- Understanding mixing live sound driver#
- Understanding mixing live sound manual#
- Understanding mixing live sound Patch#
- Understanding mixing live sound full#
VCAs and VCA Groups: A VCA stands for Voltage Controlled Amplifier and is a common way to “automate” certain things on a mixing console. So I can raise or lower the level of all 8 drum mics on one fader – VERY USEFUL. The Subgroup does not affect any aux sends, it only affects the main mix. Rather than have to independently mix 32, 40, or even up to 56 channels on a console, you can assign for example, all the drums to one fader called a “subgroup”. Group/Subgroup: A Subgroup (or just “Group” on some consoles), is a tool used to help the audio tech during a service or performance. Because it is pre-fade, it does not matter where the fader is at the time.
You can isolate an individual channel, and hear changes you make with the EQ. Works as a “solo” button for the engineer’s headphones. If it is labeled as a “Post” or “PostFade” mix, then the aux’s level will also be affected by the channel fader as it is adjusted. If it is labeled as as “Pre” or “PreFade” mix, then its level is completely independent of the channel’s fader. Pre/Post: An indication of where the Aux mix splits off from the main signal. Most often used for feeding multitrack recorders.Īux mix: A separate mix of each channel which has its own output, which can be used to feed stage monitors, a recording mix, sends to a reverb unit, or other uses.
Understanding mixing live sound Patch#
Insert Loop: A patch point for connecting outboard gear, such as a compressor or effects unit.ĭirect Out: An individual channel output after the gain stage, but before EQ or fader involvement. Useful for eliminating phase-cancellation when using multiple mics on the same source (both the top and bottom of a snare drum, for example). Polarity: A simple switch which flips the polarity of the input. A circuit which sharply decreases low frequencies, reducing mike handling noise, stage rumble, and plosives (p-pops). Pad: If you turn the gain all the way to the left and the signal is still too hot, then you should engage the pad, which will reduce the incoming signal by a preset amount (usually 20 dB or so). Gain: A level adjustment designed to optimize each signal coming into the console. 40 console.Īnd here is an APB Dynasonics Spectra-C/56.Here is the signal flow of a Mackie 1604 VLZ.Īnd here is a larger format Yamaha IM8
Understanding mixing live sound full#
(Click on the images to see a full sized version). They can be extremely valuable learning tools. I have created a few Signal Flows for study. You can use any drawing or paint program to make one. It’s also recommended that you make it in linear, vertical orientation so that it helps you visualize the flow better. Just follow the lines on the block diagram to determine the signal path. So I recommend that you take the time to create your own simplified signal flow. Now block diagrams can be headache-inducing nightmares. It will contain what is typically called a “block diagram”.
So how do you learn the signal flow of your paticular console? You break out the manual. The channel strip tends to lay out generally “in order” as it applies to the audio signal flow – Gain, then EQ, then the Fader, for example. The conrols that need more adjustments along the way are closer to your hands (i.e.: the channel faders.) In general, the controls that you tend to “set” are at the top of the console, meaning you have to actually reach for them.
Understanding mixing live sound driver#
You want to be an excellent all-around driver of vehicles, not a specialist who only knows and drives a Chevy Malibu 2-door with the small V6.
Understanding mixing live sound manual#
Instead of thinking, “the 2nd red knob on my old console was always set to 12:00, does that mean the 2nd blue knob on this console should be set the same?” The knowledgeable tech will know exactly what that knob is and where it is in the audio signal chain (even consulting the owner’s manual if necessary.) Finally, it gives the audio tech a FOUNDATION of understanding which allows them to move from room to room or console to console and not be thrown for a loop. This is because he fully knows the ins and outs (sorry for the pun) of the equipment. It also gives the audio tech CONFIDENCE as he sits behind the console. It can also prevent mistakes because you know what the audio is doing at each stage of the console. Using this information, the engineer can quickly TROUBLESHOOT the likely causes of common problems, and can even narrow down the possibilities of unexpected major problems. Knowing the audio path through a mixing console is absolutely critical to a sound engineer’s success.
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