# Make Sure No One Can Hear Before you exercise, ALWAYS make sure that the talent can't hear what you are doing. A simple way to prevent that is by **muting the channels in ProTools** if you are sending hearback signal using Split Mode. That usually nips it in the bud. If you are ever unsure if you the talent can hear the exercising, ask them to take off their headphones. Ensure that Foldback B, which powers the speakers in the tracking room, is not set to monitor Mix A. This setup can degrade recording quality since the tracking room isn't isolated from these speakers in this configuration. Additionally, any console adjustments will be audible to the talent, which might not be desirable. Likewise, make sure that Foldback A isn't sourcing Mix A, unless necessary, to avoid similar issues. # Exercising Channels Individually To exercise a channel traditionally, connect a signal from an oscillator to a specific channel input. This will send the signal through the pre-amps and through all the usual sticking point suspects. Make sure the exercising process remains inaudible to others as described [[#Make Sure No One Can Hear|here]]. Proceed with exercising the channel as described [[#What to Exercise|here]]. ![[Studio A Patchbay - OSC patch.excalidraw.svg|389]] ![[Exercising Channels - Channel Input.excalidraw.svg]] # Exercising Channels All At Once The SSL oscillator is limited to routing through one channel at a time, but ProTools offers the flexibility to create and route multiple oscillators using plugins. A frequent issue arises because the DAW outputs are generally normalled to the Monitor Inputs, which direct to the Line amplifier by default. To resolve this, we need to route through the microphone preamplifier circuit instead. For rerouting, you could direct the DAW outputs to the channel inputs, which default to the microphone pre-amplifier circuit. This approach requires repatching. To avoid repatching, you can utilize the Input Flip mode, allowing the mic amplifier circuit to receive signals from the monitor input patch points—where DAW outputs are already normalled—instead of the channel input patch points. To apply this, start by adding a signal generator to all ProTools tracks you wish to test, ensuring inserts are visible. It's essential to use ProTools' oscillator rather than the SSL Channel Strips. # What to Exercise When exercising a channel, it's important to ensure smooth signal flow without obstructions. Focus on the mic preamplifier circuit, as this is the circuit that we'll have to drive signal into. Start by turning the gain knob to increase the signal entering the preamp, effectively driving the signal through the circuit. Next, address potential obstructions within the circuit by focusing on the seven self-latching buttons. Press these buttons on and off repeatedly. This action helps clear any signal "sticking points," allowing the signal to pass through unobstructed, much like using Drano to clear a clogged drain. These buttons are described below: **Pre-Amp Section** PAD DRV IN Phase Button **Gate Section** KEY HOLD DYN IN **Filter Section** High Filter G EQ Bell # What to Tell Talent Exercising is ideally done before the session, but sometimes it must happen during, which can be disruptive. It's important to communicate clearly during these moments to minimize disruption to the talent's creative flow. For example, you could say, "We're experiencing an issue with one of the channels. We're really sorry about that. We're already working on fixing it and it should be resolved in 1-2 minutes. The audio will momentarily cut out in the 'Blank' channel while we fix the problem. Thank you for your patience" # Quiz Questions: 1. Why is it important to ensure the talent can’t hear the exercising process? 2. What is a simple method to prevent the talent from hearing exercising on their headphones? 3. What should you do if you’re unsure whether the talent can hear the exercising? 4. During tracking, why should Foldback B not be set to monitor Mix A? 5. Which sections of the channel should be focused on during exercising? 6. What action should be taken with the seven self-latching buttons during exercising? 7. List the self-latching buttons in the Pre-Amp section. 8. List the self-latching buttons in the Gate section. 9. List the self-latching buttons in the Filter section. 10. How can you exercise a channel traditionally? 11. What is the purpose of using Input Flip mode during exercising? 12. What should you communicate to the talent if exercising must occur during a session? # Answers: 1. To prevent the talent from being distracted or experiencing discomfort due to loud and unexpected sounds. 2. Mute the channels in ProTools if sending a hearback signal using Split Mode. 3. Ask them to remove their headphones and confirm with someone in the control room by testing it on the control room unit. 4. Because any console adjustments going to Mix A will be audible to the talent in the tracking room speakers, potentially degrading recording quality and causing unintended audio disruptions. 5. The mic preamplifier circuit and the seven self-latching buttons. 6. Press these buttons on and off repeatedly to clear any signal “sticking points” and ensure smooth signal flow. 7. PAD, DRV IN, Phase Button 8. KEY, HOLD, DYN IN 9. High Filter, G EQ, Bell 10. By connecting a signal from an oscillator to a specific channel input, sending the signal through the pre-amps and other potential sticking points. 11. To allow the mic amplifier circuit to receive signals from the monitor input patch points instead of the channel input patch points, enabling signal routing from ProTools to exercise the pre-amps without additional patching. 12. Inform them about the issue, apologize for the disruption, provide an estimated time for resolution, and explain any temporary audio changes they might experience.