The
Audio
Masterclass
Music
Production
and
Sound
Engineering
Course


MODULE
10
MODEL
ANSWERS


MIXING
CONSOLES


What
is
the
function
of
the
gain
control?


The
gain
control
is
used
to
bring
up
the
input
signal
to
as
close
to
the
optimum
level
as
possible,
maximising

noise
performance
from
the
channel.


What
other
switched
functions
are
available
close
to
the
gain
control?

A
typical
console
will
include
one
or
more
input
select
switches,
and
a
phase
switch
to
invert
the
signal.
A

filter
can
be
switched
in
to
cut
low
frequencies
below
around
100
Hz,
and
a
pad
can
be
switched
in
to

attenuate
the
signal.


What
is
an
insert
point?


An
insert
point
allows
an
external
signal
processor
to
be
inserted
into
the
signal
path.
Only
a
single
signal
is

processed
and
the
whole
of
the
processed
signal
is
used
without
any
of
the
unprocessed
signal.


What
type
of
processing
would
an
insert
point
be
used
for?

An
insert
point
would
be
used
to
connect
an
external
processor
such
as
a
compressor,
noise
gate
or

equalizer.
The
only
constraint
is
that
the
external
processor
must
be
designed
to
process
the
whole
signal,

as
it
is
not
mixed
back
in
with
the
original
(as
you
would
with
an
aux
send)
but
replaces
it.
The
insert
point

would
hardly
ever
be
used
for
reverb.


What
is
meant
by
'pre‐fade
auxiliary'?


A
pre‐fade
aux
send
is
used
to
create
an
additional
mix.
The
signals
are
taken
from
a
point
in
the
channel

before
the
fader,
so
that
the
pre‐fade
aux
mix
is
completely
independent
of
fader
levels.
It
is
typically
used

for
musicians'
foldback.


What
is
meant
by
'post‐fade
auxiliary'?


A
post‐fade
aux
send
is
used
to
create
an
additional
mix.
The
signals
are
taken
from
a
point
in
the
channel

after
the
fader,
so
that
the
post‐fade
aux
mix
is
affected
by
fader
levels.
It
is
typically
used
for
the
send
to
a

reverb
unit.


Describe
the
two
signal
paths
in
the
channel
module
of
an
inline
console?


The
two
signal
paths
of
an
inline
console
are
the
input
path
and
the
monitor
path.
The
signal
from
a
mic

would
go
though
the
input
signal
path
and
eventually
to
one
track
of
the
multitrack,
with
the
output
of
the

multitrack
coming
back
through
the
same
channel
strip
in
the
monitor
path.


If
the
small
fader
is
used
to
control
the
signal
level
sent
to
the
multitrack
recorder,
what
is
the
large
fader

used
for?


The
large
fader
is
used
for
the
alternate
path
to
the
small
fader,
so
in
this
case
it
would
be
used
for
the

monitor
mix,
controlling
the
signal
coming
from
the
multitrack
machine,
be
that
the
multitrack
input
or
the

signal
off
tape
(or
disk
etc).


What
is
the
meaning
of
'flip'?


Module
10
Model
Answers

The
term
'flip'
refers
to
exchanging
the
roles
of
the
large
and
small
faders
for
all
channels
simultaneously,

for
instance
when
going
from
tracking
to
mix.
It
can
also
mean
selecting
a
certain
channel
facility
on
an

individual
channel
to
the
reverse
of
the
condition
set
by
the
master
module.


Comment
on
the
sharing
of
facilities
between
input
and
monitor
signal
paths.


The
channel
facilities
(eq,
dynamics,
aux
sends)
can
be
individually
switched
between
the
monitor
and

input
paths.
The
processing
can
therefore
be
applied
before
or
after
the
multitrack
as
appropriate.
If
a

certain
facility
is
switched
to
the
input
path,
it
can’t
be
used
on
the
monitor
path.


Describe
two
uses
of
PFL.


PFL
can
be
used
to
listen
to
a
channel
in
isolation
for
fault
finding
or
closer
scrutiny,
and
can
also
be
used
to

help
setting
the
correct
gain
by
using
the
main
meters
to
view
the
level
of
a
channel.


Comment
on
the
danger
of
solo‐in‐place.


Solo
in
place
works
by
muting
all
the
other
channels.
This
will
therefore
silence
them
completely,
therefore

it
would
be
very
dangerous
to
have
this
facility
in
a
live
or
broadcast
console.


What
is
'solo
safe'?


