by Gregg Rudloff and Tony Pilkington

The new generation of fully automated digital mixing consoles can appear a bit daunting at first glance, with all their buttons, knobs and flashing lights. Their many functions make them powerful and flexible tools, but along with all that power and flexibility comes a great deal of complexity. Gone are the days of showing up a half hour before roll time, patching a few tracks and happily mixing away the day. In order to maximize a console’s potential, you need to give some thought to how you plan to mix, and then prepare for it.

Our crew mixes on an AMS Neve DFC, which starts out as a blank slate. Before you can mix anything, you need to design a “desk,” a complex task that can take many hours. We have found that building a library of desk “templates” that can then be copied and modified helps immensely when preparing for individual projects.

Each of the faders on the DFC console has four layers, as well as eight multi-use knobs assigned to EQ, filters, compressors, inserts and so on.

The Console

Our DFC has 96 faders on the surface, divided into three sections of 24, 32 and 40 respectively. Each fader position (or channel strip) has four layers. This means that, if needed, each physical fader on the console can be four separate faders with different source material patched to each one. You can access faders on any layer, either individually or globally within your section, at any time. Each of these faders (regardless of what layer it is on) can also be a sub-group master controlling a pre-dub of up to eight channels. The slave faders in these pre-dubs are hidden (they do not use up any fader positions on the surface) and can be accessed by opening or “filleting” them to a dedicated set of faders of your choice. Each fader can also be used as a gang master for other faders or sub-masters already on the surface. Each channel strip also has eight multi-use knobs, which can be assigned to input trims, phase, EQ, filters, panning, compressors, gates/expanders, inserts or aux sends. While the many layers and multi-use knobs may seem confusing, the design gives you the most console possible in the smallest amount of manageable space.

Did I mention complexity? The heart of the DFC is the digital engine or “tower.” It allows for 500 “paths” to be used for faders, record busses and such. There are also up to eleven cards supplying the DSP (digital signal processing) power for panners, EQ, filters, etc. In designing the desk, you need to decide how many faders you need and where you want them. Should they have panners, filters, aux sends and EQ? How many bands of EQ? What frequency ranges? How many recorders do you want? The DFC allows for up to six eight-track recorders simultaneously. What monitor format do you want for your recorders — LCRpqB, LCRpqLCR, etc.? By starting from scratch, you can determine the most efficient use of the available DSP — it’s important to carefully allocate those processing resources.

There are too many different mixing variables to create and store a separate template for every possible situation. The object with templates is to create a set-up that can serve as a starting point. You can then copy that and make whatever modifications you want for a particular project. One template can be used as the basis for another. Sometimes a template will go through several revisions and then replace the original.

Each step in the mixing process can require a different desk configuration. Some elements may be consistent throughout the mix, while others vary wildly. All projects are different and all mixers work differently so there are no hard and fast rules. Except one. Back up your work! As with any software-based system, you are always at risk of a crash or some kind of corruption. It is extremely helpful to have a clean version of your work to revert to, instead of that blank slate you started with.

Figure 1. In this window, you are able to change the number of faders in each section or “partition” on the surface of the DFC.

How the DFC Stores Information

Before starting with specific types of templates, you need to understand how the DFC stores its information. The basic console configuration is stored under “Desk Setups.” Mixing information is kept under “automation.” Some tasks can be stored under either, depending on when they are performed and saved. The desk and automation can be saved individually or at the same time. Your mix automation can be linked to your desk configuration, so if you return to an existing mix, everything will come up properly.

You need to think carefully about what you want to include as part of a template, and what you would rather add later for particular projects. Before you make any changes that are project-specific, make a copy of your template and rename it for the current project.

Patching is automatically saved as part of the desk, and since most patching varies from project to project, you may want to leave it out of your original template completely. An exception might be your outboard gear. Most mixers have a complement of equipment they have available, regardless of what they are mixing. These can include reverb devices, sub-harmonic synthesizers (boom), notch filters, de-essers, etc. If these remain consistent, you might as well have them already patched. The same can hold true for recorders. If you use the same recorders most of the time, go ahead and patch them in your template — it is always easy to modify them later.

