 742A's design. This allows a more positive assignment of an input source to the desired output bus (or buses), minimizing the chance of unwanted "leakage." Pan pots are fine in an audio mixer destined for use in stereo music situations, but are inferior when used for two-bus applications.
Signals from the eight input channels (four mic/line and four line) are routed and combined to create the two main output buses. A dual rotary control is used to independently set the overall level of the two buses. An electronically balanced output circuit is associated with each main output bus. They provide line-level signals capable of driving balanced or unbalanced loads of 600 ohms or greater. Separate studio-quality audio compressor circuits are provided to control the dynamic range of each main output bus. An LED indicator is associated with each compressor, lighting whenever the circuit is actively controlling signal level. Far from simple "clippers," the compressor circuits utilize sophisticated laser-trimmed voltage-controlled amplifier (VCA) integrated circuits for quiet, low-distortion operation. To help minimize operator error no compressor on/off switches are provided on the Model 742A's front panel. Internal configuration jumpers determine the compressor circuits' operating modes. From the factory the jumpers are set so that the compressors' operating threshold is 6 dB above the nominal +4 dBu output level. This is an excellent general-purpose setting for broadcast use where voice signals are the primary audio content.
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