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T S G M: He Oundcraft Uide To Ixing
T S G M: He Oundcraft Uide To Ixing
Guide to Mixing
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SECTION 2: CONNECTING
EQUIPMENT TO YOUR MIXER SECTION 5:
A Input Devices. 8 Other Applications
B Equipment requiring Inputs and Outputs. 9
A Monitor mixing. 23
C Output Devices. 9
B Submixing. 24
SECTION 3:
SECTION 6: In the StudiO
MIXING TECHNIQUES
A Essentials and Ergonomics. 25
A Choosing the Right Microphone; 10
Microphone types, Condenser, Dynamic, B Tape Machines and Recording media. 25
Electret. Different Polar Patterns. C The Console. 25
B Setting up a Basic Mix; 11 D Simple Multitrack Recording. 26
Setting the Gain, Balancing Fader Levels, E Simple Multitrack Mixdown. 27
Balancing Output Levels. F Using a Dedicated In-Line Console. 28
C Using the Mixer’s EQ; 12 G Recording Instruments and Voices; Vocals, Drums, Electric
Fixed EQ. Using a sweep-mid equaliser. Guitars, Acoustic Guitars, Bass Guitars, Keyboards. 28
D Using Effects Units; 13 H Planning a Session. 30
The different types; Reverb, Delay, Echo,
I Creating a Mix. 30
Chorus & Flanging, Pitch Shifters.
Setting up an effects loop. J Balancing the Mix. 30
Pre and post fade auxiliaries.
E Using Signal Processors; 15 SECTION 7:
The difference between signal processors and effects;
Different types of signal processors; Graphic Equalisers, WIRING UP & CONNECTORS
Parametric Equalisers, Gates, Expanders, Balanced and Unbalanced Mic Inputs, Balanced and
Compressors/Limiters. Unbalanced Line Inputs. 31
Setting up a processor. Inserts, Ground Compensated Outputs, Impedance
F Creating a Foldback/Monitor Mix. 16 Balanced Outputs. 31
SECTION 8: GLOSSARY
An A to Z to save your head! 32
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A. What does a Mixer do? typical mixer. If you are already familiar with MIC
recording device — or both. A mixer is the nerve centre of these MONO INPUTS
sources, and therefore the most vital part of your audio system.
A Mic In 30 SENS c
20 40
so it’s little wonder that people are confused as to what type is B Line In
actually needed for the job in hand. However there are several Use this connector for plugging in "Line Level" 0
– 0+
10
MID
3 3
questions you can to ask yourself that will help you narrow your instruments such as keyboards, samplers or 9
6 6
9
search to the most appropriate models. drum machines. It can also be used to accept 12
15 15
12
– 0+
the returns from multitrack tape machines and 6
3 3
6
• What am I going to be using the mixer for — i.e. multitrack other recording media. The Line Input is not 9
12 12
9 LF
recording, live PA work or both? designed for microphones and although it may 15 15
•
3
What particular mixer facilities must I have for my application? C Insert Point 0 10
POST
i.e. plenty of EQ, auxiliaries, or Direct Outs for recording. This is used to connect external signal processors 1
0
1
PAN
• Will I be doing any location work where there won’t be any MIC/LINE
compressors or
4
5 5
4
0N
mains power available? PROCESSOR
limiters within the
• Have I read the Soundcraft Guide to Mixing from cover to cover? - COMPRESSOR
input module. The
MIX
10
INSERT
- NOISE GA TE
- LIMITER Insert Point allows 5
- EXP ANDER
Once you can answer these questions satisfactorily you should external devices to SUB
0
have a fairly accurate specification for the mixer you need. be placed within
EQ Fig. 1.1 the Input Path — 5
15
PFL
3
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and studio techniques. How to use auxiliaries, connecting them to external equipment
and other applications are described in section 3.
E Gain Control (Input Sensitivity)
Sets how much of the signal from the LINE I Pan (Panoramic Control)
SECTION 1: Starting Out
mic or line inputs is fed to the channel. This determines the position of the signal within the stereo
INS mix image or may be used to route (send) the signal to
F HPF (High Pass Filter) particular GROUP outputs as selected by the ROUTING
As the name suggests this switch cuts out the very lowest SWITCHES (see below).