Solo
safe
is
a
mode
that
a
channel
can
be
put
into
that
will
exclude
it
from
the
effects
of
soloing
other

channels.
If
using
a
channel
(or
pair)
as
an
effect
return,
this
enables
the
effect
return
to
remain
functional

when
another
channel
is
put
into
solo
mode,
so
that
the
soloed
channel
is
heard
with
the
effect
intact.


Describe
the
use
of
Record
status.


Record
status
is
intended
for
the
recording
of
basic
tracks.
The
small
faders
are
used
for
level
control
to
the

multitrack,
whilst
the
large
faders
are
used
to
create
a
monitor
mix.
The
multitrack
will
be
in
sync
mode

(which
means
that
for
an
analog
recorder,
the
playback
signal
is
taken
from
the
record
head
and
thus
is
in

sync
with
tracks
that
are
being
newly
recorded),
and
the
studio
loudspeakers
will
be
off.


Describe
the
use
of
Replay
status.

In
Replay
status,
the
multitrack
is
switched
to
use
the
playback
head
(on
an
analog
recorder),
and
the

studio
loudspeakers
are
turned
on.
All
the
large
faders
are
switched
to
tape
tracks,
over‐riding
any
channel

settings.


Describe
the
use
of
Mix
status


The
tape
path
in
Mix
status
is
identical
to
that
in
Replay
status,
except
that
the
tape
signal
comes
in
via
the

line
inputs
as
opposed
to
the
tape
inputs.
This
leaves
the
small
faders
available
to
be
used
for
routing
the

signal
to
channel
groups
etc
as
additional
aux
sends.
Since
the
small
fader
can
be
automated,
it
can
be
used

as
an
automatable
send.
They
can
also
be
used
to
bring
in
additional
signals
to
the
mix.


Describe
the
use
of
Record
+
Mix
(Overdub)
status.


Overdub
status
is
identical
to
Mix
status,
except
that
individual
channels
can
be
switched
into
Record

mode.


Why
is
'status
lock'
important
for
some
types
of
use
of
the
console?


For
any
live
situation
(whether
in
venue
or
broadcast),
putting
the
console
into
Status
Lock
helps
to

safeguard
against
unintentional
console
changes
that
would
affect
the
final
sound
output
by
the
console.

Many
functions
are
locked
into
their
current
state,
and
could
only
be
altered
by
removing
the
Status
Lock.

The
functions
locked
are
those
that
would
not
normally
be
required
or
be
changed
during
live
work.


Module
10
Model
Answers

Comment
on
the
options
provided
by
the
Monitor
Selection
and
Control
section.


The
Monitor
Selection
and
Control
section
contains
controls
that
are
global
to
the
whole
console,
affecting

things
such
as
monitoring,
metering,
console
status
and
communications.
The
monitoring
controls
allow

different
mixes
to
be
monitored
including
FX
buses,
stereo
buses,
and
external
sources.


What
is
'Solo‐in‐Front'?

Solo‐in‐Front
does
not
mute
non‐solo
channels,
but
instead
dims
them,
such
that
the
solo
enabled
channel

is
heard
still
in
context,
but
lifted
out
of
the
mix.


Describe
the
relationship
between
the
FX
Send
1
control
in
the
channel
module
and
the
FX
1
Level

control
in
the
Cue/FX
sends
section.

The
FX
Send
1
control
on
an
individual
channel
controls
the
signal
level
sent
to
the
FX
Send
1
bus
by
that

individual
channel.
The
FX
1
Level
control
in
the
Cue/FX
sends
section
controls
the
level
of
the
FX
Send
1

bus
sent
to
the
external
unit.
It
is
a
master
control
in
other
words.


Describe
the
main
metering
options
in
the
SL9000J
console.


There
are
two
sets
of
meters.
One
set
is
the
channel
meters,
at
one
per
channel.
These
can
be
switched

(globally)
to
meter
different
points
in
the
channel
path,
with
a
choice
between
the
input
signal
and
either

fader.
The
ballistics
of
the
meters
can
be
switched
between
VU
and
PPM,
and
peak
readings
can
also
be

stored
and
displayed.
Additional
external
meters
can
be
connected,
and
their
source
selected.
The
main

meters
can
be
used
to
monitor
either
the
console
main
output,
the
monitor
output,
or
one
of
two
external

sources.


Describe
the
main
communication
features
in
the
SL9000J
console.

Communication
features
enable
the
engineer
to
talk
to
and
listen
to
the
studio
area.
The
talkback

microphone
can
be
connected
to
any
foldback
mix,
the
studio
loudspeakers
and
one
external
destination.

