MIXING CONSOLE

SSL SL9000J ( 72 channel ) console at cutting Room Recording Studio , NYC

 

An audio engineer adjusts a mixer while doing live sound for a band

 In sound recording and reproduction, and sound reinforcement system, a mixing console is an digital tool for combining sounds of many one of a kind audio alerts. Inputs to the console consist of microphones being utilized by singers and for selecting up acoustic instruments, indicators from electric or digital contraptions, or recorded tune. Depending on the type, a mixer is able to manage analog or digital signals. The modified indicators are summed to supply the combined output indicators, which can then be broadcast, amplified thru a valid reinforcement system or recorded.

Mixing consoles are used in many programs, together with recording studios, public cope with structures, sound reinforcement structures, nightclubs, broadcasting, tv, and movie submit-production. A regular, easy application combines alerts from microphones on degree into an amplifier that drives one set of loudspeakers for the target audience. A DJ mixer might also have best  channels, for blending  report gamers. A coffeehouse's tiny level might simplest have a six-channel mixer, enough for 2 singer-guitarists and a percussionist. A nightclub level's mixer for rock song indicates may also have 24 channels for mixing the alerts from a rhythm section, lead guitar and numerous vocalists. A mixing console in a expert recording studio may additionally have as many as ninety six channels.

In practice, mixers do more than definitely mix signals. They can provide phantom power for condenser microphones; pan control, which changes a sound's apparent function within the stereo soundfield; filtering and equalization, which enables sound engineers to boost or reduce selected frequencies to enhance the sound; dynamic range compression, which allows engineers to growth the overall gain of the gadget or channel with out exceeding the dynamic limits of the machine; routing centers, to ship the signal from the mixer to some other tool, which include a legitimate recording device or a manipulate room; and tracking facilities, whereby one of some of sources may be routed to loudspeakers or headphones for listening, often with out affecting the mixer's predominant output. Some mixers have onboard electronic results, including reverb. Some mixers supposed for small venue stay overall performance packages can also encompass an incorporated power amplifier.

Terminology

A blending console is likewise referred to as an audio mixer, audio console, mixing desk, sound mixer, soundboard, or clearly as board or mixer.

Structure

Yamaha 2403 audio mixing console in a 'live' blending utility

An analog blending board is split into practical sections. Some of the extra vital practical sections are subdivided into subsections.

Channel input strip

 

Channel input strip, Group, and Master segment on Mackie ONYX 80

The channel input strips are usually a bank of equal monaural or stereo enter channels arranged in columns. Typically, each channel's column consists of a number of rotary potentiometer knobs, buttons, and faders for controlling the benefit of the input preamplifier, adjusting the equalization of the sign on each channel, controlling routing of the enter signal to different practical sections, and adjusting the channel's contribution to the overall mix being produced.

The types of inputs that may be plugged right into a mixer depend upon the meant cause of the mixer. A mixer intended for a live venue or a recording studio typically has a range of enter jacks, such as XLR connectors for microphones and the outputs from DI containers, and 1/4" jacks for line level resources. A DJ mixer usually has RCA connector inputs for pre-recorded music being performed again on turntables or CD players, and a single mic input.

Depending at the mixer, a channel may additionally have buttons which allow the audio engineer to reroute the sign to a one of a kind output for tracking functions, activate an attenuator pad (regularly decreasing the sign by using 15 or 20 dB to save you audio clipping), or activate different functions, inclusive of a high-pass clear out. Some better-priced mixers have a parametric equalizer or a semi-parametric equalizer for one or greater of the equalizer frequency bands, regularly the middle range.

The channel strips are commonly numbered so that the audio engineer can pick out the one of a kind channels. For every channel enter, a mixer presents one or extra input jacks. On mid- to- huge-sized live venue and sound recording consoles, those input jacks are numbered as well and consolidated in a patch bay. On smaller mixers, the input jacks may be mounted at the pinnacle panel of the mixer to facilitate the connection and disconnection of inputs during the usage of the mixer.