30 SENS
3
– 0+
3
6
independently of any other instruments that have been
‘clean-up’ male vocals and filter out low frequency hum.
9
12 12
9 HF connected, which is useful for troubleshooting, or setting an
Some manufacturers may also use the term ‘low-cut’ filter to
15 15
instrument’s Input Preamp Gain and EQ setting.
describe the HPF. See Fig. 1.2. Pre-Fade Listen (PFL) is a type of solo that allows you to
+20
g 6
0
3
– 0+
10
3
6
MID
monitor your sound BEFORE THE FADER. In other words when
you move the input fader in PFL mode the level will not
STAGE RUMBLE 9 9
+15
MIC “POPPING” Fig. 1.2 12 12
15 15
+10
6
3
– 0+
3
6
change, nor will you hear any effects. Because effects and
+5 9 9 LF volume are not a distraction, PFL solo is very useful for
12 12
dB 0 15 15 setting proper input preamp levels.
-3
h
AUX
-5 1
-10
PRE Some Soundcraft mixers use SOLO IN PLACE, which allows
0 10
-15
you to monitor signals after the fader in their true stereo
AUX
-20
2
POST/ image, and with any effects that have been added. This type
PRE
20 60 100 500 1k
Hz
5k 10k 20k 0 10
of Solo is less good for level setting, but more useful in
AUX
3
POST
mixdown situations for auditioning sounds.
G EQ Section 0
0
10
PAN See section 3 — Setting Gain, for more information on using PFL.
1 1
Usually the most closely scrutinised part of any mixer, 2 2
you to choose the exact frequency to cut and boost, rather 20 M Routing
than having it chosen for you, as on normal ‘fixed’ controls. By selecting the routing switches the input signal is sent to a
We will talk in more detail about EQ in section 3.
30 choice of the mixer’s outputs — typically the main mix outs
PFL or the group outputs. The switches are used in conjunction
j ∞ with the PAN control to route the signal proportionately to
the left or the right side of the mix or to odd/even groups/
8
subs if PAN is turned fully left or right.
Fig. 1.3
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R
T you with mono signals. However keyboards,
samplers, drum machines and other electronic
vocalists so that they may be controlled by just one pair of faders, or
even a single fader, once individual instruments’ relative levels have
media often provide true stereo outputs with been balanced. They also act as additional outputs with separate
separate left and right signals. Stereo Inputs on volume/level controls — ideal for speaker fills or recording a number
L
R mixers simply allow you to connect both of these of instruments to one tape track.
signals individually and control them from a single
fader. Stereo inputs tend to incorporate fewer
facilities than mono inputs as most keyboards are
AUX
1
PRE
0 10
AUX
2
POST
/PRE
0 10
AUX
3
POST
0 10
0 BAL
1 1
2 2
3 3
4
5 5
4
Input
0N Faders
10
MIX
5
SUB
0
10
Group
15 Faders
20
Fig. 1.4
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N Mix Outputs N
Mix outputs provide left and right level control of the final stereo mix. Many consoles feature mix insert MIX INSERT MONITOR MONO SUM P
2TK
points too, allowing the connection of signal processors across the whole mix. L
L L
O Monitor ‘Engineer’s’/Control Room Outputs R R
These let you listen to any solo, mix, submix from a group, or the 2-Track tape return via an external R
V
P 2 Track Tape Returns U
SECTION 1: Starting Out
POWER
48V
Allow you to connect the outputs of your cassette or DAT player and listen back to your completed
masterwork. They may also be used for playing pre-show music at a gig using 2-Track to Mix switch (not
shown in illustration). S 16
10
6
5
3 2TK 4 6
-16
R AFL L
PFL
R 2TK
5
Allows monitoring of the actual signal leaving the Aux Masters. 3
4 6
7
PFL
PHONES 2 8 AFL
S Meters 1
0 10
9
Normally they show mix output levels. When any Solo button is pressed, the meters automatically
Q
AUX
1
switch to show the solo level. They provide visual indication of what’s going on in your mixer.