Several other features are worth noting. One has to do with the physical layout of the console. As previously mentioned, our console is divided into three sections. Certain functions on the board are performed globally within these sections. For example, if you hit a Solo button on one fader, all other faders in that section are muted. The mode of automation with which you are mixing can also be changed globally. There may be times when you wish to operate the console as a one- or two-man system. The DFC allows you to resize these sections or “partitions” in software (Figure 1). This allows you to change the number of fader positions affected by a global command. One caveat regarding soft partitions: they are manual settings that are not stored with either the desk or automation files. You may want to note any changes in the partitions, so that you can restore them later if necessary.

Figure 2. The Default Manager stores preset values and status for your processing gear, so that you can easily return to those presets at any time during the mix.

Another useful tool is the Default Manager, which allows you to store preset values and status for your processing gear, then apply those values to the appropriate processing in your section as you build the console (Figure 2). Most mixers have initial settings they like for their EQ, filters, aux sends and so on. Some like to start with them turned on but in a “null” state (having no effect on the signal); others like them with some sort of pre-set value but initially turned off. Defaults also allow you to easily return to these presets at any time during the mix.

Building a Template

Like most computer systems, the DFC gives you more than one way to perform many tasks. The desk can be configured either on the console surface itself, or on the computer beside the console, or even on a computer at an off-site location.

Figure 3. The Desk Editor enables you to design the DFC desktop. This window lets you drag and drop processing elements onto the virtual faders.

If you are starting from scratch, the computer screen, which shows you visual representations of the console, is by far the easier and faster way to go. To configure the system, you use a graphic interface called the Desk Editor, a tabbed window that enables you to choose what you want on your console and where it should go (Figure 3). How many recorders and monitor busses do you want? How about aux sends? A good place to start is to decide how many single faders and pre-dubs you will need. You can then drag and drop them either individually or in groups onto your blank console.

Once you have designed your fader layout, consider the sort of processing you want to go with it. If you want a lot of faders to employ the same processing, the easiest way is to set up one channel strip first. Simply by dragging and dropping, you can add any elements you want to the fader, then rearrange them in whatever order you wish. For example, maybe you want four bands of EQ, a two-band filter and a compressor. Do you want the compressor to come first? Do you want it pre-fader or post-fader? Don’t forget to use the Default Manager to store your favorite preset values. Once you have a single channel strip laid out, you can copy and paste to your heart’s content. As before, you can choose to do this individually or to a selected range. Using these methods, you can design a console that is as simple or as complex as you desire. Remember to include all your favorite outboard toys.

If you are making minor modifications to an existing desk, you may want to make the changes right at the console. Just as you can on the computer, you can move faders around by dragging and dropping, and you can copy and paste settings either individually or to a selected range of faders. You can add or delete processing in your channel strip, and you can reassign record and monitor busses to different speakers. Remember to save your desk setups when you are done.

Pre-Dub Templates

You can design pre-dub templates to work for individual or multiple disciplines. For example, one template might be just for dialogue, while another might incorporate dialogue in one section and background pre-dubbing in another. We have separate pre-dub templates for dialogue, effects, background and foley.

Most pre-dub desks will be very similar — a handful of recorders and lots of single faders with lots of processing. You may have a bunch of six- or eight-channel pre-dub modules built to play back completed pre-dubs, so that you can balance against them as you create new ones. In order to conserve on DSP power, we usually do not include any processing on the pre-dub modules we use for playback.

The pre-dub template that we use for dialogue is unlike the others in that it allows for side chains of outboard processing gear. Dialogue mixers might set up several chains with different equipment in order to clean up and smooth out the dialogue. We use a couple of record busses to route the signal into the side chains. Our dialogue mixer also has eight bands of EQ in each channel strip. These can be attached to an automated graphic equalizer, if desired. He also includes inserts to handle parallel source material. (Some editors deliver their tracks on removable hard drives and simultaneously carry a copy on their workstation in case they want to make changes — inserts allow us to switch between the two sources.) Another difference with this template is the bus monitoring. Since most dialogue is played through the center speaker, the production and principal ADR recorders are set up as mono. Group ADR pre-dubs are monitored in whatever stereo format is desired.