The input strip is usually separated into sections:

*Input jacks 

*Microphone preamplifiers

*Equilization 

*Dynamic processing (e.g. dynamic range compression , gating ) , if supported

*Routing , including direct outs , auxiling-sends , panning control , and subgroup assignments

*Level-control faders ( on small mixer , these may be rotary knobs to save space )

On many consoles, these sections are color-coded for quick identification with the aid of the operator. Each sign (e.G., a singer's vocal mic, the sign from an electric bass amp's DI box, and many others.) that is plugged into the mixer has its very own channel. Depending on the specific mixer, every channel is stereo or monaural. On maximum mixers, each channel has an XLR enter, and lots of have RCA or area-inch TRS phone connector line inputs. The smallest, least steeply-priced mixers might also best have one XLR input with the opposite inputs being line inputs. These may be used by a singer-guitarist or different small acts.

Basic input contrls

The first knob at the top of an enter strip is generally a trim or gain manage. The input/preamp situations the sign from the outside device and this controls the amount of amplification or attenuation that is applied to the enter signal to convey it to a nominal level for processing. Due to the high profits involved (around +50 dB, for a microphone), this stage is in which most noise and interference is picked up. Balanced inputs and connectors, including XLR or telephone connectors which have been particularly stressed as balanced traces, reduce interference issues.

A microphone plugged immediately right into a power amplifier might not produce an adequate sign level to drive loudspeakers, due to the fact the microphone's signal is just too susceptible; the microphone sign wishes a preamplifier to strengthen the signal in order that it is strong sufficient for the electricity amplifier. For a few very sturdy line level alerts, the signal this is plugged into the mixer may be too strong, and purpose audio clipping. For alerts which might be too robust, a fifteen dB or 20 dB pad can be used to attenuate the sign. Both preamplifiers and pads, and the controls related to them, are to be had inside the enter phase of most blending consoles.

Audio engineers usually goal at reaching a terrific gain shape for each channel. To achieve an awesome gain structure, engineers generally enhance the benefit as high as they are able to earlier than audio clipping outcomes; this facilitates to offer the satisfactory sign to noise ratio.

A blending console may additionally offer insert factors after the enter gain degree. These offer a send and return connection for external processors that most effective have an effect on an individual channel's sign. Effects that operate on a couple of channels connect to auxiliary sends.

Auxiling send routing

Program channels on a radio sound board

The auxiliary ship routes a split of the incoming signal to an auxiliary bus, which could then be routed to outside devices. Auxiliary sends can both be pre-fader or put up-fader, in that the level of a pre-fader ship is set with the aid of the auxiliary ship manipulate, whereas put up-fade sends depend on the position of the channel fader as nicely. Auxiliary sends can send the sign to an external processor along with a reverb, with the go back sign routed through another channel or distinct auxiliary go back. Post-fader sends are usually used in this case. Pre-fade auxiliary sends can provide a monitor mix to musicians on degree (which they pay attention through monitor speakers pointing at the performers or in-ear monitors); this mix is thus impartial of the principle mix produced by way of the faders.

Most stay radio broadcasting sound forums send audio through software channels. Most boards have 3-four program channels, though some have extra options. When a given channel button is chosen, the audio will be sent to that device or transmitter. Program 1 is generally the on-air live feed, or what the ones being attentive to the broadcast will pay attention. Other application channels may also feed one or greater computers used for enhancing or sound playback. Another application channel may be used to ship audio to the expertise's headset if they're broadcasting from a far off region.

Channel equilization

Further channel controls affect the equalization of the signal through one at a time attenuating or boosting a variety of frequencies. The smallest, least high priced mixers may also only have bass and treble controls. Most mid-range and higher-priced mixers have bass, midrange, and treble, or even extra mid-range controls (e.G., low-mid and high-mid). Many high-cease mixing consoles have parametric equalization on each channel. Some mixers have a general equalization manage (either graphic or parametric) on the output, for controlling the tone of the general blend.