AFL
0 10
T Stereo Returns (see Stereo Inputs earlier in this section) POST AUX
R
2
These allow signals from external equipment, such as effects units, to be returned to the mixer and PRE
0 10
AFL
routed to the stereo Mix or Groups, without using up valuable input channels. AUX
3 4
5
6
3 7
0 10
Some microphones, known as condenser mics, require battery power to operate. Alternatively the SUB MONO SUM
TO
power may be provided by the console. This is known as ‘phantom power’ and runs at 48vDC. Simply MIX
press “Phantom Power” and any condenser mics connected will operate without the need for batteries.
0 0 0
Caution: DO NOT ACTIVATE A GLOBAL PHANTOM POWER SWITCH More Information on Condenser 5 5 5
connector, you will damage your microphone/signal source. found in Section 7 — wiring. 20 20 20
30 30 30
V Headphones 40 40 40
Allow you to listen to your mix without annoying your neighbours or being distracted by ambient sounds.
° ° °
That’s it, the basic features of your average mixing console. If you found it a little heavy going, don’t L SUB R L MIX R
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D. Signal Flow MI C
LINE
FADER
PA N
Fig. 1.7
SUB GROUP
TO MI X
MI X MI X
FADER OUTPUT
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We’ll now take a quick look at where to connect the ‘peripheral’ Direct Injection Box (DI Box)
equipment that you will be using with your mixer. If you have • A DI Box allows you to connect a guitar or bass directly to the
already created your own set-ups successfully in the past, you mixer’s input, rather than miking up the instrument’s amp/
should only need to skim this part. speaker. This technique is often preferred by musicians who
require a “clean” sound. The best DI boxes are ACTIVE and
require Phantom Power like condenser microphones. They
should be connected to XLR mic inputs.
KEYBOARD, SYNTHESISER,
MIC ON DRUM MACHINE OR SUBMIXER
GUIT AR
AMP
EFFECTS UNIT GRAPHIC EQ
MIC ON
GUITAR DRUM KIT
VIA POWER
SUPPL Y
Aux Post
DI BOX
VOCAL MIC
MUL TITRACK MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC
L L
TAPE STE-C STE-D
INPUT R R
MIX INSERT MONITOR MONO SUM
2TK
LINE LINE LINE LINE LINE LINE LINE LINE LINE LINE LINE LINE
L L L L L
A-STE-B
R R R R R
INS INS INS INS INS INS INS INS INS INS INS INS
1 2 3 4 5 6 7 8 9 10 11 12 PHONES
GRAPHIC
EFFECTS UNIT EQ
GRAPHIC EQ CASSETTE OR
POWER AMP POWER AMP DAT PLAYBACK
COMPRESSOR/
LIMITER SURROUND/
FILL/ POWER AMP
VOCAL PA
SPEAKERS SPEAKERS
HEADPHONES
(or from >200R
mono output)
KEYBOARD, SYNTHESISER
OR SAMPLER ARTISTS FOLDBACK
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Ideally the input signal should be as high in level as possible NB: Your mixer is not an amplifier. So the master output faders should be
while still leaving a margin of safety to prevent distortion on loud set to maximum (‘0’ on scale). If extra output is required, then turn
sections. This will ensure that the signal is large enough to render up your amplifier.
the background noise insignificant, whilst keeping the signal
clean. The remaining safety margin is known as Headroom.
To set the gain on the mixer;
Fader Low Typical Solo
• Press the PFL/Solo switch on the relevant Off Level Setting
input. Setting
• Adjust gain/input sensitivity until meters
read within the yellow (‘3’ to ‘6’ on meter
scale). This allows for the extra 10dB of
gain that is available on Soundcraft input
faders.
• Release PFL/Solo. eve
l
• Repeat for all other inputs. n e ar l nt from
i
L tme 0dB
us 1
adj 0 to +
NB: EQ affects gains settings. If you adjust the -2
EQ you will need to re-check your gain
level using the above method.
Once you have optimised the gain
your mixer will give the best possible
signal quality with the minimum of
noise and distortion.
