The document discusses the different sections of a mixing console, including the input section, routing, auxiliaries, equalization, channel path, and tape return path. The input section contains controls for the microphone and line inputs like gain, phantom power, filters. The routing matrix routes signals to tape or group faders. Auxiliaries are used to send signals to effects units or monitor mixes. The equalization section provides tone controls. The channel path and tape return path control signals from the mic input and tape, respectively.

1. The Mixing Console
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The Channel Strip

2. Agenda
1. Input Section
2. Basic Principles
3. Signal Flow
4. Mixing Desk Sections

3. Mixing Desk Sections
Input Section

4. Mixing Console
Sections
Input Section
1
1. 20 Segment Meter
2. 3 Segment Meter
3. Insert In - Places an insert point in the TAPE RETURN path (Dynamic
Processing)
4. Tape input TRIM Control
5. Mic/Line Switch
6. MTR - Press to show the mic/line input on the large meter and the tape
return path on the small meter
7. Insert In - Places an insert point in the CHANNEL path (Dynamic
Processing)
8. Mic/Line GAIN Control
9. Phase Inverse Switch
10. 48v Phantom Power for condenser mics. Mute channel before using
11. High Pass Filter
2
3
4
5 6
7
8 9
10 11

5. Mixing Desk Sections
Routing

6. Mixing Console
Sections
Routing

7. - On recording, the routing matrix routes the signal to tape.
- On Mixdown, the routing matrix routes signals to the group faders
Mixing Console
Sections
Routing

8. Mixing Desk Sections
Auxiliaries

9. Mixing Desk Sections
Auxiliaries

10. Auxiliary Section
The auxiliary (aux) sends are used to
send signals from an input strip to an
effects unit (reverb etc).
Auxiliaries are also used to feed monitor
and headphone mixes
1
2
1
2

11. Pre or Post Fade
1
1
Auxiliary Section

12. Mixing Desk Sections
Equalisation

13. Mixing Desk Sections
Equalisation

14. EQ Section
EQ control of the amplitude of areas of frequencies.
Each channel on the Audient console has:
1
2
1
2
HF/LF Shelving EQ - Bass and treble
attenuation.
2 Band Parametric EQ - Allows for greater
control of the frequencies.
3 Places the EQ IN circuit
3 4
4
Places the EQ in the short fader path. This
means the EQ output will be recorded onto
Radar

15. Mixing Desk Sections
Channel Path

16. Mixing Desk Sections
Channel Path

17. Channel Path
The channel path can also be referred to as the
short fader path. Controls signals onto tape when
switched to receive a mic signal.
1
1
2
2
3 Solo - Allows channels to be independently
auditioned.
4 Cut/Mute - Allows signals to be cut.
3
4

18. Mixing Desk Sections
Tape Return Path

19. Mixing Desk Sections
Tape Return Path

20. Tape Return Path
The tape return path can also be referred to
as long fader path (LF). Controls signals
from tape when switched to receive a
signal from tape.
1
1
2
2
3 4
3 Solo - Allows channels to be independently
auditioned
4 Mute - Allows signals to be cut
5
5 Routes to L&R Bus

21. Rear View of a Channel Strip
1. Mic Input
2. Line Input
3. Mic/Line Insert Sends
4. Mic/Line Insert Returns
5. Tape Input
6. Tape Insert Sends
7. Tape Insert Returns

22. The Mixing Console
stuartdjones@southwales.ac.u
k
www.stuartjones.org
The Channel Strip