Need help with integrating a Zed 14 mixer into my setup

[hydrogen]

Thanks everybody....I think I have the routing together now!


What would you use insert ins and aux outs for on the Zed?

Why do you use a mixer? lol Google it man... its easier for all of us.

[Salomo]

lazy ass.. hehe.. read the manual i said, its really helpful it doesnt deserve getting avoided its your friend hehe.. inventing the wheel is really wasting time n effort you can spend on other things. read n practice.

some tips in general I like to use but cant explain very good, google it too... or once you find out manuals ..... sends and busses, countless applications and possibilities: route the busses i speak of to your mixer so youll control it there.. working with busses/sends dont know what its callid in live is really nice, enhance many things, subtile applications of effects or sending related elements to busses, and getting it all nice in order. everything is possible, but beware of phase and time delay issues.. few examples my use of busses (sends/aux chs):

instead of applying delays directly, common and better is to send the track you want to delay to a bus, so its copied, put a delay you like on the bus and maybe if needed solo it (with or without the original to make it sound right), set the delay as wished. put the volume down and release it slowly till it sounds right, this way you can dose the delay real well without it loses too much of what you made it into, but its up to you what you want. just do what feels good and experiment on and on.

also parallel compression i use, nice fattening results if done well usually very good on drums sent to bus 1 (make the drums play here careful not to have it double playing all loose tracks too) slightly compressed very little.. really subtile and balancing it to another bus which is compressed heavily with distortion, extreme settings.. crush it push it and keep the original dominant ofcourse and bus 2 very subtile, balancing it in the right proportion so youre not altering the dynamics and feeling overall or kill it, rather remaining and stabilizing dynamics of the core element: drums you build everything on.. also experiment with attack n release times of the compressors, original stays the loudest by a big part, trust your ears and make them good in proportion, extreme vs subtile compression on the original.. let them compliment eachother by settings of the compressor(s) use common sense.. but youll have to google this all cause i have to hurry for work.. research research try try.. and rtfm hehe..good luck..


peace

[patrick bateman]

lazy azz.. hehe.. read the manual i said, its really helpful it doesnt deserve getting avoided its your friend hehe.. inventing the wheel is really wasting time n effort you can spend on other things. read n practice.

some tips in general I like to use but cant explain very good, google it too... or once you find out manuals ..... sends and busses, countless applications and possibilities: route the busses i speak of to your mixer so youll control it there.. working with busses/sends dont know what its callid in live is really nice, enhance many things, subtile applications of effects or sending related elements to busses, and getting it all nice in order. everything is possible, but beware of phase and time delay issues.. few examples my use of busses (sends/aux chs):

instead of applying delays directly, common and better is to send the track you want to delay to a bus, so its copied, put a delay you like on the bus and maybe if needed solo it (with or without the original to make it sound right), set the delay as wished. put the volume down and release it slowly till it sounds right, this way you can dose the delay real well without it loses too much of what you made it into, but its up to you what you want. just do what feels good and experiment on and on.

also parallel compression i use, nice fattening results if done well usually very good on drums sent to bus 1 (make the drums play here careful not to have it double playing all loose tracks too) slightly compressed very little.. really subtile and balancing it to another bus which is compressed heavily with distortion, extreme settings.. crush it push it and keep the original dominant ofcourse and bus 2 very subtile, balancing it in the right proportion so youre not altering the dynamics and feeling overall or kill it, rather remaining and stabilizing dynamics of the core element: drums you build everything on.. also experiment with attack n release times of the compressors, original stays the loudest by a big part, trust your ears and make them good in proportion, extreme vs subtile compression on the original.. let them compliment eachother by settings of the compressor(s) use common sense.. but youll have to google this all cause i have to hurry for work.. research research try try.. and rtfm hehe..good luck..


peace

I'm kind off lost here, when you talk about busses, do you mean:

[Salomo]

yeh crush it



was useless sorry, i use logic and suck at explaining what i'd do.. last time i'll risk RSI lending someone a hand. hehehe. but hey im a nice guy..

[hydrogen]

Sorry, The Zed14 has no busses. It is a live mixer...

and the Auxiliaries are not stereo. You could probably invent a buss by getting creative, but it would take up more channels and extra hardware than it is worth. and it will be so clunky and unintuitive you might as well be mixing directly in the computer.

Here are the things you probably want to use your zed14 for when making techno.

Route tracks from motu into the mixer. Control The levels/Pan. Use EQ if you want to get really creative.

For Bonus! You could use effects on the Auxes... but they are mono. This is fine if you are ok with that... you'll also ahve to dedicate one of the channels for the return.

You just purchased an out of box level fader that introduces shitty noise and electricity into your music. And it sounds nowhere near a neve or any of these high class mixers.

[Brankis]

Sorry, The Zed14 has no busses. It is a live mixer...
You just purchased an out of box level fader that introduces shitty noise and electricity into your music. And it sounds nowhere near a neve or any of these high class mixers.

camea and tim xavier are using a standard Zed mixer. go tell them it sounds bad



the aux returns can easily be used in stereo, use two mono channels as a stereo pair. i have two stereo compressors patched across the channels right now, works and sounds great

Zed = High Class