Fig. 3.8
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Bearing the above points in mind, the best approach is to use D. Using Effects Units
small amounts of boost, especially when working live. EQ cut, on
the other hand, causes far fewer problems, and rather than boost The Different Types
a particular sound it is frequently more rewarding to apply cut in The problem with mixing ‘dry’ (using no effects) within a live or
whichever part of the audio spectrum that appears to be recording environment is that the results can often sound boring
overpowering. In this application, the sweep mid control is also and lacking in colour. This is especially the case as most of us
very effective. are used to listening to highly polished CDs at home. These
productions are actually achieved by using effects which
Procedure
Below is a simple way of eliminating unwanted sounds:
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work well on synth pad sounds such as strings and are best used Pre- and Post-fade Auxiliaries
in stereo where they create a sense of movement as well as width.
Pre-Fade
Pitch Shifters Pre-fade auxiliaries are independent of the fader so that the
These change the pitch of the original signal, usually by up to one amount of effect will not change with new fader levels. This
octave in either direction and sometimes by two. Small pitch shifts means you will still hear the effect even when the fader is at the
are useful for creating de-tuning or doubling effects. Which can bottom of its travel.
make a single voice or instrument sound like two or three, while
SECTION 3: Mixing Techniques
read ‘0’. MI C 20 40
NB: You can now use the mixer AFL meters HI P ASS 100H z
GAI N GAI N
FILTER
to monitor effects unit levels as both
0 22dB
EQ
NB: If you are using a simple stereo input EQ 0
3
– 0+
10
3
MI D
6
3
– 0+
3
6
required effect. 12
15
– 0+
15
12 15 15
3 3
6 6
FADER FADER
PSEUDO-STEREO
OUTPUT
AUX AUX
POST
AUX
POST EFFECTS POST
AU X
POST
0 10 0 10
0 PA N
1 1
PA N 2 2 BALANCE BAL
3 3
4 4
0 10
5 5
DRY WE T
SIGNAL SIGNAL
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E. Using Signal Processors Graphic Equalisers are most often used to process the mix at live
venues by notching out troublesome frequencies that may be
causing feedback. They may also be used to enhance a mix at a
The Difference between Signal Processors poor sounding venue. In recording they are used to create "flat"
and Effects listening environments.
Unlike effects, which are creative in nature, signal processors are
used to control and manipulate sounds to achieve the best audio For more detail on venue acoustics go to section 4 — PA Mixing.
quality performances and recordings.
Fig.
3.14
15
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signal falls below its threshold, but an expander works like an F. Creating a Foldback/
automatic mixing engineer who pulls down the signal when the Monitor Mix
signal falls below the threshold; the more it falls below the
threshold — the more he pulls down the fader. Performers usually require their own mix independent from the
main/engineer’s mix. This is because to achieve the optimum
Expanders are most often used in Studio recording to provide the performance they need to hear themselves above other voices
best mix signal to noise ratio when producing final masters. or instruments. This performer’s mix is known as a foldback/
monitor mix.
SECTION 3: Mixing Techniques
Compressor/Limiters
A compressor reduces the difference between the loudest and The procedure is as follows;
quietest parts of a performance. It works on a threshold system
where signals exceeding the threshold are processed and those • Set the pre-fade aux to maximum on the relevant performers
falling below it pass through unchanged. When a signal exceeds input channel.
the threshold the compressor automatically reduces the gain. • Select AFL on your aux master.
How much gain reduction is applied depends on the • Set aux master level so meters read ‘0’.
‘compression ratio’ which on most compressors is variable: the • Create a foldback mix for the performer by setting the pre-fade
higher the ratio, the stronger the compression. Very high ratios aux levels on the other performer’s input channels.
cause the compressor to act as a limiter where the input signal is • Release aux master AFL.
prevented from ever exceeding the threshold. NB: It is typical that the performers’ own vocals/instruments will be
two thirds louder than any other sources in their own monitor mix.
Compressors are the most commonly used processor and are
particularly popular for maintaining constant vocal and bass Each performer may require a separate monitor mix/auxiliary
guitar levels live and in the studio. This is because, out of all output.
instruments, singers tend to vary their levels the most.
Compressors help to achieve the much sought-after tight, NOTE: Pre-fade rather than post-fade auxiliaries must be used. This is
"punchy" sound. because they are independent of the input faders. If post-fade
Fig. 3.15 auxiliaries are used, then foldback mix levels will alter with
every input fader change made by the FOH engineer. This will
annoy the band and may lead to feedback which can damage
speakers and headphones.
