Indeed^ I am blessed with a killer kit from Sleischman, but the other posts did jog my brain bucket for one more bit of advice. Regarding headphone sends, I also use Pre-fader for MOST, but there are a couple places I use POST fade, and here is where and why:
Click track-track is set to NO OUTPUT. All the sends are POST-fader, and I add a send that feeds the main outs(bet you didn't know that was possible
). Here's why; the send to main outs allows me to bring the click up/down for me(control room) without affecting anybody else's phones. Post-fade because, when the band reaches the last note of the song, I will break the click track's volume line(currently at -0) and pull the level down(for everyone). Now, on each subsequent take(assuming the correct arrangement of the song
) the click will automatically stop when the song ends(nothing more annoying than hearing click, bleeding from headphones, while the last note fades
).
TB tracks-I have 2, 1 from the drum room(so the drummer can talk to everyone else) and another in the CR(so anyone in the CR can converse whenever playback is stopped). Post fade, so that if I mute a TB track for any reason(like the producer wants to tell me something the artist should NOT hear...), all the sends on it are muted(pre-fade sends do not follow track mute).
Regardless of pre/post, I never solo anything while the musicians are recording, because it WILL screw with the headphones because of reverb returns and my post-fader stuff(above). If you're wondering how I solo something when I really need to, I also have a pre-fade send(on every track) that is set to -0 and are all muted. When I need to "solo" something, I switch my monitor source to my "solo path" output and Ctrl-click on the send of any channel(s) to listen, without messing with any headphone mix