Our effects, background and foley pre-dub templates are almost identical to each other. There are lots of faders, lots of pre-dub modules and lots of processing. Each channel strip has four bands of EQ, two bands of filtering, a compressor and twelve auxes for getting to reverbs and such. (Aux sends can be sectional or shared globally across the console.) The only differences between the templates are the recorder and monitor tracks. You may want to design several templates with different recorder and monitoring complements. Maybe you want to set up four six-track busses for recording, and another for playing back existing pre-dubs. Or maybe you want four eight-track busses and a six-track bus for recording, along with another six-track bus for monitoring completed pre-dubs. Some mixers will set up eight-track bussing exclusively, even when they plan on using only six. This will let you get away with fewer templates but can create some extra button pushing every time you assign routing to a fader.

Since the differences between the effects, background and foley desks are minor, we start with one template, copy and rename it, then modify the recorder and monitor bussing. This is much quicker than building entire desks from scratch.

Final Mix Templates

Designing a desk for the final mix is where things can get creative. If it’s a quiet dialogue-driven film, you can probably have whatever you want on your desk. If it’s a visual-effects-laden action-adventure, you may need to use every resource available. Each reel on a final mix can have quite different console requirements. To allow for this, you may want to create several templates with your console resources applied in different areas. For example, one template might have more faders in the music or dialogue section than another. The number of single faders used for sweeteners in the effects section may rise and fall, depending on how many pre-dubs you have. You might want to keep a set of record busses available to send material back into an editor’s workstation. If you start to run low on resources, you can try some horse-trading. (“If you let me use that fader, I won’t let the air out of your tires!”) Can you get by with two bands of EQ on your pre-dubs instead of four? Instead of compressors on all your sweetener faders, maybe one set on the bus will suffice. All sorts of combinations are possible.

During the final mix, routing is usually approached differently than it is earlier in the process. While pre-dubbing, you are constantly re-routing tracks to a variety of recorders. Because of this, you probably don’t want to include any routing in your pre-dub templates. Final mixes are different. Most mixers have dedicated recorders for the dialogue, music and effects stems. Even if they keep the backgrounds or foley separate, they are pretty consistent. So go ahead and route your tracks to the appropriate record bus in your template. This can really save some time on the mixing day when you are dealing with hundreds and hundreds of tracks. I would also set up all the panning for your pre-dubs and faders if you know it. (Most mixers are fairly consistent in their pre-dub layouts from show to show.) Previously, I suggested leaving the patching out of your templates. But you might want to consider it on the final desk if you consistently use dedicated machines for playing back pre-dubs or whatever.

If you are unsure whether you want to include something in a template, you have a couple of options. If it is a minor detail or two, it probably doesn’t matter much either way —you can easily add or delete it later. If it is something major like routing or patching, consider making an interim template. Leave it out of your original template. Then copy that template and add it in. Whichever works for you later is the one to grab.

Temp Dub Templates and More

Temp dubs can be anything from a few tracks (yeah, right!) to a near-final mix from pre-dubs. You will need to build your desks accordingly. In our template, we like to include patching that returns the recorder stems to a set of faders on the desk. When you play back the reel for the clients, these stems can be routed to an additional common recorder, so that you can quickly create a screening printmaster that can then be used for previews. If you need to make changes to your stems, go ahead, then punch in and out of your printmaster to update it.

Don’t forget to make templates for your final printmasters and foreigns. You may want to drag some extra faders and pre-dubs along with your outboard toys in case you have to fly something in at the last minute. (“What? You mean that’s not the finished visual effect?!”) All the templates mentioned so far pertain to the mixing of feature films. Television and ancillary market projects will have their own requirements.

Conclusion

Remember you will never have a template for every mixing possibility. They are meant to be tools with which you can build a desk to your liking, so they shouldn’t be set in stone. You should constantly refine them as you learn how your particular needs can be addressed in the virtual console. Eventually you will end up with a small group of favorites. Using them will help you manage the array of possibilities presented by the console, so that you can take advantage of its capabilities and focus on the creative aspects of your work.