Logic Pro 9 multiple headphone mixes


Anyone willing to provide a quick guide to setting up a second headphone mix?

RME 800 interface
Behringer Headphone mixer

no time to delve into manuals :-(

Okay - real simple - quick & dirty:

• Select all your channel strips in the mixer and call up a new bus send.

• Option click on them so they all default to a unity send level.

• On the new aux channel trip that is created with that new bus as the input; set the output field to a discreet pair of outputs on your RME box.

• Plug those discreet outputs to your headphone amp.

• Connect your headphones to the headphone amp.

• If your bus sends feeding the aux are in post fader mode, they will default to mirroring your main mix (a good thing IMHO, so that you don't have to build up a headphone mix from scratch). So now, all you have to do is dial the individual send levels up or down to tweak your headphone mix for the specific elements you want quieter or louder.
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Glad you found it helpful! FWIW, this is how I do my headphone mix. Sometimes simple is better - there's enough complexity in life as it is!:D

And what's great about this is that it works just fine with either software monitoring or direct monitoring or a combination of the two.
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Also, Peter, just to add to what Eli has enlightened you with, I note you are using the FF800. I also use that unit and one of the most wonderful things about it, is the Totalmix software.
It enables you to do some extremely flexible routing on top of Eli's submix suggestion. Not to mention setting up direct monitoring for the vocal mics for example.

ie If for example you use outputs 3-4 of the FF800 for your headphone mix, you can route the vocal mic direct to out 3-4 as well as the mix you've created in Logic (minus the vocal channel).
Depending on the situation, you may wish to turn off software monitoring, unless you're recording a few live instruments that need to be a part of the h/p mix.

Note also, that the separate Rec and Playback levels per channel (if you have it enabled in Logic Prefs) can be very handy with regard to 'not doubling up' when you are software monitoring via Logic. (something Pro Tools LE lacks)

I hope I have created too much confusion, but I just wanted to show that there are many many ways of achieving flexible routing.

I could describe in detail my routing, which caters for Source Connect and Talkback within, but I think I've blurred things enough for now.
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it has 4 outputs, all driven either by a master input, or each with their own input.
So I can have 4 independent mixes. Once I have tamed a solution, I might find an extra mix output via the Fireface itself, dunno. I don't think I'll ever need more than 4, though.

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it has 4 outputs, all driven either by a master input, or each with their own input.
Must be the Behringer HA4600 with its Aux jacks for each channel. Hope yours work well, mine didn't. I had loud hum when I connected the Auxes. Went better as I mounted the device isolated and again better after I removed the chassis ground inside the case. But I didn't use it that way, it was to dangerous - I don't think people want a defibrillator on their ears. Finally I decided that the box is just crap and threw it away ...
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I use the Behringer 'Powerplay Pro-XL' for routing out 4 separate headphone mixes to talent via the above mentioned Logic bus method. Works a treat and cheap.

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very interesting Matt :) yes, I'd like your detailed routing for my own education - when you have the time to soare, that is



Hi Peter,

Not trying to answer for Matt - but here's one way of combining some of the features of direct monitoring and software monitoring that I often use (with Cuemix /MOTU) and it works great.

In your Totalmix software, assign the input receiving your vocal mix signal to be routed directly to the RME outputs that will be feeding your headphone mix, in addition to the main outputs.

Then in Logic, enable the setting in the audio preferences that allow for separate recording/playback levels. Record enable your track in Logic, and pull the fader down all the way off. When you put it back in playback mode, it will snap back to it's previous value.

So, now when you record enable it, none of the vocal mic signal is passing through Logic on it's way to the headphone mix. It is arriving there strictly by means of the hardware routing/direct monitoring.

Now, on that vocal track in Logic, set up a pre fader send. It's important that it is prefader for this purpose. Assign a reverb at the destination aux/bus. Output that reverb to the heaphone mix outputs.

Now, while the track is record enabled and the fader is all the way off, you can dial in some reverb send that will reach the headphones. So, the singer will here the latency free direct monitoring, plus a bit of software reverb added in.

You could route this prefader send to your regular reverb aux/bus that you are using in your project; and then just set up a send on that reverb aux/bus that is going to the aux/bus that is receiving your headphone mix signal flow.

It's really quite elegant once you get the hang of it. Too bad it doesn't work for tracking live guitar though when you want to use/hear amp designer inserted on the track as an insert plug in while recording.....
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