In this example, a spare microphone is connected to Input 8 on the Liquid Saffire 56. Select your interface as the device, then select an available input (one that you’re not using for any other purpose). Talkback – click ‘Add Bus’ and then select ‘Talkback’. This will allow us to determine which set of speakers we are sending the signal to later on and be able to switch between them.Ĭ) Now, in the ‘Studio’ section, we can set up everything we need to incorporate two sets of speakers, two cue mixes (one for each performer) and a talkback microphone. It’s important that we do NOT assign this to an output on the interface. In this example, Input 1 and Input 2 on the interface have microphones connected to record the performers with.ī) In the output section, we need to create a stereo bus. The number of speakers and talkback microphones you can utilise is of course dependent on how many inputs and outputs your interface has so some steps may not be possible for your interface.Ī) In the input section of the VST Connections window, we will need to set up the inputs for recording as normal. The setup instructions below are applicable to all of our Scarlett and Saffire interfaces that use Mix Control, as well as our Clarett interfaces using Focusrite Control. This diagram shows an overview of the setup: Have a dedicated talkback microphone that can be switched on and off that only the performers can hear (not also coming through the control room’s speakers/headphones). Provide separate mixes to two performers (a guitarist and a vocalist), one via a headphone amp connected to a pair of line outputs on the interface and the other mix via one of the interface’s built-in headphone outputs. Also be able to listen back on headphones Allow the engineer to switch between two pairs of speakers In the example below we are aiming to provide the following functionality using the inputs/outputs on a Liquid Saffire 56: The Control Room Mixer can be accessed in Cubase by going to Devices > Control Room Mixer. Control Room allows you to quickly enable talkback functionality with a microphone connected to one of your interfaces inputs, create cue mixes for each performer and also easily switch between pairs of monitors attached to different outputs on your interface. It's worth investigating if the products you use offer a similar convenience, because I'd default to those to save resources when they are available.This guide explains how to set up Cubase’s ‘Control Room’ feature for use with Focusrite interfaces. With that product, you can compose with 16-Bit samples that are lighter on resources, and then switch to 24-bit samples when you have to render. EastWest was good for this with their Play Libraries (i.e. If you pre-purge it means that as you work the only samples that will be loaded are those you actually use/play - either with your MIDI controller or via the MIDI in the project file.Īdditionally, some libraries come with lighter samples that you can switch to. The lack of this function is why many people dislike Spitfire's proprietary player. Some Samplers/ROMplers/Players don't have a purge function. You can create a 1,000 track template and still load it on a PC with 8GB RAM if you pre-purge the Kontakt instances. Why would you have your template load 25GB of data? The point of a template is to have everything set up and ready to go, not to literally load every library your own into memory. Always make sure your template is pre-purged. You can pre-purge Kontakt Libraries, so your Template should be using almost nothing when it loads, and it should load almost instantaneously even if you don't disable the tracks.
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