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MIXERS

MIXERS. Week 4 PowerPoint From Chapter 5 of Rumsey. A Simple Analog Mixer (see figure 5.1). All input channels are IDENTICAL: We call this the CHANNEL STRIP First control is INPUT GAIN: Adjusts gain provided by the input amplifier

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MIXERS

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  1. MIXERS Week 4 PowerPoint From Chapter 5 of Rumsey

  2. A Simple Analog Mixer(see figure 5.1) • All input channels are IDENTICAL: We call this the CHANNEL STRIP • First control is INPUT GAIN: Adjusts gain provided by the input amplifier • Often has EQ section: Variety of bands, might be FIXED or PARAMETRIC • PAN control divides the MONO signal between left and right outputs • Complex mixers have more options on the channel strip

  3. Output Section • Stereo OUTPUT FADERS control overall level of the SUMMED MIX • MONITOR LEVEL: Routes signal to the monitors • PFL: Pre-Fader Level. The monitor output may have this to send direct gain to monitors • SLATE: A microphone or connection directly connected to the mixer.

  4. Common Uses • Small live music events • Simple PA System setup • Simple 2-track recording sessions (demos) • Basic Signal Routing

  5. Multitrack Mixer • MORE COMPLEX: Think of the studio SSL • Two Distinct Phases in recording: TRACKING and MIXDOWN • These steps are often simultaneous: A mix is played to track new material • In the studio, tracking is Analog to Digital • Mixdown uses the physical board to mix the digital content

  6. Split Console(Fig. 5.5) • Combination of CHANNEL faders and MONITOR faders • Tracking and mixing are done on independent faders • Requires a channel for each INPUT and PLAYBACK CHANNEL • Easy to use and see, but requires a lot of channel, therefore is usually a big and expensive board

  7. In-Line console • Channel and Monitor input are on the SAME channel in the channel strip • Each channel has an independent FADER or other control • They share other functions of the channel strip • Is less expensive to design and takes less space, but can be more confusing and allow less control

  8. The SSL Duality • Has a SPLIT mode that allows for control of both input signal and DAW signal • Signal from the DAW can be re-routed through the channel strip for processing • The DAW input can also be called the MONITOR INPUT • Many routing options are made possible!

  9. Grouping • SIMULTANEOUS control of more than one FADER at a time • This is also referred to as SUMMING channels • SUBGROUPS are faders often on a console that can control a selected group of channels before the main output

  10. The Channel Strip

  11. Input Section • GAIN CONTROL: Sets the mic or line amplifier gain • PHANTOM POWER: Applies 48V for microphones requiring it. Might be for the one strip or multiple • MIC/LINE SWITCH: Does just that. • PAD: Attenuates the mic input. Usually 10 or 20 dB • PHASE REVERSE: Does just that.

  12. Routing Section • Allows signal to be sent elsewhere, or to more than one track • Often has individual switches to trigger each track • Sometimes routes to ODD or EVEN tracks

  13. Dynamics Section • Only on advanced consoles like the SSL Duality • Individual compression for each channel • They are often as good as outboard compresion • May also have master stereo compressor (classic on SSL consoles)

  14. EQ Section • Either Variable or Fixed • Variable EQ makes it PARAMETRIC (or semi-parametric) • Sometimes has “Q” control • Often has Hi-Pass or Lo-Pass filters • IN/OUT switch allows the EQ section to be bypassed

  15. Channel and Mix Controls • PAN – Rotary Knob, places in stereo picture • Fader Reverse – Switches fader between mix and channel paths, can sometimes be global (affects all channels) • Line/Tape or Bus/tape - Selects what you are monitoring (SSL has mic or line “CH OP” selection) • PFL – Pre-Fader Level (listen or monitor) • AFL – After-Fader Level (like SOLO)

  16. AUX SENDS • Usually up to 10 on a typical console • Allows a channel to be BUSSED to a different place • Can route effects or go to monitors • PRE/POST – Determines if the signal is before of after the fader • AUX routing is nearly unlimited in a DAW

  17. Master Control Section • Monitor Selector – On SSL, defaults to the Dynaudios, but can also select the ADAMs • DIM – Reduces the level but doesn’t mute (usually about 40 db) • MONO – Sums the stereo channels (check for phasing) • Phase Reverse – Reverses the phase on one channel • Foldback/Talkback – Mic for your voice on the console • Oscillator – Sine wave generator for testing • Master fader – Overall Mix Output

  18. Monitor Mixer • Often used in live sound for stage musicians • Control systems can be used in the studio, like the HEAR system or Aviom • Group outputs can provide a separate monitor mix

  19. METERING • VU Meters: Volume Unit (Not UV!) • Analog movement, has RISE TIME • Usually shows above 0dB (typically +4) • Electronic metering usually uses LEDs, or in DAW • Can switch between PEAK or RMS

  20. AUTOMATION • This has come a LONG way in recent years • Nearly all DAW software can be automated • Not limited to simply volume or pan, ANYTHING can be automated • Some digital boards can have “Analog Automation” • The SSL Duality has BOTH • Motorized Faders assist in automation and settings recall

  21. Digital Mixers • Have elements of analog consoles, but allow for expanded routing options • Often have processing built-in (like Plug-ins) • Usually have save and recall functions • Often can be chained together for additional channels

  22. DAW Controllers • Some have mixer controls, others ONLY control the DAW • This allows for tactile feedback of the DAW • Often has motorized faders for automation and recall • This can be done on a large or small scale

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