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SECTION 4: PA Mixing
these modest proportions. Instead, our ‘typical live gig’ is • Don’t skimp on interconnecting cables — always buy the best that
represented by a small band, whose set-up is shown in the you can afford. Make sure that all connections are sound and
“Mixing Live” diagram. keep cable runs as short as is practicable.
Microphones • A multicore cable and stage box will keep trailing cables to a
Most of the microphones used in live applications are dynamic minimum and presents a tidy and practical approach.
cardioids because they are tough, produce an intelligible sound
and their directional response helps prevent spill or feedback. • If your mixer has a separate power supply unit, keep it well away
Dynamic microphones can handle anything from drums to vocals. from the console.
However, condenser types, with their greater sensitivity to high
frequencies are invariably used for jobs such as overhead pick-up • Where signal and mains cables must cross, make sure they’re at
on a drum kit or mic’ing acoustic instruments. 90° to each other. This will help reduce the risk of hum and noise.
M i x i ng l i v e
Fig. 4.1
PA Speaker
Guitar via
di box
Keyboard or
PA Speaker synthesiser
Mics
on
drum
kit DI Box
Mic on
guitar amp
• It is dangerous to lift the mains earth when trying to eliminate • Be sparing on the use of artificial reverb. Most venues are too
hum. You can isolate hum by lifting the appropriate audio signal reverberant anyway, and excessive reverb will ruin the intelligibility
shield. of the vocal performance.
• When using wireless mics, set the receiver on stage and run back • Do not use reverb on low frequency sound sources such as bass,
to the console at balanced mic level. This will help avoid kick drums and tom toms.
interference from digital sources and lighting controllers.
• Keep backline amp levels down: let the mic and mixer do the
• Keep unbalanced ‘insert’ leads away from mains and keep them work!
short — no longer than about 2 metres.
SECTION 4: PA Mixing
• Always leave a little gain in hand so you can wind up the level
Connecting External Effects and Processors slightly as the show progresses.
We talked about Effects and Processors in Sections 2 and 3, so
you’re now aware of their functions and applications. Effects units • Putting high levels of bass guitar or kick drum through a small PA
are best connected via the console’s Auxiliary Send and Return can overload the system and distort vocal quality. Try rolling off
Loop (sometimes known as the Effects Send and Return Loop) or some of the low bass, you’ll get a higher subjective sound level
the Insert Point. When used in the Aux Send system, the dry without overload.
signal level should be turned off on the effects unit, but when
used via Insert Points (for guidance on how to wire a jack for use
with Insert Points, see Section 6), the dry/effects balance must
be set on the effects unit itself. Processors treat the whole of the
Caution: Ringing out can cause howl around which can damage
incoming signal and therefore may only be used via console
speakers, so use care when adjusting levels.
Insert Points or directly ‘in-line’ with a signal: they cannot be used
in the Aux Send/Return loop system. Ringing Out: Nulling Room Acoustics
• Make sure the speakers aren’t obstructed by the audience and 4 Starting from the left, adjust the first graphic EQ frequency gain
that the majority of the sound is being directed towards the control to ‘max’: if the system doesn’t feedback, then this is not a
audience, not towards the rear or side walls. problem frequency. Return this gain control to centre position.
If the system feeds back, reduce the EQ gain by the same
• Set up the vocal levels first — it’s no use getting a great drum amount you boosted to get feedback.
sound if the vocals feed back before they can even be heard.
5 Repeat this procedure for all graphic EQ frequencies.
• Keep the vocals panned towards the centre of the mix. Not only
will this sound more natural, but it will allow the greatest vocal
level before feedback or distortion occurs.
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• Turn down the amplifier gain before the system is first switched • Turn down or mute any mics not in use. This reduces the risk of
on. This will avoid unwelcome howls of feedback and can prevent feedback and avoids the back line being picked up.
loudspeaker damage due to switch-on transients.
• If feedback is a real problem, consider moving the main PA
• Set all the channel EQs to their flat or neutral position and speakers away from the mics a little. Also check the back of the
optimize the input gain control setting for each channel in turn stage, because if the wall is acoustically reflective, some sound
using PFLs. from the room will be reflected back into the mics increasing the
risk of feedback.