There
are
also
controls
for
a
cue
light
("Action!")
and
a
red
light
("Don’t
even
think
about
coming
in").
The

talk
back
can
be
set
to
automatically
switch
on
and
off
according
to
multitrack
status.


Describe
the
relationship
between
VU
and
decibels.


A
change
of
1
VU
is
the
same
as
a
change
of
1
dB.


What
signal
level,
in
dBu,
is
required
to
produce
a
reading
of
0
VU?


+4
dBu


What
is
the
drawback
of
the
VU
meter?


It
is
slow
to
respond
and
under‐reads
fast
changing
signals.


Describe
two
differences
in
the
PPM,
compared
to
the
VU,
that
make
it
more
accurate.


It
is
electronically
controlled
and
the
needle
can
move
faster.


Comment
on
the
difference
in
the
needle's
rise
time
and
fallback
time.


Although
the
PPM
has
a
fast
rise
time,
the
fallback
time
is
made
slower
to
make
the
meter
easier
to
read.


According
to
BBC
practice,
what
electrical
level
is
indicated
by
PPM
4?


0
dBu


According
to
BBC
practice,
what
is
indicated
by
PPM
6?


Module
10
Model
Answers

Peak
level,
or
+8
dBu


MIXING


What
is
a
'monitor
mix'?


A
mix
used
during
the
overdubbing
process
to
approximate
what
the
track
will
eventually
sound
like.


Comment
on
the
value
of
working
on
one
track
at
a
time
and
mixing
it
before
proceeding
to
the
next

track
of
an
album.


The
monitor
mix
can
develop
as
the
track
builds
up.
When
overdubbing
is
complete,
the
monitor
mix
can

be
used
as
a
starting
point
for
the
final
mix.
It
is
less
likely
that
there
will
be
a
consistent
sound
from
track

to
track.


Comment
on
recording
an
album
in
stages:
all
the
basic
tracks,
all
the
overdubs,
all
the
mixing.


It
is
more
efficient
to
work
in
this
way.
For
instance,
the
studio
does
not
need
to
be
reset
to
record
the

basic
tracks
for
the
next
song.
It
is
likely
that
there
will
be
a
consistent
sound
from
track
to
track.


Why
is
it
useful
to
copy
monitor
mixes
to
DAT
(or
CD)?


So
that
the
artist
or
band
can
take
copies
away
from
the
studio
for
listening
and
generating
new
ideas.


Comment
on
the
intended
listening
applications
of
various
kinds
of
mix.


Mixes
may
be
made
specially
for
certain
media:
radio,
TV,
TV
(minus
the
lead
vocal),
vinyl,
CD.
The
main

requirement
for
a
radio
mix
is
that
it
should
sound
as
good
as
possible
on
a
low‐quality
playback
system.

The
CD
mix
can
have
a
wider
dynamic
range,
and
it
is
generally
possible
to
rely
on
the
listener
having

reasonably
good
low
frequency
reproduction.


Why
is
DAT
now
generally
considered
inadequate
for
music
mixing?


Standard
DAT
is
only
as
good
as
CD.
There
is
no
margin
of
extra
quality
for
future
domestic
formats.


Why
is
half‐inch
analog
tape
still
used
as
a
master
format?


Some
producers
like
the
characteristic
sound
of
analog
tape.


Comment
on
the
processes
of
remixing,
in
the
modern
sense.


Remixing
is
the
process
of
taking
an
old
recording
and
recreating
it
in
the
currently
popular
style.
This
may

be
as
drastic
as
taking
the
original
vocal
and
re‐recording
an
entirely
new
backing
track.
Alternatively,
new

instruments
may
be
added
to
the
original
track,
perhaps
including
heavier
and
more
rhythmically
precise

drum
samples.


Why
is
it
more
difficult
to
mix
a
multitrack
recording,
where
the
tracks
have
been
recorded

independently,
than
to
mix
a
multitrack
recording
of
a
concert?


It
can
be
presumed
that
the
arrangement
and
overall
sound
at
the
concert
was
good,
therefore
the
mix

consists
of
recreating
that
sound
and
perhaps
improving
on
it
a
little.
In
contrast,
where
the
various
tracks

of
the
arrangement
are
recorded
separately,
there
is
no
guarantee
that
they
will
sound
good
when
the

mixing
process
starts.
Therefore
the
mixing
engineer
has
to
work
harder
to
achieve
a
satisfactory
balance.


How
much
can
a
top
mix
engineer
earn,
per
song?


In
the
USA,
up
to
around
$2000.
There
are
very
few
engineers
who
can
earn
this
amount
of
money.
It

indicates
how
demanding
this
work
is.


