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Mixing Consoles

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Mixing Consoles Designations Inputs Outputs Signal processing – PowerPoint PPT presentation

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Title: Mixing Consoles


1
Mixing Consoles
  • Designations
  • Inputs
  • Outputs
  • Signal processing

2
Sound 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

3
Sound 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

4
Cue 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
5
Input 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

6
Input Buss
7
Input Buss
Rear view of a Mackie t24
8
Input 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

9
Input 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

10
Close up of Pre-amp section
Input channel Pad / low end roll off Gain
adjust
11
Equalization 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

12
Equalization section
High freq. control High-mid with selectable
frequency range Low-mid with selectable
frequency range Low frequency control
13
Auxiliary 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

14
Auxiliary Sends
Note the pre-fade switch
8 individual aux send channels
15
Signal 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

16
Signal Routing
Pan Pot Output selection Mute
Note PFL not available on this model
17
Other 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

18
Output 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

19
Output Section
Left, Right and Main outputs
Sub or group outputs
Auxiliary outputs
20
Output 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

21
Aux-Output Section
Aux out mute switch
Aux out gain control
After fader listen
22
Group-Output Section
23
Flying 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

24
Flying 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

25
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