SECTION 4: PA Mixing
• If low frequency background noise is a problem, switch in the High
Pass Filter on each of the microphone channels being used, except • Avoid excessive use of boosted EQ as this can encourage
on low frequency sound sources such as basses and kick drums. feedback and may also spoil the basic character of the sound.
Consider it an aid to fine tuning rather than as a means of
• Ring out the system as described above, with the vocal mics making radical changes.
open, and notch out any obvious trouble spots.
• The use of stage monitors will also worsen the feedback situation
• Establish the maximum working level for the lead vocal mic so as so run these at the lowest volume that the performers can
not to incur feedback and then work a little below this level to allow comfortably work with. Position the cabinets so as to allow as
a margin of safety. Again, see the notes on ringing out the system. little direct sound as possible to enter the vocal microphones. If
possible, use a graphic EQ on each monitor.
• Set up the backing vocal mics and check that there is no
feedback problem when both the backing vocal and lead vocal
mics are on. If there is, reduce the master gain setting until the NB: Remember, people soak up sound! The perfect mix achieved in an
feedback disappears. empty venue will have to be tweaked when the crowds arrive.
Sound waves are also affected by heat and humidity.
• Now the instrument and direct line inputs can be balanced
relative to the vocals. Start with drums and work through to the
bass and rythm instruments.
• Test out any effects units connected to the system and establish
the correct balance of dry and effected sound.
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S ma l l v e nu e s
Fig. 4.2
LEFT SPEAKER RIGHT SPEAKER
AMP AMP
AUDIENCE AUDIENCE
20
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M e d i um s i z e d v e nu e s
DRUMMER' S
MONITOR
MID/HI
AMP
SECTION 4: PA Mixing
LEFT SPEAKER RIGHT SPEAKER
MID/HI MID/HI
SUB SPEAKER
SPEAKER
AMP
SUB SPEAKER SUB SPEAKER
WEDGE MONITORS WEDGE MONITORS
ACTIVE AMPS
CROSSOVER
MIXER
Fig. 4.3
AUDIENCE AUDIENCE
Larg e r v e nu e s
DRUMMER' S
MONITOR
MONITOR
IN-EAR DESK
MONITORS Tx
Rx
LEFT RIGHT
SPEAKERS SPEAKERS
AMP WEDGE MONITORS
I M ID
MID/H /HI
SUB
SUB X-OVER AMPS
AUDIENCE
Fig. 4.4
MUL TICORE MUL TICORE
OUTPUTS FOH CONSOLE INPUTS
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r e cord i ng l i v e
Fig. 4.5
ics and
From m ents
instrum
multitrack tape
macHine er
splitt
FRONT OF HOUSE
CONSOLE
Recording
Engineer’s
Headphones
<200R
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mon i tor m i x
Fig. 5.1
drummer’s
side fill monitor monitor * If the mixer has a built-in
splitter (e.g. Spirit
multicore to from Monitor 2 console), an
front-of-house mics
instrum
and
on-stage splitter is not
console ents
required.
power
splitter* amplifiers
graphic
eqs
side fill
monitor
stage
monitors
Monito r
Output s
er’ s
Engine Out
W edge Inserts
uts
Inp
AMP Mic
headphones/talkback
Telecom Link
engineer’s
monitor
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B. Submixing
subm i x i ng
Fig. 5.2 CONDENSER MICS
OVERHEAD
Drummer’s monitor
Amp
COMPRESSOR/LIMITER
DRUM
MACHINE
F1 OUTPUT
TO MAIN
MIXER
INPUTS
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Think about room layout and equipment. No, we’re not going to
plan your studio for you, but here are a few pointers: 1 Recording — Sound sources have to be captured on multitrack
media. This process will include ensuring that the cleanest
• Direct outs
• Groups/Subs
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The diagram below shows a simple recording set-up using a • If your console is not large enough to cope with every
multipurpose console equipped with direct outs and a pair of multitrack send and return, connect only as many Direct Outs
subgroups. The sound from instruments or voices is taken straight as you need per take. For example, if you are recording solo
out to be recorded by the multitrack device, with recorded signals you will only be recording one instrument at a time anyway, so
being returned from the multitrack’s channels into spare inputs of a maximum of only two direct outs will be required for stereo
the mixer so they can be monitored. Alternatively, backing vocals instruments, and one for mono ones. The same channel direct
or grouped instruments such as drumkits may be recorded to outs may then be repatched to adjacent multitrack tape ins
SECTION 6: In the Studio
single or pairs of tracks by subgrouping them and connecting the to record new tracks. This should leave enough channels free
mixer’s group outputs to the multitrack device. to monitor all your recorded tracks.
