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In sound recording and reproduction , and sound reinforcement systems , a mixing console is an electronic device for combining sounds of many different audio signals. Inputs to the console include microphones being used by singers and for picking up acoustic instruments, signals from electric or electronic instruments, or recorded music. Depending on the type, a mixer is able to control analog or digital signals.
The modified signals are summed to produce the combined output signals, which can then be broadcast, amplified through a sound reinforcement system or recorded.
Mixing consoles are used in many applications, including recording studios , public address systems , sound reinforcement systems, nightclubs , broadcasting , television , and film post-production.
A typical, simple application combines signals from microphones on stage into an amplifier that drives one set of loudspeakers for the audience. A DJ mixer may have only two channels, for mixing two record players. A coffeehouse 's tiny stage might only have a six-channel mixer, enough for two singer-guitarists and a percussionist. A nightclub stage's mixer for rock music shows may have 24 channels for mixing the signals from a rhythm section , lead guitar and several vocalists.
A mixing console in a professional recording studio may have as many as 96 channels. In practice, mixers do more than simply mix signals. They can provide phantom power for condenser microphones ; pan control , which changes a sound's apparent position in the stereo soundfield; filtering and equalization , which enables sound engineers to boost or cut selected frequencies to improve the sound; dynamic range compression , which allows engineers to increase the overall gain of the system or channel without exceeding the dynamic limits of the system; routing facilities, to send the signal from the mixer to another device, such as a sound recording system or a control room; and monitoring facilities, whereby one of a number of sources can be routed to loudspeakers or headphones for listening, often without affecting the mixer's main output.
Some mixers intended for small venue live performance applications may include an integrated power amplifier. A mixing console is also known as an audio mixer , audio console , mixing desk , sound mixer , soundboard , or simply as board or mixer. An analog mixing board is divided into functional sections. Some of the more important functional sections are subdivided into subsections. The channel input strips are usually a bank of identical monaural or stereo input channels arranged in columns.
Typically, each channel's column contains a number of rotary potentiometer knobs, buttons, and faders for controlling the gain of the input preamplifier , adjusting the equalization of the signal on each channel, controlling routing of the input signal to other functional sections, and adjusting the channel's contribution to the overall mix being produced. The types of inputs that can be plugged into a mixer depend on the intended purpose of the mixer.
A DJ mixer typically has RCA connector inputs for pre-recorded music being played back on turntables or CD players , and a single mic input. Some higher-priced mixers have a parametric equalizer or a semi-parametric equalizer for one or more of the equalizer frequency bands, often the middle range.
The channel strips are typically numbered so that the audio engineer can identify the different channels. For each channel input, a mixer provides one or more input jacks.
On mid- to- large-sized live venue and sound recording consoles, these input jacks are numbered as well and consolidated in a patch bay. On smaller mixers, the input jacks may be mounted on the top panel of the mixer to facilitate the connection and disconnection of inputs during the use of the mixer.
On many consoles, these sections are color coded for quick identification by the operator. Each signal e. Depending on the specific mixer, each channel is stereo or monaural. The smallest, least expensive mixers may only have one XLR input with the other inputs being line inputs. These can be used by a singer-guitarist or other small acts. The first knob at the top of an input strip is typically a trim or gain control. Balanced inputs and connectors, such as XLR or phone connectors that have been specifically wired as balanced lines, reduce interference problems.
A microphone plugged directly into a power amplifier would not produce an adequate signal level to drive loudspeakers, because the microphone's signal is too weak; the microphone signal needs a preamplifier to strengthen the signal so that it is strong enough for the power amplifier. For some very strong line level signals, the signal that is plugged into the mixer may be too strong, and cause audio clipping.
Both preamplifiers and pads, and the controls associated with them, are available in the input section of most mixing consoles. Audio engineers typically aim at achieving a good gain structure for each channel. To obtain a good gain structure, engineers usually raise the gain as high as they can before audio clipping results; this helps to provide the best signal to noise ratio.
A mixing console may provide insert points after the input gain stage. These provide a send and return connection for external processors that only affect an individual channel's signal. Effects that operate on multiple channels connect to auxiliary sends below. The auxiliary send routes a split of the incoming signal to an auxiliary bus, which can then be routed to external devices. Auxiliary sends can either be pre-fader or post-fader, in that the level of a pre-fader send is set by the auxiliary send control, whereas post-fade sends depend on the position of the channel fader as well.
Auxiliary sends can send the signal to an external processor such as a reverb, with the return signal routed through another channel or designated auxiliary return. Post-fader sends are normally used in this case. Pre-fade auxiliary sends can provide a monitor mix to musicians on stage which they hear through monitor speakers pointing at the performers or in-ear monitors ; this mix is thus independent of the main mix produced by the faders.
Most live radio broadcasting sound boards send audio through program channels. Most boards have program channels, though some have more options.