Cue system

The cue system allows the operator to pay attention to 1 or extra decided on indicators without affecting the console's fundamental outputs. A sound engineer can use the cue function to, for instance, get a legitimate recording they want to play quickly cued as much as the start point of a tune, without the listeners hearing these actions. The sign from the cue gadget is fed to the console's headphone amp and might additionally be to be had as a line-level output this is meant to force a reveal speaker gadget. The phrases AFL (after-fader listen) and PFL (pre-fader listen) are used to describe respectively whether or not or no longer the extent of the cue sign for an enter is managed by using the corresponding fader. Consoles with a cue function have a devoted button on every channel, generally labeled Cue, AFL, PFL, Solo, or Listen. When cue is enabled on multiple channels, a mix of those indicators is heard via the cue gadget.

Solo in region (SIP) is a related function on superior consoles. It typically is managed by using the cue button, however unlike cue, SIP influences the output blend; It mutes the whole thing besides the channel or channels being soloed. SIP is useful for setup of a blending board and troubleshooting, in that it permits the operator to speedy mute the whole thing however the sign being adjusted. For example, if an audio engineer is having issues with clipping on an enter, they may use SIP to totally hear that channel, in order that the hassle can be recognized and addressed. SIP is doubtlessly disastrous if engaged by accident for the duration of a overall performance, because it will mute all of the channels besides one, so most consoles require the operator to take very planned actions to interact SIP.

Busses and submix

Each channel on a mixer has a volume manipulate (fader) that permits adjustment of the extent of that channel. These are commonly sliders near the front of the integration board, even though some smaller mixers use rotary controls to keep space. The indicators are summed to create the main mix, or mixed on a bus as a submix, a set of channels which can be then delivered as a whole to the very last mix. For example, many drum mics might be grouped into a bus, after which the share of drums in the very last blend can be managed with one bus fader. A bus can often be processed much like an character enter channel, permitting the engineer to method an entire group of indicators straight away. Once again the use of the drum kit instance, the use of bus-processing can allow the sound engineer to run all of the drum package through an audio compressor effect to reduce unwanted signal peaks, in preference to having to route all of the 10 or extra mic alerts on the drum package for my part. There will also be insert points for a sure bus, or maybe the entire blend.

VCA groups

Some better-give up consoles use voltage-controlled amplifier (VCA) VCAs characteristic quite like a submix but allow the operator manipulate the extent of multiple enter channels with a single fader. Unlike subgroups, no sub-mix is created. The audio alerts from the assigned channels continue to be routed independently of VCA assignments. Since no sub-mix is created, it isn't feasible to insert processing inclusive of compressors right into a VCA/DCA institution. In addition, on most VCA-ready consoles, put up-fader auxiliary ship ranges are stricken by the VCA grasp. This is usually applicable, as post-fader auxiliary sends are usually used for effects together with reverb, and sends to those consequences should track modifications inside the channel sign degree.

Master output controls

The master control section is used to regulate the levels of the general output of the mixer. The grasp control phase on a massive stay venue or sound recording mixer generally has sub-group faders, grasp faders, master auxiliary blending bus stage controls and auxiliary return level controls. On maximum mixers, the master control is a fader. However, on a few small mixers, rotary knobs are used as an alternative to shop area.

In an ordinary live sound mixing context, with a band playing at a venue, including a rhythm segment, solo instrumentalists and singers, the grasp manage segment allows the audio engineer to control the volume of the whole institution with just one fader (for monaural mixers) or a couple of left and proper faders (for stereo mixers).

