O w n e r O s M a n u a lAs an example, an automation pass is madeFaders
that consists of a smooth dynamic fader level fade-
in from �30 dB to Unity gain (0 dB), over a fiveEngaging the FADERS button makes it pos-
second period. Subsequently, a snapshot is re-sible to write automated fader moves when
corded in the center of that fade-in, with a faderchannel WRITE buttons or AUTO TOUCH are en-
level of +10 dB. When you play this section back,gaged. When writing fader automation in this
youOll notice an audible jump in fader level at themode, any previous fader moves will be replaced.
timestamp where the snapshot was taken. A frameWhen the AUTO TOUCH button is engaged, Fad-
or so after the +10 dB event played, the volumeers mode is similar to a null function: moves are
would jump back to continuing its smooth fade-in.only written when the fader is moved by the user.
This is known as OTouch Updating.�
Therefore, as a general rule, we donOt recom-When FADERS is off (and ALL is off), fader
mend following dynamic automation withmoves are not recorded to automation. FADERS
snapshot automation. If you want to mix andmay be toggled on and off regardless of whether
match, we suggest that you use snapshots to settape is rolling (i.e., time code is being received),
up a rough mix, then superimpose dynamic eventswhich allows this filter to act as a real-time
in between the snapshots to fine-tune the mix.write safety operation.
Automation FiltersNote: Auto Touch will only engage faders that
The majority of your dynamic automation willare in a static (non-moving) state or position. If
involve fader moves, pans and mutes. These canthe fader is under motor control (i.e., moving),
be accomplished quickly and easily by pressingthe only way to enable Write automation on the
their corresponding buttons in the Automationfader is to manually engage the Write (pressing
Section.the WRITE button with the Master RECORD
These buttons provide selective Write Automa-button engaged) to allow takeover of the fader
tion filtering for specific moves you want to writefrom the OS.
into automation. They also serve as a safety to
prevent you from accidentally overwriting previous
moves, such as accidentally writing over a faderMutes
move when you were only intending to change theWhen MUTES is selected in the Automation
channelOs pan setting.Section, engaging/disengaging any write-enabled
Perhaps less often used in automation arechannelOs MUTE button writes the mute informa-
changes in bus assignments and aux send levels.tion as part of the current session. All other
You can dynamically automate these changes bymoves are ignored, unless their corresponding
pressing the ALL button, or consider changingbuttons are turned on (i.e., FADERS, PAN, ALL).
these parameters with single timestamped snap-When MUTES is off (and ALL is off), mute
shots. The ALL button opens the door to a wideon/off events are not recorded to automation.
range of parameter control, and should be usedThe channel MUTE buttons may be toggled on
with caution until you have a good handle on whatand off regardless of whether tape is rolling,
youOre going to be automating.though. They just wonOt be written into automation.
For more advanced users, EQ, compression,
gating, and internal effects can be dynamicallyPan
automated, too. However, this kind of automationWhen PAN is selected, all write-enabled
requires more attention and care. This will be dis-channel pans are written as part of the current
cussed further in Chapter 8, OAdvanced Techniques.�session. All other moves are ignored, unless their
corresponding buttons are turned on (i.e.,
Note: Just because you can automate somethingFADERS, MUTES, ALL). When PAN is off (and
doesnOt mean you should. Most of the time EQ, pan,ALL is off), pan moves are not recorded. The
compression, and gating are Oone-time only�channel pan controls may be used regardless of
events. You set them once and then forget them.whether tape is rolling, though. They just wonOt
Chances are youOll settle on EQ, pan, and compres-be written into automation.
sion settings and leave them that way for the whole
mix. This is where taking a snapshot at the begin-All
ning of a mix would act as an initial Oset-up,� and
then dynamic automation would include fader andWhen ALL is selected, all write-enabled
mute changes.channel moves are written as part of the current
session. Automatable parameters include:
faders, mutes, pans, aux sends, bus assigns,
phase reverse, and all parameters associated
with EQ, gate, compressor, and internal effects.
When ALL is off, fader, mute, and pan moves
may still be recorded (when their respective
filters are selected). ALL may be toggled on and
7-3
Automation |
ACEC
MACKIE