The engineer monitors both performances and previously • If you run out of tape tracks, group instruments together. For
recorded material through a monitor amp and speakers, with the example a fully mic’d up drumkit can be recorded in stereo to
performers getting their own separate foldback mix through the two tape tracks via a pair of groups, or if you are really
auxiliary sends. stretched you could do this with the entire rhythm section,
including bass and rhythm guitar. However, it is then essential
to mix the balance between the instruments accurately as,
Hints and Tips when Recording: once recorded, they can never be individually altered again.
• If you are recording as a solo performer on a budget, you can • If you have only one effects unit and you need it to create a
avoid the expense of buying a separate amp to create a variety of different sounds, it may be neccessary to record the
headphone mix. Plug your headphones into the console’s instrument with effects included. Again, remember that once
headphone connector and use its monitor mix for your you have done this there is no going back, so wherever
foldback. Alter channel fader levels as you wish to achieve possible it is best to record ‘dry’ and buy a second effects
mu l t i track r e cord i ng
Fig. 6.1 musicians’
monitor
headphones
NEARFIELD
monitor
Mi
c
2
M
ic
Post
1
Aux
DI Box re stereo
xP power
Au
Mic
3 amp
Sub
R
L
or L&
ut
&R
Stereo Inp
Monit
NEARFIELD
monitor ENGINEER’S
headphones
ut
ct O ic
D ire M
Line
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unit if you can. If you must record ‘wet’, look at your mixer’s E. Simple Multitrack Mixdown
block diagram and use outputs coming after the effects return
for this purpose. The diagram below shows how a simple set-up will look for the
mixdown process. Some repatching has occured to free up the
• Do not record in the same room in which you are playing input channels which were used as mutitrack sends. Multitrack
unless your monitor speakers are muted. At the very least, returns can then be plugged into the mixer in sequence from
your recorded track will pick up the mix from the monitor channel 1 upwards, leaving any spare inputs for sequenced MIDI
speakers, but more likely howl-round and feedback will instruments. Effects, amps and speakers may be left as before.
occur which will damage your equipment. If you are
S i mp l e mu l t i track M i x down
Fig. 6.2
DAT
KEYBOARDS OR
SYNTHESISERS
effects
Midi
PERSONAL COMPUTER multitrack NEARFIELD
recorder monitor
di
Mi
Midi
Midi stereo
SOUND power
MODULE amp
NEARFIELD
monitor
Engineer’s
Headphones
27
®
TRACK
RETURN
A more complex recording set up with an ‘in-line’ console is
For recording projects beyond 8 track, a multipurpose shown opposite in Fig 6.4. Both multitrack ins and outs are
console is usually inadequate, being unable to cope INSERT plugged into the same channel strip, avoiding the need for
with the additional multitrack sends and returns and repatching, whilst for sound proofing purposes, musicians are
recorded in a separate room. Effects and signal processors
LINE
with all the repatching that is required between
MIC
recording and mixdown. In such cases, a dedicated are connected in an identical way to any other console via
SECTION 6: In the Studio
‘in-line’ recording console is necessary. An example of auxiliary sends and returns and insert points.
the input strip of such a console is shown here. +48v
DIRECT
– 0+
TAPE
tape send), the strip also includes an extra input for a CHAN/MNTR
INPUT REV
10 60dB
LF
12
6
9
12
EQ: Not normally required. But, if necessary, use the HPF
console is that repatching is unnecessary. This is because (High Pass Filter) to reduce rumble.
15 15
CHAN
FB1
0 10
Compressor: Attack as fast as possible;
the signal coming from multitrack all the EQ, Auxiliaries AUX
2 Release around 0.5S, ratio between 4:1 and 8:1.
and the linear fader of the channel input for the mixdown MNTR 3
0
– 0+
10
3
FB2 6 6
12
6
9
12
DRUMS
15
CHAN
15
• Place mics 2" (50mm) from the heads of snare and kick drum.