Subgroup and foremost output fader controls are regularly observed collectively at the right hand facet of the mixer or, on larger consoles, in a middle phase flanked by way of banks of input channels. Matrix routing is frequently contained on this master segment, as are headphone and nearby loudspeaker monitoring controls. Talkback controls allow conversation with the artist thru their video display units, headphones or in-ear monitor. A test tone generator might be placed inside the grasp output segment. Aux returns consisting of those indicators coming back from outside processors are regularly inside the grasp segment.

Metering

 

Meter bridge on API Legacy Plus console

There are normally one or more VU or top meters to indicate the levels for each channel, for the grasp outputs and to suggest whether the console tiers are clipping the sign. The sound engineer normally adjusts the advantage of the input alerts to get the most powerful signal that can be received with out causing clipping. Having the advantage set as high as feasible improves the signal to noise ratio. Most mixers have as a minimum one extra output except the primary blend. These are either person bus outputs or auxiliary outputs, used, for instance, to output a extraordinary mix to onstage video display units.

The meters can be above the enter and grasp sections or they'll be incorporated into the enter and master sections themselves. Meters may additionally have needles or LEDs. On meters the use of LEDs, there can be different coloured LEDs to suggest when there is signal gift inside the channel's input; the audio degree of the channel, usually by lighting up greater LEDs; and clipping, which can be indicated the usage of a special colored LED. In one popular colour-coding device, green LEDs indicate signal presence and the audio stage; one or more amber LEDs indicate that the channel is drawing near clipping; and one or greater crimson LEDs indicate clipping.

As the human ear reports audio level in a logarithmic style, blending console controls and displays are almost constantly categorised in decibels, a logarithmic dimension device. Since the decibel represents a relative measurement, and no longer a unit itself, the meters have to be referenced to a nominal level. Most expert audio system is referenced to a nominal level of +4 dBu, even as semi-professional and domestic gadget is generally referenced to a nominal degree of −10 dBV.

Hardware routing and patching

For convenience, some mixing consoles include inserts or a patch bay or patch panel. Patch bays are greater commonplace in recording mixers than stay sound mixers. In stay sound, the cables from the onstage microphones and instrument outputs are not generally plugged at once into the mixer, due to the fact this would require a massive range of character cables to move from the degree to the mixer. Instead, the onstage mic and tool cables are usually plugged into the degree field of a snake cable which runs from the stage to the mixer. The snake is then plugged into the mixer.

Other feature

A sound engineer at the controls of a SSL9000J mixer

Most , but not all , audio mixers can

* Use monaural signals to produce simulated stereo sound via panning.

* Provide phantom power required by means of condenser microphones.

Some mixers can

*Add onboard outside effect units (reverb, echo, postpone). Mixers with onboard virtual consequences generally provide a extensive range of these consequences.

* Create an audible take a look at tone via an oscillator. The test tone may be used to troubleshoot issues earlier than the band arrives and determine if channels are functioning properly.

* Read and write console automation.

* Be interfaced with computers or other recording device.

* Control or be controlled with the aid of a digial audio computing device through MIDI, USB or different conversation interface.

* Be powered via batteries.

*  Provide amplifier power for outside passive speakers

Mirroring

Some mixing consoles, mainly the ones designed for broadcast and live sound, encompass centers for mirroring  consoles, making each consoles exact copies of every other with the equal inputs and outputs, the same settings, and the same audio blend. There are two primary reasons for doing this; one, within the occasion of a hardware failure, a 2d redundant console is already in area and may be switched to (an crucial feature for stay proclaims); second, it allows the operators to installation two identical mix positions, one at the front of residence — where the audio can be mixed in the course of a performance — and the alternative at some different vicinity within the theater (e.G., with the broadcasting system); this way, if the acoustics at the front of house are damaging, a mixture may be programmed at an acoustically better function in the room, and the presets (at the faders and knobs) can be accessed from the the front of house console at some point of the performance.

