Every session starts with me prepping the studio the night before. I use an input/output assignment list to keep myself organized and to document the microphones and outboard gear I use for the recording. I also post a scanned copy for every episode so that my recording pals can have a gander. “Woah, he uses a 57 on the snare. That’s so innovative.”
If you want to use my assignment sheet in your own productions, you download it here.
Tone Catcher Input/Output/Assignment
In order to make sense of my acronyms, use the following legend to figure out what my notes mean.
Microphones
- D112 – AKG D112
- 57 – Shure SM57.
- AT4040 – AKG AT4040
- NT5 – Rode NT5
- Oktava – Oktava MK-319
- e604 – Sennheiser e604
- SM7b – Shure SM7b
- 58 – Shure SM58
- Blue – Blue enCore 100
- Slate – Slate VMS
- TLM103 – Neumann TLM 103
- Fathead – Cascade Fathead
Preamps/EQs
- TP1-TP16 – Toft ATB16 Analog Console Preamps
- TL1-TL16 – Toft ATB16 Console Line Inputs. Routed to gain access to channel EQ.
- N72-1, N72-2 – Seventh Circle Audio N72
- A12-1, A12-2 – Seventh Circle Audio A112
- C84 – Seventh Circle Audio C84
- J99 – Seventh Circle Audio J99
- CLAB-1, CLAB-2 – Chameleon Labs 1072 Channel Strip
- Lola-1, Lola-2 – Hairball Audio Lola Preamp
- CP1, CP2 – Hairball Audio Copper Preamp
- BR1, BR2 – Hairball Audio Bronze Preamp
- GD1, GD2 – Hairball Audio Gold Preamp
Compressors
- B16-1, B16-2 – Seventh Circle Audio Compressor
- 1176 – Hairball Audio 1176 Compressor Clone
- 1176A – Hairball Audio 1176 Rev A Compressor Clone
Interface Inputs
- A1-A24 – Apogee Symphony IO Interface Inputs