Module
10
Model
Answers

Briefly
describe
mixing
in
the
1960s.


There
hardly
was
any
mixing
process
in
the
1960s.
If
the
recording
was
made
on
4‐track
multitrack,
then

certain
instruments
would
be
mixed
as
overdubbing
took
place,
simply
to
free
up
new
tracks.
By
the
time

the
recording
was
finished,
the
lead
vocal
might
be
on
one
track,
background
vocals
on
another,
solo

instruments
on
the
third
and
the
entire
basic
tracks
on
the
fourth.
When
16‐track
recorders
became

available,
it
was
possible
mostly
to
have
one
instrument
per
track.
During
the
mixing
process
it
was
not

uncommon
for
the
engineer,
the
producer
and
members
of
the
band
each
to
control
a
few
of
the
faders.


Why
is
automated
mixing
now
considered
essential?


There
are
simply
so
many
tracks.
48‐track
recording
is
commonplace
and
no
engineer
can
control
so
many

faders
live
during
the
mix.


Comment
on
how
automated
mixing
allows
the
engineer
to
listen
to
the
mix
more
effectively.


By
allowing
the
automation
system
to
perform
fader
moves
that
have
already
been
worked
out,
the

engineer
is
free
to
concentrate
on
the
sound
from
the
monitors
and
perfect
new
moves.


What
would
you
expect
to
be
automated
on
an
analog
console?


Faders
and
mutes.


Why
are
other
features
of
analog
consoles
not
automated?

It
is
too
expensive
to
use
potentiometers
and
switches
that
are
capable
of
being
controlled
by
an

automation
system.


Describe
the
audio
path
in
a
moving
fader
automation
system
(the
portion
relevant
to
automation,
not

the
entire
path).


The
audio
signal
goes
through
the
resistive
track
of
the
fader,
just
as
in
a
mixing
console
without

automation.


Comment
on
the
usefulness
of
automating
mutes.


During
the
multitrack
recording
process,
particularly
of
live
musicians,
it
is
normal
for
a
lot
of
unwanted

sounds
to
build
up
on
the
tape
‐
the
vocalist
humming
the
first
note
before
starting
to
sing;
a
guitar
solo

where
the
guitarist
plays
a
few
'trial'
licks
before
the
solo
itself;
the
count‐in
before
the
track
starts.
Any

unwanted
sounds
can
be
muted
so
that
only
the
wanted
audio
remains.
Mute
automation
is
also
useful
for

silencing
inactive
portions
of
tracks
‐
otherwise
they
would
contribute
noise
to
the
mix.


What
are
'snapshots'?


A
mix
can
be
made
specially
for
the
verse
of
a
song,
and
another
slightly
different
mix
for
the
chorus.
These

can
be
stored
as
snapshots
and
automatically
recalled
for
each
verse
and
each
chorus.


Comment
on
the
difference
between
'corrective'
and
'creative'
level
control.


Corrective
level
control
is
used,
for
example,
to
even
out
the
level
of
a
vocal.
A
singer
is
likely
to
be
quite

variable
in
level
so
this
is
to
be
expected.
Once
this
is
done,
the
engineer
and
producer
can
concentrate
on

balancing
the
vocal
against
the
other
instruments.


How
is
'update'
or
'trim'
performed
on
a
moving
fader
console?

The
fader
to
be
trimmed
is
assigned
as
a
slave
to
another
fader
that
is
designated
as
the
master
in
a
fader

group.
The
slave
may
already
be
performing
a
complex
series
of
moves,
and
these
moves
will
rise
or
fall
in

level
according
to
the
position
of
the
master
fader.
When
all
is
correct,
the
fader
group
can
be
dissolved


Module
10
Model
Answers

and
the
sum
of
the
moves
assigned
to
what
was
the
slave.


Describe
the
audio
path
in
a
VCA
console.


The
audio
signal
passes
through
a
voltage‐controlled
amplifier,
not
through
the
track
of
the
fader.


How
is
'update'
or
'trim'
performed
on
a
VCA
console?


The
level
of
the
audio
is
controlled
by
a
DC
voltage
fed
to
the
VCA.
When
the
fader
is
in
trim
mode,
the

computer
sends
the
original
sequence
of
voltages
to
the
VCA,
to
which
is
added
the
new
voltage
from
the

fader.
The
VCA
responds
to
the
sum
of
the
voltages,
which
of
course
is
also
stored
by
the
computer.


End
of
model
answers.

Module
10
Model
Answers