 Digital versus analog

Digidesign's Venue Profile mixer on region at a company event. This digital mixer allows audio plug-ins from 0.33-birthday party companies

Digital mixing console sales have expanded dramatically due to the fact that their creation within the Nineties. Yamaha bought extra than 1000 PM5D mixers by way of July, 2005, and different producers are seeing increasing sales of their digital merchandise. Digital mixers are more versatile than analog ones and offer many new capabilities, including reconfiguration of all signal routing on the touch of a button. In addition, digital consoles regularly include processing abilities along with compression, gating, reverb, computerized comments suppression and put off. Some merchandise are expandable through third-birthday celebration audio plug-ins that upload further reverb, compression, postpone and tone-shaping equipment. Several digital mixers encompass spectrograph and real-time analyzer functions. A few contain loudspeaker management gear along with crossover filtering and limiting. Digital sign processing can perform automatic mixing for a few simple applications, including courtrooms, conferences and panel discussions.

Latency

Digital mixers have an unavoidable quantity of latency, ranging from much less than 1 ms to as tons as 10 ms, relying at the model of virtual mixer and what capabilities are engaged. This small amount of latency isn't a trouble for loudspeakers aimed toward the target market and no longer necessarily a hassle for monitor wedges aimed at the artist, but may be disorienting and unpleasant for in-ear monitors wherein the artist hears their voice acoustically of their head and electronically amplified in their ears however behind schedule by way of a couple of milliseconds.

Every analog to digital conversion and digital to analog conversion within a virtual mixer introduces latency. Audio inserts to favourite external analog processors make for approximately double the usual latency. Further latency can be traced to formate conversions which include from ADAT to AES3 and from normal virtual sign processing steps.

Within a virtual mixer, there can be differing quantities of latency, depending on the routing and on how a great deal DSP is in use. Assigning a signal to two parallel paths with substantially distinctive processing on each path can bring about comb filtering when recombined. Some virtual mixers incorporate internal strategies of latency correction in order that such problems are averted.

Ease of use

16-channel mixing console with compact quick-throw faders

Analog consoles have a column of dedicated, physical knobs, buttons, and faders for every channel, that is logical and acquainted to generations of audio engineers who have been skilled on analog mixers. This takes greater bodily area however can accommodate rapid responses to converting overall performance conditions.

Most virtual mixers use technology to reduce bodily area necessities, entailing compromises in person interface including a single shared channel adjustment area this is selectable for best one channel at a time. Additionally, most virtual mixers have digital pages or layers that change fader banks into separate controls for extra inputs or for adjusting equalization or aux ship levels. This layering may be puzzling for a few operators. Many virtual mixers allow inner reassignment of inputs so that handy groupings of inputs seem close to each different within the fader financial institution, a function that may be disorienting for men and women having to make a hardware patch change.

On the other hand, many virtual mixers allow for extremely smooth constructing of a combination from stored statistics. USB flash drives and other storage techniques are employed to bring past performance records to a brand new venue in a incredibly portable way. At the new venue, the touring mix engineer clearly plugs the amassed records into the venue's digital mixer and quick makes small changes to the nearby enter and output patch layout, bearing in mind complete show readiness in very brief order. Some digital mixers permit offline editing of the mix, a function that shall we the travelling technician use a computer to make expected adjustments to the display, shortening the time it takes to prepare the sound gadget for the artist.

Sound quality

A studio engineer at a Control 24 blending surface

Both virtual and analog mixers depend upon analog microphone preamplifiers, a high-advantage circuit that will increase the low sign degree from a microphone to a level this is higher matched to the console's internal working degree.

In a digital mixer, the microphone preamplifier is observed with the aid of an analog-to-digital converter. Ideally, this process is cautiously engineered to deal gracefully with overloading and clipping at the same time as delivering an accurate virtual flow. Overloading throughout further processing and mixing of virtual streams can be avoided via using floating-factor arithmetic. Intermediate processing in older structures using constant-factor mathematics and final output in all digital structures need to be managed to keep away from saturation.

