Edit: if you want play a track solo and also wanna have the click audible, just use a spider audio and merge the Redrum together with your Control Room's output, and connect the spider's merged outputs to Reason's Hardware Interface, where you normally have connected the Control room.
The Studio tab of the VST Connections window allows you to configure the Control Room Mixer. Most sophisticated pieces of software include functions that remain mysterious to most users: you're not quite sure what they're there for but, as long as they don't get in the way, you can happily ignore them and get on with your work. However, if you spend the time really getting to grips with what such functions offer, they can make life so much easier! One such feature in Cubase (there are plenty more to explore!) is the Control Room, and that is the focus of this month's column. Get to know it well and the Control Room can become very useful, not least when it comes to creating monitor mixes for the various artists you're recording. As many of you will be aware, in traditional recording studios, the hardware mixer was the main tool used to create and manage monitor mixes that could be sent to the headphones of each of the musicians in the recording session. In the more upmarket systems, you could also adjust the relative levels of the different tracks, allowing you to emphasise the elements that each artist needed to be able to give their best performance. Cubase's Control Room allows you to replicate this functionality in software. If you record your own music as a solo musician in a small domestic studio, the ability to create a monitor mix might seem less critical than on a pro session recording a full band or orchestra, but monitor mixes can also be really useful for the one-person-band â as I'll explain later in this article. Building A Control RoomThe Control Room Mixer. ![]() The Control Room is activated (and deactivated) via the Studio tab in the VST Connections window. Once it has been activated, a number of different channel types can be added using the Add Channel button. In the example screenshot, four stereo outputs have been specified; the main monitors, the control-room headphones, and two 'studio' outputs. The Studio channels are the ones used to create your artist monitor mixes, and up to four of these are available. A single input channel has also been added, to which you can route a talkback microphone. Each of the virtual outputs created in this process can be assigned to a different hardware output. (Note that this does, of course, require you to use an audio interface with multiple hardware outputs!) These physical outputs would, in turn, feed monitor speakers or, via suitable headphone amps, various sets of headphones. I'll come back to the issue of benefits for those with more modestly endowed hardware later. Meanwhile, if this is you, just make the Main Monitor connection active and leave everything else 'not connected' for the time being. Any channels created in the VST Connections dialogue will appear in the Control Room Mixer. This is a separate window from the standard Cubase mixer, though, as we will see in a minute, the two are linked. In the screenshot example, the upper portion of the Control Room Mixer is set to display level meters, but it can also be toggled to show insert effect slots. One obvious use for these is to add limiting to your headphone monitor mixes, giving a little extra protection to your artist's eardrums. Mix To TasteStudio Sends in the main Cubase Mixer allow the monitor mixes to be created. Having set up a Studio channel, you need to get some audio into it, and the eagle-eyed amongst you will have noticed the star icons beside the Studio channels in the VST Connections window. A similar star icon exists in the upper-left vertical selection strip of the main Cubase mixer. Clicking on this one displays the mixer's four Studio Sends for each mixer channel (although in this example, only the first two sends can be activated, as I've only created two Studio channels in the VST Connections window). If you wish to feed audio from a track to one of the headphone mixes, you simply switch on the send's power button and adjust the level and pan of the signal being sent. You can, therefore, create any balance of the various tracks that you wish in a particular Studio channel â it doesn't have to reflect the mix you hear in the main studio monitors at all, and each Studio channel mix can be different from the others. Usefully, pan positions can also be set independently for each instrument, and each Studio Send features a pre-/post-fader switch. Pre-fader means that changes made to the levels in the main mixer during your mix do not alter the balances in the headphone monitor mixes. Of course, if you want the headphone mixes to follow those balances, then the post-fader option is also available. The Studio Sends are also available via the Project window's Inspector, but they're not visible by default. Right-click on the Inspector, and you'll then be able to toggle them on/off, along with any of the other standard Inspector sections. Ready MixedFor a complex mix, setting up four such monitor mixes from scratch in this way would be time consuming. Fortunately, the process has a short cut that allows you to use the mix balance of the main mixer as a starting point. In the Project window, first select all the tracks that you wish to create sends from. Leave them selected and switch to the Control Room Mixer. Then, right-clicking on a Studio channel will bring up menu options to 'Use Current Mix Levels' or 'Use Current Pan Settings'. These options do exactly what you'd expect, and once selected, all you then need to do is adjust the send levels of a few key tracks to meet the needs of each musician. Each channel in the Control Room mixer also features a Click button, and pressing any of these passes Cubase's standard-tempo click-track to the channel (although note that it needs to be engaged on the Transport Panel first). Usefully, you can choose to send it only to the outputs that require it. So for example, you might feed the click to a drummer but not to the vocalist or through the main monitors. Click level and pan can be set individually for each Control Room Mixer channel, which allows you, for example, to send the click to one ear and the musical elements of the monitor mix to the other. Do Talk BackStudio Send levels can also be accessed via the Project Window's Inspector panel. In a studio, the talkback mic allows the engineer to communicate to the musicians via their headphone monitor mixes. That's obviously useful if the artist is in a different room, but even within the confines of a single-room home-recording setup, the approach can save a lot of hassle. If you've set up a Talkback channel in the VST Connections window and have a mic connected to your hardware, the Talk button engages this option (it turns green when on). Immediately beneath the button is a level control, which allows you to reduce the overall monitor mix level reaching the musician's headphones while you are trying to talk to them. Talkback can be engaged for individual Studio channels via the TE buttons (which also glow green when engaged). So if you want to talk to the guitarist, drummer and bass player about how dreadful the vocalist is