If your DAW has su''iciently low latency, cue mixes can be created from your recording channels – but bear in mind that each cue mix you make has to be sent to a headphone ampli'ier of some kind, and then to at least one pair of headphones.
It doesn’t matter to you, the producer, what this mix sounds like, because it’s purely for the performer to play along to. It’s sent to a performer so that they can hear themselves at whatever level they want and turn down any elements that they 'ind distracting.
A cue mix is totally separate from your nicely balanced main mix. Even if the players can hear themselves without headphones, they’ll still need a cue mix to hear other musical cues, click tracks and count-ins, as well as talkback from the engineer/producer. Setting up monitoring for a whole band If the whole band are playing together, everyone’s going to need to be able to hear what they’re doing. VVSYVVT 9LJVYKZ Sample Magic Presents ħYVNYLZZP]L /V\ZL :`U[OZ :[HIZ Sounds To Sample REVIEWED avid pro tools 9 fxpa nsion geist flux ircam spat Ua D ep-34 ta pe echo overloud springage synthogy ivory ii the latest samples and soundware rounded up Soundation: The free online DAW with its head in the cloud The past meets the future with Korg’s incredible iMS-20 UnplUgged! acoustic production guide Record, mix and master an acoustic band with our in-depth tutorial The most deranged plug-ins on the net, and how to use them The worLd’s best-seLLinG musiC software maGaZine!
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