Are music cue bolded like a slugline6/14/2023 ![]() Additionally, Cue Mixes that come from within the DAW will be subject to system-wide Latency (monitoring delay), which may be intolerable for performers, who often can feel even a small lag and be distracted by it to the degree of compromising their timing or feel. If the first engineer is busy, he now has to also deal with setting up the cue mixes-with larger sessions this can distract from other critical recording setup tasks (like level setting and gain-staging). But while this is convenient, there may be some drawbacks. Naturally, this will require one or two extra outputs on the interface for each separate (mono or stereo) cue mix, fed into headphone amp(s). One way would be to use Pre-Fader Sends in the DAW to create one or more independent monitor mixes. ![]() It’s important to make sure that the phones selected are really providing a good seal some phones look like sealed designs but actually permit some sound to escape-this may be done to provide a more open sound quality, but it does make them unsuitable for recording. These are the kind that completely enclose the ears with a seal that keeps the sound in the phones from leaking out and being picked up by the sensitive, (typically) close-positioned studio mics. Set-upĪs most people know, the headphones used for the performer’s Cue Mix need to be closed-ear- a.k.a. There are both technical and creative considerations that come into play when setting it up. In either case-tracking or overdubbing-the performer(s) rely on the headphone cue mix supplied by the engineer, placing the onus on the control room staff to provide a good mix. And of course the more piecemeal approach of overdubbing tracks one-by-one requires a headphone mix of the previously-recorded parts for the individual performers. But as multitrack recording took over, the need for isolation changed the process-even when playing together, musicians were baffled off or isolated in booths, making them dependent on the mix pumped into their headphones to hear each other properly. In the old days, musicians and singers would all gather in the studio together and play-what they heard in the room while tracking was the “cue mix”. With that in mind, here are a few things to consider to help intrepid engineers give due diligence to this critical aspect of a recording session. And yet, despite the importance of the Cue Mix, very often it’s given short-shrift-in the hustle and bustle of a busy session it’s often the last thing to be set up, sometimes as a hurried afterthought, almost guaranteeing less than the best the performers have to offer. Every note the musicians or vocalists play or sing is affected by what they hear in their headphones-if the mix is poorly balanced, too wet or too dry, or simply uncomfortable, the performance can suffer in subtle ways. Monitor Mix-is one of the most important aspects of the process. Make a choice and stick with it - the format police won't get after you.In any modern recording session, the performers’ Cue Mix- a.k.a. ![]() DAYBREAK HOTEL - FOYER - DAY TEN YEARS EARLIER or DAYBREAK HOTEL - FOYER - DAY (TEN YEARS EARLIER) You may run into a deal where your reader has to flip back through pages to figure out what time period you're in because the trailing time reference was missed. I sort of expect people to skim (I do) the slugs and the emphasis can help. These days I underline a lot of the special slug info so people skimming know its important. In other words, if the audience (reader included) have no sense of when the story is taking place and its not present day, give them the info. The title card is just to orient the audience, so if that's required, do it. Obviously if its a period piece reference it in the action. If its a flashback/forward, use the date reference (ie 1934, twenty years ago etc.) in the slug in paras at the end.
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