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Fader Switch
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The heart of any recording studio is the mixing console. This is where all audio signal comes to and where audio signal is pumped to other areas and equipment in your recording studio. Whether you are looking at the mixer on the computer or have a stand alone mixer, they are all designed to do the same thing. The first time you looked at a mixer you may have felt both happiness and confusion. Here I will take the confusion out and leave you pushing buttons and moving sliders with more confidence.
An important piece of the puzzle is knowing how and where signal flows in your console, being able to Imagine an invisible signal that you can trace with your finger over your mixing console will put you ahead. An input strip is the first part of a mixing console and once you understand one strip you can sit confidently behind a 42 track console. This area serves as preamp because signal coming from a microphone is low (-45 to -55db) and requires a low noise amp be used to raise or match various mic levels so signal can flow at an optimum level through the console. Remember, signal starts at the top and moves down the input strip.
The first dial in an input channel is the gain trim or just gain or trim. It's important to know that depending on manufacturer or design there can be different names for things labeled on a console but believe me when I say, they all do the exact same thing. Gain boosts the low level signal of a microphone to an optimum level that can be processed and mixed. Gain can be tricky to get perfect because too much gain will cause clipping in your audio and too low will introduce noise into the recording. A good way to start finding gain levels is rehearsing the loudest part of a performance and setting the gain level just before the signal is about to clip.
Once gain has been adjusted, that boosted signal moves on to the auxiliary sends. Sends is an area that moves signal to outboard effects, microphone mixes output sends and basically anything else you can think of. While most signal flow moves from top to bottom auxiliary sends signal moves horizontally through all the input strips to create a sub mix of any or various input signals. The only input channels that will be affected are the ones that have turned the aux knob. For example you could turn up the auxiliary sends of a guitar microphone on one input channel and a keyboard on a separate input channel and move those two signals to a reverb unit.
The EQ section gets its signal directly from the input section so once signal has gone through gain and auxiliary sends the signal reaches the EQ. Here depending on the manufacturer or model of mixing console usually you can find four continuously variable overlapping frequency band controls each having a variable bandwidth and boost or cut control over + or - 18db. A handy tool is the EQ in/out which allows you to switch the EQ in or out (bypass). Be careful, if you record with EQ it is difficult to reverse during the mixing phase if you change your mind about the EQ.
Once signal has made its way through all these components you are left at the pan knob, fader and bus outputs. The pan knob allows you to spatially move the signal from the left speaker to the right speaker and any percentage in between. The fader adjusts the sound level of the input signal that has gone through whatever adjustments before it reached the fader. When recording try to keep faders at zero, if signal is quiet turn up the gain a bit first before the fader.The bus outputs allows for simplification of multiple inputs, For example if you have five microphones plugged into separate input channels 1-5 then you can take those input channels and put them to a bus output that would allow you to increase the sound level of all mics with one fader making turning up the drums easier.
With experience, trial and error working with a mixer becomes very exciting. Understanding how signal flows through your mixer will make understanding your mixer very easy. When looking at your input channels remember signal flows from the top to the bottom and auxiliary sends move horizontally along the console. You can imagine your audio signals as little leprechauns moving through your console it doesn't matter, the secret is understanding signal flow, that is key to pushing buttons and moving faders with ease.
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Mixers - How to Choose the Right One
A mixer is designed to let you plug many signals into it, modify those signals, and mix them together into one or more signals, which can be sent to a PA or recorder. One common way in which mixers are described is by the number of buses. A buss is a signal path and lets you group a number of channels and control them with one fader. You can take 3 of your inputs, mix them together then route those 3 signals into one buss. You may take the rest of your inputs and route them to another buss. That is why you see mixers described as 4 buss, 8 buss, etc.
Here is an example, let's say you did the sound check, and you got the drums sounding great. Now the band comes out for the set, the place is packed, and you need to turn up the drums. But, you have 8 drum mics, all on different channels. Is it possible to turn up all 8 faders by the exact same amount and keep your great mix? Most likely not, but you can route all 8 of those channels into one buss. Now when you turn up the volume for that buss, you are turning up all of the drums!
Most mixers have all the separate channels on the left side, and the master section on the right. Whether it is a 4 channel mixer or a 32 channel mixer, the controls for each channel are the same. You have the input jack, then a preamp, then some auxiliary sends, then your EQ, then the balance, and finally the volume control. The signal travels down this line, and then is sent to the master section. This get repeated for each and every channel. The master output then goes to your power amps.
Your signal travels through all of these switches and knobs. Each one adds a small amount of noise to the signal. Why is a Mackie mixer better than a Behringer? Less noise. If the manufacturer uses quality components, you get much less noise than if cheap components are used. This make a huge difference and you get what you pay for.The quality of the mic preamps are also important. Did the manufacturer use a $100 preamp, or a made-in-China $1 preamp? There are reasons why better mixers cost more money.
Some mixers have built-in effects. These make it easy to use, but the effects are usually not as good as a stand-alone effects processor. You wouldn't use these effects for recording, but they are probably good enough for live sound.The last thing to consider right now is the number of Aux sends. You will need one PRE fader send for each monitor mix that you want to have. You also will need one POST fader send for each external effects unit that you want to use.
So which mixer is best? Consider the preamp quality, the number of buses (which give you many routing options), the number of channels, the number of auxiliary sends (pre and post), and effects.
About the Author
Neal is a freelance audio engineer based out of Chicago. He works for several local production companies as well as with his own clients. He also has a website at www.livesoundweb.info
Be sure to check back often as new sound system help articles are added every week.
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I had the pleasure of playing with three of my golfing customers this last week, Ralph Bouwman, Dal Kimberley and Ken Moore.
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