When a given channel button is selected, the audio will be sent to that device or transmitter. Program 1 is typically the on-air live feed, or what those listening to the broadcast will hear. Other program channels may feed one or more computers used for editing or sound playback. Another program channel may be used to send audio to the talent's headset if they are broadcasting from a remote area.
Further channel controls affect the equalization of the signal by separately attenuating or boosting a range of frequencies. The smallest, least expensive mixers may only have bass and treble controls. Most mid-range and higher-priced mixers have bass, midrange, and treble, or even additional mid-range controls e. Many high-end mixing consoles have parametric equalization on each channel. Some mixers have a general equalization control either graphic or parametric at the output, for controlling the tone of the overall mix.
The cue system allows the operator to listen to one or more selected signals without affecting the console's main outputs. A sound engineer can use the cue feature to, for instance, get a sound recording they wish to play soon cued up to the start point of a song, without the listeners hearing these actions. The signal from the cue system is fed to the console's headphone amp and may also be available as a line-level output that is intended to drive a monitor speaker system.
The terms AFL after-fader listen and PFL pre-fader listen are used to describe respectively whether or not the level of the cue signal for an input is controlled by the corresponding fader. When cue is enabled on multiple channels, a mix of these signals is heard through the cue system. Solo in place SIP is a related feature on advanced consoles. It typically is controlled by the cue button, but unlike cue, SIP affects the output mix; It mutes everything except the channel or channels being soloed.
SIP is useful for setup of a mixing board and troubleshooting, in that it allows the operator to quickly mute everything but the signal being adjusted. For example, if an audio engineer is having problems with clipping on an input, they may use SIP to solely hear that channel, so that the problem can be diagnosed and addressed. SIP is potentially disastrous if engaged accidentally during a performance, as it will mute all the channels except one, so most consoles require the operator to take very deliberate actions to engage SIP.
Each channel on a mixer has a volume control fader that allows adjustment of the level of that channel. These are usually sliders near the front of the mixing board, although some smaller mixers use rotary controls to save space. The signals are summed to create the main mix , or combined on a bus as a submix, a group of channels that are then added as a whole to the final mix. For instance, many drum mics could be grouped into a bus, and then the proportion of drums in the final mix can be controlled with one bus fader.
Once again using the drum kit example, the use of bus-processing can enable the sound engineer to run all of the drum kit through an audio compressor effect to reduce unwanted signal peaks, rather than having to route all of the 10 or more mic signals on the drum kit individually. There may also be insert points for a certain bus, or even the entire mix. Some higher-end consoles use voltage-controlled amplifier VCA [a] VCAs function somewhat like a submix but let the operator control the level of multiple input channels with a single fader.
Unlike subgroups, no sub-mix is created. The audio signals from the assigned channels remain routed independently of VCA assignments. This is usually desirable, as post-fader auxiliary sends are commonly used for effects such as reverb, and sends to these effects should track changes in the channel signal level. The master control section is used to adjust the levels of the overall output of the mixer. The master control section on a large live venue or sound recording mixer typically has sub-group faders, master faders, master auxiliary mixing bus level controls and auxiliary return level controls.
On most mixers, the master control is a fader. However, on some small mixers, rotary knobs are used instead to save space. In a typical live sound mixing context, with a band playing at a venue, consisting of a rhythm section, solo instrumentalists and singers, the master control section allows the audio engineer to control the volume of the entire group with just one fader for monaural mixers or a pair of left and right faders for stereo mixers.
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. Talkback controls allow conversation with the artist through their monitors , headphones or in-ear monitor.
A test tone generator might be located in the master output section. Aux returns such as those signals returning from external processors are often in the master section. There are usually one or more VU or peak meters [b] to indicate the levels for each channel, for the master outputs and to indicate whether the console levels are clipping the signal.
The sound engineer typically adjusts the gain of the input signals to get the strongest signal that can be obtained without causing clipping.
Having the gain set as high as possible improves the signal to noise ratio. Most mixers have at least one additional output besides the main mix. These are either individual bus outputs or auxiliary outputs , used, for instance, to output a different mix to onstage monitors.
The meters may be above the input and master sections or they may be integrated into the input and master sections themselves. Meters may have needles or LEDs. On meters using LEDs, there may be different colored LEDs to indicate when there is signal present in the channel's input; the audio level of the channel, typically by lighting up more LEDs; and clipping, which may be indicated using a different colored LED.
In one popular color-coding system green LEDs indicates signal presence and the audio level; one or more amber LEDs indicate that the channel is approaching clipping; and one or more red LEDs indicate clipping. As the human ear experiences audio level in a logarithmic fashion, [c] mixing console controls and displays are almost always labeled in decibels , a logarithmic measurement system.
Since the decibel represents a relative measurement, and not a unit itself, the meters must be referenced to a nominal level. For convenience, some mixing consoles include inserts or a patch bay or patch panel. Patch bays are more common in recording mixers than live sound mixers.
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