without the vocalist knowing about it, this can easily be achieved! Different levels of talkback can be specified for each monitor mix using the level control beneath each TE button (for example, perhaps the drummer can't hear you but you don't want to deafen everyone else). Playing With YourselfThe main mix balance can be used as a starting point for building your monitor mixes. Pes 2012 free download for ios. All this is great for those with lots of audio outputs and lots of musicians, but how does it help the solo artist with an audio interface that only has a single stereo output and a headphone socket that gets the same mix as the main monitors? Well, even solo artists can benefit from an alternative mix balance when tracking. It might be useful to have more drums and bass, to help you lock more tightly to the groove, for example, or even just 'more me' â whatever you feel might help you achieve the best performance of the next track to be laid down. You could just adjust all the levels via the main Mixer window to create this alternative mix, but then you have to reset them to return to your 'proper' mix balance. All the STIHL products can be find in our online catalogue with detailed information about the technic data, using tips and explanations. Learn more about it here! Our pro gas engine candidates were an Echo SRM 2620T and a Stihl FS91R. Our pro cordless were a Milwaukee 18-volt M18 Fuel Quik-Lok and a Greenworks Commercial GT161. The trimmerâs handles. STIHL produces the number one selling brand of chainsaws and a full line of outdoor power tools including blowers, trimmers, brushcutters, and construction tools. STIHL HS45 GAS HEDGE TRIMMER 24' Double sided blades. This trimmer is in excellent working order. The blades are also in great conditions 100 percent guaranteed as described. STIHL trimmers and brushcutters are made for those who truly appreciate a well-groomed landscape. If youâre like us, thereâs nothing more satisfying than the sound of a whirring trimmer line and the smell of freshly cut grass. Stihl weed eater home depot. A better option is to set up a Studio channel, which you can temporarily assign to your main outputs via the numbered 'S' buttons in the Control Room channel of the Control Room Mixer (these buttons glow orange when engaged). You can then create your required alternative mix via the Studio Sends as described above and monitor this while tracking. To then return to the 'proper' mix balance, you simply select the Mix button (blue when engaged). Essentially, what you are getting here is the ability to create different mix balances: one via your main Mixer, and others via the Studio Sends, and you can switch between them as required. And There's More..There are a few more monitor mix features that I haven't had space to describe here, such as the ability to reset the Studio Send levels globally, but the Control Room also has other features up its sleeve. For example, it can be used to switch between multiple monitoring systems, and it offers a 'listen' mode (where you can hear a single channel at normal volume but with everything else at a lower volume) and the ability to monitor external audio sources â all of which are a topic for a future column.
NASA's 'Shuttle' (White) Flight Control Room in Houston, Texas
A control room or operations room is a room serving as a central space where a large physical facility or physically dispersed service can be monitored and controlled. A control room will often be part of a larger command center. Overview[edit]A control room's purpose is production control, and serves as a central space where a large physical facility or physically dispersed service can be monitored and controlled. Central control rooms came into general use in factories during the 1920s.[1] Control rooms for vital facilities are typically tightly secured and inaccessible to the general public. Multiple electronic displays and control panels are usually present, and there may also be a large wall-sized display area visible from all locations within the space. Some control rooms are themselves under continuous video surveillance and recording, for security and personnel accountability purposes. Many control rooms are manned on a '24/7/365' basis, and may have multiple people on duty at all times (such as implementation of a 'two-man rule'), to ensure continuous vigilance. Other special-purpose control room spaces may be temporarily set up for special projects (such as an oceanographic exploration mission), and closed or dismantled once the project is concluded. Examples of control rooms[edit]
Greifswald Nuclear Power Plant control room in 1990.
Control rooms are typically found in installations such as:
The control room concept is also used in non-emergency contexts:
Special hazards and mitigation[edit]Control rooms are usually equipped with elaborate fire suppression and security systems to safeguard their contents and occupants, and to ensure continued operation in emergencies. In hazardous environments, the control room may also serve as an area of refuge for personnel trapped onsite. The rooms are typically crammed with equipment, mounted in multi-function rack mount cabinets to allow updating. The dense concentration of equipment often requires special electrical uninterruptible power supply (UPS) feeds and air conditioning. Since the control equipment is intended to control other items in the surrounding facility, these (often fire-resistance rated) service rooms require many penetrations for cables. Due to routine equipment updates these penetrations are subject to frequent changes, so that a control room maintenance program must include vigilant firestop maintenance for code compliance. Due to the nature of the sensitive equipment inside control room cabinets, it is useful to ensure the use of 'T-rated' firestops, that are massive and thick enough to resist heat transmission to the inside of the control room. It is also common to place control rooms under positive pressure ventilation to prevent smoke or toxic gases from entering. If used, gaseous fire suppressants must occupy the space that is to be protected for a minimum period of time to be sure a fire can be completely extinguished. Openings in such spaces must, therefore, be kept to a minimum to prevent the escape of the suppression gas. A mobile control room is designated as particularly in high risk facilities, such as a nuclear power station or a petrochemical facility.[further explanation needed] It can provided a guaranteed life support for the anticipated safety control. Design[edit]The design of a control room incorporates ergonomic and aesthetic features including optimum traffic flow, acoustics, illumination, and health and safety of the workers.[2] Ergonomic considerations determine the placement of humans and equipment to ensure that operators can easily move into, out of, and around the control room, and can interact with each other without any hindrances during emergency situations; and to keep noise and other distractions to a minimum. In popular culture[edit]Control room scenes dealing with crisis situations appear frequently in thriller novels and action films. In addition, a few documentaries have been filmed with scenes in real-life control room settings.
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