What a destination is FOR — the axis every suitability budget is keyed on. Not the bus
kind: a kind is how the console addresses a bus, a role is who hears it and therefore
what it can afford.
monitor — somebody on stage hears themself through it: a wedge, an IEM, an N−1/IFB
earpiece, the engineer's PFL. The listener also hears the source acoustically, so the
feed's delay is heard against the direct sound. The tightest budget on the desk.
program — the audience, the recording or the broadcast hears it: MAIN, matrix,
sub-groups. Nobody is comparing it to their own voice; delay is judged against what the
room can SEE, which is a far looser bound.
effects — a parallel FX send/return path summed back against its own dry signal, so
its delay is heard as pre-delay that nobody dialled in.
What a destination is FOR — the axis every suitability budget is keyed on. Not the bus kind: a kind is how the console addresses a bus, a role is who hears it and therefore what it can afford.
monitor— somebody on stage hears themself through it: a wedge, an IEM, an N−1/IFB earpiece, the engineer's PFL. The listener also hears the source acoustically, so the feed's delay is heard against the direct sound. The tightest budget on the desk.program— the audience, the recording or the broadcast hears it: MAIN, matrix, sub-groups. Nobody is comparing it to their own voice; delay is judged against what the room can SEE, which is a far looser bound.effects— a parallel FX send/return path summed back against its own dry signal, so its delay is heard as pre-delay that nobody dialled in.