Title: Mixing Consoles
1Mixing Consoles
- Designations
- Inputs
- Outputs
- Signal processing
2Sound Control Mixer - Heart of the Audio System
- Mixer - Heart of the Sound system
- Sound Board, Audio Console, Mixing desk
- Main tool of the operator (Board Operator)
- Basic Purpose - Controls
- What is it - Selects audio signals from various
sources - Devices are connected to input channels
- Microphones
- Output channels of CD players, MD players, DAT
players, computers - How Loud will it be - Controls signal level
(volume) - Where is it going - Sends audio to various
locations - Devices are connected to outputs
- Power amplifiers
- Input channels of MD players, DAT players,
Computers
3Sound Control Mixer - Heart of the System
- Mixer Nomenclature (Functional Description)
- 8x2 8 inputs and 2 outputs
- 16x4 16 inputs and 4 outputs
- 16x4x2 16 inputs, 4 group of sub outs, 2 main
outs. Can be used as - 16 ins mixed down to 4 sub mixes, mixed down to 2
output channels (recording studio or concert
presentation) utilization - 24x6 (Theatre type utilization)
- 16x4x2x1 adds a mono output
- Also can be referred simply by the number of
input channels ex. 8, 16, 24, 48 etc
4Cue Control Audio System Sources, Control,
Destinations
- Equipment System is the Primary Tool of Modern
Theatre Sound Design - Block Diagram - Foreigner Setup
1 - 2 L/R Mono 3 Group/ Outs
1-2 3-4 5-6 7-8 Input Channels
5Input Buss
- This is the section where audio signals from
microphones and/or playback equipment enters the
mixer - This is the area where impedance matching and
Balanced / Un-balanced lines must be carefully
watched - The input buss typically starts at the rear of
the console with either XLR or ¼ TRS connectors
6Input Buss
7Input Buss
Rear view of a Mackie t24
8Input Buss
- The front side of the console will differ from
manufacturer to manufacturer but they will have
most of the same components - The input channel will usually be arranged to
follow the virtual signal path
9Input Buss
- Pre-amplifier
- Pre-amp, trim, trim pot, gain
- Used to bring a microphone level signal up to
line level for easy manipulation within the mixer - Also used to adjust the line level inputs from
other sources - Pad or Attenuator
- A switch which will lower an inputs level by a
set amount - Usually used in an input device is too hot or
much too high a level
10Close up of Pre-amp section
Input channel Pad / low end roll off Gain
adjust
11Equalization section
- Onboard equalization control will vary greatly
- Simple tone control
- Simply varies the balance between high and low
frequencies - Treble and Base
- Boost or attenuate high frequencies (treble) or
low frequencies (base) - Only adjusts a preset range of frequencies
- Hi Mid Lo
- A fancier version of treble and base control
- 5 band EQ
- Able to boost of attenuate 5 different ranges of
frequencies - Parametric EQ
- Able to select which frequency range to control
and then boost or cut it
12Equalization section
High freq. control High-mid with selectable
frequency range Low-mid with selectable
frequency range Low frequency control
13Auxiliary Sends
- Next in line comes a number of Aux sends
- Typically 4 to 8 individual busses
- Some or all will be pre or post fader selectable
- Pre-fader the signal strength (volume) coming
from the aux send channel will be independent on
the position of the channel fader - Post-fader the signal strength coming from the
aux send will be dependent on the position of the
channel fader - Often labeled as PFL (Pre-Fade Listen)
- Often used to send signals to other devices
- External effect processor
- Reverb or echo
- Monitor amp/speakers for performers
14Auxiliary Sends
Note the pre-fade switch
8 individual aux send channels
15Signal Routing
- Each input channel will be assignable to one or
more output channels - Very often one selector button will assign the
input to two separate outputs - 1-2 or 3-4 for example
- The Pan Pot (Panoramic Potentiometer) adjusts the
level of signal going to each of the pairs - Example With the pan pot centered and 1-2
selected, the entire signal is sent to outputs 1
and 2 equally. If you turn the pot to the left,
more signal will be sent to output 1 than output
2 - This is usually to be avoided for theatrical use
- Look for single output selection control if
possible - PFL Pre-fade Listen. Sometimes called solo
- Usually available to send the signal to a studio
monitor or headphones to allow operator to listen
to channel without having to send it into the
house - Channel Mute turns the channel off. Useful
when using wireless mics
16Signal Routing
Pan Pot Output selection Mute
Note PFL not available on this model
17Other input controls
- Phantom power
- A 48v DC power supply applied to the mic input
lines - Used to power condenser mics (to be discussed
later) - Phase reverse
- Inverts the signal coming to the inputs
- Used if pins 2 and 3 on a mic cable are reversed
for example - Ground lift
- Removes the ground connection at the console from
the input cable - Used to help eliminate ground-loop noise
- To be discussed during troubleshooting
18Output Section
- This is the area where audio signals will leave
the mixer, heading toward - Effects processors
- EQs, delay units, reverb units, recording devices
- Power amplifiers and eventually loudspeakers
- Output plugs will typically be
- Balanced XLR line level
- Balanced TRS line level
- Unbalanced ¼ phone plug line level
- Unbalanced RCA plug line level
19Output Section
Left, Right and Main outputs
Sub or group outputs
Auxiliary outputs
20Output Section
- Sub-group output faders
- Sometimes called groups, subs or submasters
- Act as a master fader control for any inputs
assigned to it - Typically these are cabled to power amplifiers
- Main outputs
- Sometimes called Left-Right, Stereo or Mix
- Essentially two additional outputs, where the
manufacturer has taken a guess as to what the end
user will use them for - Sub groups can usually be combined and
selectively assigned to the main output - Master output
- Sometimes called Mono
- The main outputs can be combined together and
controlled from one master fader
21Aux-Output Section
Aux out mute switch
Aux out gain control
After fader listen
22Group-Output Section
23Flying Faders
- Automated mixers are becoming more and more
common - Started simply to record levels in recording
studios - Often had 60 or more inputs levels to write down
and could have many many setups. - Flying faders would remember where the faders
were set and you could restore to any setting
with the push of a button
24Flying Faders
- Today mixers are capable of remembering output
selections, EQ settings, pan settings etc. - For live mixing it is REQUIRED to still have
actual faders which an operator can move - Performers will never do the exact thing every
night - The board operator must be able to easily make
adjustments to levels on the fly
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