Analog mixers, too, have to deal gracefully with overloading and clipping on the microphone preamplifier and as well as fending off overloading of mix buses. Noise is present at all levels of an analog mixer, even though proper benefit degree control and turning unused channels all the way down to 0 minimizes its audibility. Digital circuitry is typically more resistant to outside interference from radio transmitters along with walkie-talkies and mobile phones.

Many digital layout factors integrate to affect perceived sound exceptional, making the worldwide "analog mixer vs. Virtual mixer" question difficult to answer. Experienced stay sound experts agree that the selection and quality of the microphones and loudspeakers (with their innate better capability for developing distortion) are a much more supply of color of sound than the choice of mixer. The mixing style and revel in of the person mixing can be greater important than the make and version of audio console. Analog and digital mixers both have been associated with outstanding live performance performances and studio recordings.

Remote control

Since the choice first appeared related to analog blending the Nineteen Nineties as stressed out far off controls for positive digital strategies including monitor wedge equalization and parameter changes in outboard reverb gadgets, the concept has improved till stressed out and wi-fi faraway controls are being seen when it comes to entire digital mixing systems. It is feasible to installation a valid machine and mix through laptop, touchscreen or pill. Computer networks can connect virtual system factors for improved monitoring and manage, allowing the machine technician to make changes to remote gadgets at some stage in the performance. The use of faraway manage technology can reduce the amount of venue area used for the the front-of-house mixing console, and recover space for target audience seating.

Software mixers

For recorded sound, the mixing system may be done on screen, the use of pc software program and related input, output and recording hardware. The traditional massive control floor of the combination console is not always applied. In a software studio, there may be both no bodily mixer fader financial institution at all or there is a compact group of motorized faders designed to fit into a small area and related to the pc. Many challenge studios use one of these space-efficient answer, as the integration room at other times can serve as the business workplace, media archive, and so forth. Software blending is integrated as a part of a digital audio computer.

Applications

A small mixer that might be used for a singer-guitarist's performance at a small coffeehouse.

Public cope with structures in schools, hospitals and different institutions use a mixing console to set microphones to the appropriate stage and may upload in recorded sounds inclusive of track into the mix. PA mixers commonly have controls that assist to reduce audio remarks.

Most rock and pa bands use a mixing console to mix musical instruments and vocals so that the mixture may be amplified via a nightclub's PA system. Among the best best bootleg recordings of stay performances are so-known as soundboard recordings sourced at once from the combination console.
Radio publicizes use a blending desk to select audio from distinctive assets, which includes CD players, telephones, far flung feeds, prerecorded classified ads, and in-studio live bands. These consoles, often referred to as air-forums are apt to have many fewer controls than mixers designed for live or studio production mixing, losing pan/stability, EQ, and multi-bus monitoring/aux feed knobs in choose of cue and output bus selectors, seeing that, in a radio studio, nearly all resources are prerecorded or preadjusted.

DJs playing tune at a dance club use a small DJ mixer to make clean transitions between songs that are played from resources which might be plugged into the mixer. Compared with different mixers which can be utilized in sound recording and stay sound, DJ mixers have far fewer inputs. The most primary DJ mixers have most effective  inputs, even though a few have 4 or more inputs for DJs using a bigger variety of resources. These sources should consist of turntables, CD players, portable media players, or electronic gadgets which include drum machines or synthesizers. The DJ mixer additionally permits the DJ to apply headphones to cue the next music to the desired starting point before playing it.

Hip hop track DJs and Dub manufacturers and engineers have been early users of the combination board as a musical instrument. In the 1970s, hip hop DJs advanced a method of changing the fader and crossfader controls of mixers at the same time as they manipulated data on turntables, developing particular rhythmic scratching results.

Noise music musicians may additionally create feedback loops within mixers, creating an device called a no-input mixer. The tones generated from a no-enter mixer are created by using connecting an output of the mixer into an enter channel and manipulating the pitch with the mixer's dials.

WRITTEN BY : ADRISH WAHEED