![]() ![]() ![]() Like most boards created in the mid-90s there is a computer screen and also a secondary menu screen that exists separately from the internal monitor, positioned near the scroll wheel. Once I knew where the Enter button was, I was able to get friendly with the scroll wheel and begin jumping in to things. And simply getting through the menus proved a little bit of a challenge at first, as the console has seen more than a couple of engineers and many of the buttons had lost their printed labels as they existed upon the plastic buttons. After some time with the manual, my head was really starting to hurt. This comes in the form of understanding how to load up snapshots of old mixes, and existing templates designed by other engineers in the studio with the rooms it manages, all the inputs and outputs going to those rooms, effects settings, EQ settings, and channel assignments. ![]() The first thing I had to do was learn how to talk to the board. But with a board this big, where the hell do you even begin? 1. The onboard compressors allowed the quickest VO dial-in ever, the EQs sound amazing, tons of inputs and everything can be assigned and reassigned in many amazing ways. But because I am to become second engineer at this studio, there’s no way around it! After a few minutes with just one channel on it, I quickly began to figure out why the lead engineer is so in love with it. Initially, I was not excited about this, as much as I was about everything else in the studio. Recently, my charge in life became learning a studio mixing console in the form of a Euphonix CS2000. And, while there are some amazing courses on studio consoles that I highly recommend. All of those knobs and faders can cause even the most experienced of engineers to have a slight moment of anxiety when moving boards. This is especially true when you, like me, are having to learn a new, very large mixing console. Transitioning in to a new studio can always be a little tricky. ![]()
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