An Introduction to the Mixing Console

1. An Introduction to the Mixing Console stuart.jones3@southwales.ac.u k www.stuartjones.org Basic Principles

2. Agenda 1. Introduction 2. Basic Principles 3. Signal Flow

3. Introduction

4. Obviously without knowledge of the mixing console.......... Introduction

5. We are going to run into problems Introduction

6. Basic Principles

7. Basic Principles Studio Layout Live Room Monitors Headphones Microphones D.I. Boxes Tie Lines Control Room Monitors Tie Lines Mixing Console Outboard Recording Two Track Mixing Console Connections Mic Inputs Line Inputs Tape Sends or Group Outputs Tape Returns or Monitor Inputs Microphones Keyboards and other line level sources Multitrack Recording Headphone Amp Effects Dynamic Processing Power Amplifier Pre fade Auxiliary Output Post Fade Auxiliary Sends Stereo Auxiliary Returns Insert Returns Insert Sends Monitor Outputs 2 Track Returns Monitor Outputs

16. The Mixing Console has 3 sections: • Input Section – Mic/Line Input • Monitor Section – Recorded Input • Master Section – Main Control Basic Principles

17. There are two basic studio mixing desk configurations: 1.Split Consoles - The input path (channel path) is separate from the monitor path (tape return path). 2.In Line Consoles - The input path and the monitor path are both included on the same physical strip. Basic Principles

18. Basic PrinciplesSplit Consoles Input Section Monitor SectionMaster Section Multitrack Recorder In Out { { { Mic/Line Input

19. Basic PrinciplesIn Line Consoles Channel Fader Master Section Tape Return Path Multitrack Recorder In Out Input Section { Mic/Line Input Input Section { Mic/Line Input

20. Basic PrinciplesIn Line Consoles Multitrack Recorder Mic Line Gain In Out Mixing Desk Channel Strip Channel Path Monitor Path Channel path and monitor path are on the same physical channel strip

21. Often, a mixing console will take it’s name from it’s configuration. For example: 12:2 Inputs Outputs The format becomes a little more involved when it comes to dedicated recording mixers. For example: 32 : 8 : 32 : 2 Inputs Groups Monitor Channels Outputs Functional Description Basic Principles

22. Audient ASP8024 Inputs Routing to tape Basic Principles

23. Signal Flow

24. L -R 1 -2 Signal FlowMic Line Gain EQ Aux Routing Pan Solo Mute Amp Speakers Left Bus Right Bus L-R Master Faders Multitrack Recorder 1 2 Ins 1 2 Outs 1 2 Monitors 1 2 Group Faders Bus 1 Bus 2

25. L -R 1 -2 Signal FlowMic Line Gain EQ Aux Routing Pan Solo Mute Amp Speakers Left Bus Right Bus L-R Master Faders Multitrack Recorder 1 2 Ins 1 2 Outs 1 2 Monitors 1 2 Group Faders Bus 1 Bus 2 Input

26. L -R 1 -2 Signal FlowMic Line Gain EQ Aux Routing Pan Solo Mute Amp Speakers Left Bus Right Bus L-R Master Faders Multitrack Recorder 1 2 Ins 1 2 Outs 1 2 Monitors 1 2 Group Faders Bus 1 Bus 2 Routing

27. L -R 1 -2 Signal FlowMic Line Gain EQ Aux Routing Pan Solo Mute Amp Speakers Left Bus Right Bus L-R Master Faders Multitrack Recorder 1 2 Ins 1 2 Outs 1 2 Monitors 1 2 Group Faders Bus 1 Bus 2 Bus

28. L -R 1 -2 Signal FlowMic Line Gain EQ Aux Routing Pan Solo Mute Amp Speakers Left Bus Right Bus L-R Master Faders Multitrack Recorder 1 2 Ins 1 2 Outs 1 2 Monitors 1 2 Group Faders Bus 1 Bus 2 Group or Tape Sends

29. L -R 1 -2 Signal FlowMic Line Gain EQ Aux Routing Pan Solo Mute Amp Speakers Left Bus Right Bus L-R Master Faders Multitrack Recorder 1 2 Ins 1 2 Outs 1 2 Monitors 1 2 Group Faders Bus 1 Bus 2 Tape

30. L -R 1 -2 Signal FlowMic Line Gain EQ Aux Routing Pan Solo Mute Amp Speakers Left Bus Right Bus L-R Master Faders Multitrack Recorder 1 2 Ins 1 2 Outs 1 2 Monitors 1 2 Group Faders Bus 1 Bus 2 Monitor

33. Audient Studio Basic Signal Flow and Foldback Set Up Mic Line Gain Routing Mix Amp Speakers L-R Master Faders Multitrack Recorder Ins Outs Short Fader 1-24 Long Fader 1. Input - Signals from live room will always be a mic input. Does the microphone need phantom power? If so, cut channel before turning on phantom power. Adjust gain accordingly. 2. Routing - Where do you want the signal to go? It is advisable to work in line (e.g. route channel 1 on desk to channel 1 on recording device). 3. Short Fader - This sends a level to your recording device. Set to 0dB on desk. Do not put this fader into the mix. 4. Input Monitor - Engage recording track on your recording device. You should now see your signal metering. 5. Long Fader - Put this into the mix. Check signal to noise ratio. 6. Master Section - Adjust the master faders and main monitor volume accordingly. Aux A Foldback Aux A Master Foldback A L R Aux A Master Section Patchbay L R Foldback A 41 42 Live Room Returns

34. Signal Flow Summary Input Routing Bus Group or Tape Sends Tape Monitor

35. An Introduction to the Mixing Console © stuart jones, 2013 stuart.jones3@southwales.ac.u k www.stuartjones.org Basic Principles

An Introduction to the Mixing Console

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