Issue link: https://digital.copcomm.com/i/1010948
The Pro Tools rig that records the takes also feeds stems to the ADR panel. A display above the ADR panel shows the current signal flow. A solid piece of 6061-T6 aluminum 17.5" x 19" x (.100). This custom-machined, painted, and silk-screened faceplate is mounted via standoffs to the main control board. 1, Foldback 2, Editor, Actor, Stage, and Control Room. Horizontally, the sources are displayed: Direct, Monitor, Dialog, Music, Effect, Return 1, Return 2, Return 3, Beeps, and Master. Each source has a digitally controlled attenuator [no analog audio goes through the pot] that controls the send level to each specific destination, while simultaneously displaying that level in the lower right OLED display. The console has a PFL function that allows the mixer to monitor each sub-mix being sent, in order to hear the mix that the target destination would hear, e.g., actor, editor, et al. It also has four setups that can be stored and recalled. Additionally, all talkback sources can be easily isolated or combined to allow for maximum discretion and communication. "After my acclimation to ADR, I became aware that there were three modes of operation in ADR, e.g., Rehearse/ Record/Playback. In each mode, the statuses of the multiple monitor mix signal paths are preprogrammed to turn ON or OFF depending on whether the system and its Pro Tools recorder were Ahead/In/or Past [AIP] the record event [the loop]. Also, in order to facilitate speed and efficiency, all monitor mixes and their AIP states needed to be present on the control surface for each of the three