Live Sound Analog Mixing Console

Live Sound Analog Mixing Consoles Come in many different sizes and configurations for different applications Come in many different sizes and configurations for different applications The most common live sound consoles, range between 8 and 52 input channels The most common live sound consoles, range between 8 and 52 input channels 8 Ch 8 Ch 12 Ch 12 Ch 16 Ch 16 Ch 24 Ch 24 Ch 32 Ch 32 Ch 48 Ch 48 Ch 52 Ch 52 Ch And vary in number and types of outputs And vary in number and types of outputs Consoles are sometimes described by the number of Channels, Groups, and Master outputs they have Consoles are sometimes described by the number of Channels, Groups, and Master outputs they have 24 X 8 X 2 (24 Input Channels, 8 Groups and Stereo out) 24 X 8 X 2 (24 Input Channels, 8 Groups and Stereo out) 16 X 4 X 2 16 X 4 X 2 32 X 8 X 2 32 X 8 X 2

Live Sound Analog Mixing Console All consoles consist of an Input section, master section and a group output section All consoles consist of an Input section, master section and a group output section All consoles basically work the same however some have additional features built in to make it more powerful and to make our job easier All consoles basically work the same however some have additional features built in to make it more powerful and to make our job easier

Input Section Generally once you’ve learned the different controls of one input channel you’ve learned all the input channels Generally once you’ve learned the different controls of one input channel you’ve learned all the input channels

Common Inputs Connections Connections are usually physically inline with the channel strip on the rear panel or they can be on the top panel of the console Connections are usually physically inline with the channel strip on the rear panel or they can be on the top panel of the console Mic In XLR Mic In XLR Line In ¼” Balanced Line In ¼” Balanced Insert = INS ¼” Balanced Insert = INS ¼” Balanced Direct Out Direct Out

Input Strip Controls +48 Switch (Phantom Power) For Powering Condenser mics and Active Di’s +48 Switch (Phantom Power) For Powering Condenser mics and Active Di’s Polarity or Phase Reverse Switch ( Zero with Slash ) Flips the Phase 180 degrees Polarity or Phase Reverse Switch ( Zero with Slash ) Flips the Phase 180 degrees Pad Switch (Attenuates input signal by a preset amount) Pad Switch (Attenuates input signal by a preset amount) Gain pot (Mic Pre Amp) Sets input level to obtain optimal gain Gain pot (Mic Pre Amp) Sets input level to obtain optimal gain HPF Switch ( Preset High Pass Filter 75hz – 100hz ) HPF Switch ( Preset High Pass Filter 75hz – 100hz )

EQ Section 3 Different EQ types 3 Different EQ types Fixed EQ ( Frequencies are fixed at the factory ) Fixed EQ ( Frequencies are fixed at the factory ) Semi Parametric or Sweep Eq Semi Parametric or Sweep Eq Parametric Parametric

Fixed EQ You can boost or cut two or three factory set fixed frequencies You can boost or cut two or three factory set fixed frequencies Usually High shelving Mid peaking dipping, Low Shelving Usually High shelving Mid peaking dipping, Low Shelving 10 – 12khz 10 – 12khz 2.5 Khz 2.5 Khz 80 – 100Hz 80 – 100Hz

Semi Parametric EQ 1 or 2 Sweepable Mids 1 or 2 Sweepable Mids Preset Bandwidth or Q Preset Bandwidth or Q High Shelving High Shelving Low Shelving Low Shelving

Fully Parametric EQ Adjustable Bandwidth or Q on all frequency ranges Adjustable Bandwidth or Q on all frequency ranges

EQ in SWITCH EQ Circuit In EQ Circuit In EQ Circuit Out EQ Circuit Out

Auxiliary Sends The Auxiliary send routes a split of the incoming signal to an auxiliary bus which can then be used with external devices or used as auxiliary mixes The Auxiliary send routes a split of the incoming signal to an auxiliary bus which can then be used with external devices or used as auxiliary mixes Auxiliary sends can either be pre-fader or post-fader Auxiliary sends can either be pre-fader or post-fader Pre fader for use as monitor sends Pre fader for use as monitor sends Post Fader for effect sends Post Fader for effect sends Can be use for a separate mix ( Press Feed, Videographers, Recording, separate speaker system ) Can be use for a separate mix ( Press Feed, Videographers, Recording, separate speaker system )

Pan Panorama Panorama Mono input channels can be faded between left and right main outs and odd and even numbered groups Mono input channels can be faded between left and right main outs and odd and even numbered groups

Mute Turns channel off post fader Turns channel off post fader Pre or Post Auxiliary depending on the console Pre or Post Auxiliary depending on the console

PFL / Solo Pre Fader Listen Pre Fader Listen Pre Fader Level Pre Fader Level Sends Input Channel Level to the Master Meter and to the headphone Jack Sends Input Channel Level to the Master Meter and to the headphone Jack Listen wedge when mixing monitors Listen wedge when mixing monitors

Fader Section Master / Group Assign switches, assigns the channel to a particular group or to the stereo master Master / Group Assign switches, assigns the channel to a particular group or to the stereo master Input Level Meter Shows input level pre fader at all times Input Level Meter Shows input level pre fader at all times

SubGroups The inputs are combined on a bus as a submix, the group of channels are then added to the main stereo master The inputs are combined on a bus as a submix, the group of channels are then added to the main stereo master many drum mics could be grouped into a bus, and then the level of drums in the final mix can be controlled with one bus fader many drum mics could be grouped into a bus, and then the level of drums in the final mix can be controlled with one bus fader Can be use as additional outputs ( Group Outs ) Can be use as additional outputs ( Group Outs ) Can be used as mono or stereo outputs Can be used as mono or stereo outputs

Master Section Subgroup and main output fader controls are often found together on the right hand side of the mixer or, on larger consoles, in a center section flanked by banks of input channels. Subgroup and main output fader controls are often found together on the right hand side of the mixer or, on larger consoles, in a center section flanked by banks of input channels. Matrix routing is often contained in this master section, as are headphone and local loudspeaker monitoring controls. Matrix routing is often contained in this master section, as are headphone and local loudspeaker monitoring controls. Aux returns are found in the master section Aux returns are found in the master section Aux Masters are also found in the master section Aux Masters are also found in the master section

VCA Voltage Controlled Amplifier Voltage Controlled Amplifier Only found on Higher End Consoles Only found on Higher End Consoles Master controller of input channel faders Master controller of input channel faders All functions of the channel fader remain constant All functions of the channel fader remain constant No degradation of audio quality No degradation of audio quality

Matrix A separate mix of the subgroups and stereo mixes sent to a mono out A separate mix of the subgroups and stereo mixes sent to a mono out Used for camera Feeds, Recording, fills, delayed speakers etc. Used for camera Feeds, Recording, fills, delayed speakers etc.

General Mixing Tips Unity Gain is God when operating mixers Unity Gain is God when operating mixers Run at Zero on all inputs and outputs for best signal to noise ratio Run at Zero on all inputs and outputs for best signal to noise ratio Maintain unity gain during event Maintain unity gain during event When adjusting channel input gain keep in mind those adjustments will affect all routing and sends When adjusting channel input gain keep in mind those adjustments will affect all routing and sends Don’t Spill your Beer on the board! Don’t Spill your Beer on the board!