• For the kick drum, place the mic inside — pointing directly at
MNTR 0
3
2
3
console actually has 32 inputs available. This high where the beater strikes the drumhead.
4 4
L 5 5 R
MNTR
FDR
10
ON
Recommended effects/processor settings:
MIX
5 1-2
3-4
EQ: Boost at: 80Hz to add weight to kick drums, 6kHz to add
0
5-6 sizzle to cymbals or edge to a snare. Cut at 250-300Hz to
5 7-8
reduce boxiness on a kick drum or low toms.
10
15
Gate: Fast attack setting to allow percussive transients to
20
pass through. Precise settings will depend on microphone
30
type and placement.
40
Fig. 6.3
°
28 23
®
Reverb: Keep kick drum ‘dry’. Try a percussion plate setting ACOUSTIC GUITAR
with a 2.5S decay time on other drums. • Use the best mic that you can, preferably a condenser type.
• For a natural tone, position the mic between 12-18ins from the
ELECTRIC GUITAR guitar, aiming at where the neck joins the body.
• Some players prefer the sound of a valve amplifier, so be • If recording in stereo, point a second mic towards the centre of
prepared to mic up the speaker cabinet using a cardioid the neck, about 12-18ins from the instrument.
dynamic mic. • Acoustic guitars sound best in slightly live rooms, if necessary
• Experiment with mic positioning to achieve the desired sound. place a piece of acoustically reflective board beneath the
• If preferred, the guitar can be DI’d via a recording preamp player.
nearfield
monitor
2-TRACK
nearfield Recorder
monitor
Stereo
Power amp
multitrack
recorder
Processors
Instruments (Noise Gates,
To Line Inputs Compressor/Limiters,
Aural Exciters)
Microphones
To Mic Inputs
29
®
• The PFL should just go into yellow band of the meter section,
EQ: Boost: at 80-100Hz to add more weight and punch, between although peaking into the red area is acceptable.
2 and 4kHz to add edge. Cut: below 50Hz to reduce unwanted • Check all the effects units for correct input levels.
rumble, between 180 and 250Hz to reduce boxiness. • If fitted, use the Solo In Place function to check individual
channels in isolation while retaining their original pan and
Compressor: Attack around 50mS; Release, around 0.4S, Ratio, level settings.
between 4:1 and 12:1.
30
®
Soundcraft uses XLR sockets for its balanced mic inputs. The
wiring convention for XLRs is: Pin 1 — Shield, Pin 2 — Hot (+ve)
and Pin 3 — Cold (–ve). Fig. 7.6
Impedance Balanced Outputs work on the principle that hot and cold
terminals have the same resistance. When impedance balanced
outputs are used with a balanced input, good rejection is achieved for
both common-mode ground voltages and electrostatic interference.
Note: The cold terminal can be either shorted to ground locally or left
Note that for unbalanced operation the screen of the cable is wired to open-circuit for balanced and unbalanced operation.
both the Ring and the Sleeve of the jack.
31
®
GLOSSARY BANDWIDTH
A means of specifying the range of frequencies passed by an
electronic device such as an amplifier, mixer or filter.
ASSIGN CHIP
On a mixing console, to switch or route a signal to a particular signal Integrated circuit; a multi-pinned device consisting of many circuits
path or combination of signal paths. encapsulated in plastic.
ATTENUATE CHORUS
To decrease the level of a signal. Effect created by doubling a signal and adding delay and pitch
modulation.
AUXILIARY SEND
Level control feeding a dedicated bus for driving external effects or a CLIPPING
foldback monitoring system. An output from the console comprising a Severe form of audio distortion which is the result of signal peaks
mix of signals from channels derived independently of the main exceeding the amplifier capacity. Normally caused by a limitation of
stereo/group mixes. Typically the feeds to the mix are implemented on the unit’s power supply.
rotary level controls.
CLONE
BACK-LINE Exact duplicate. Often refers to digital copies of digital tapes.
Stage parlance for the row of instrument amplifiers and loudspeaker
cabinets behind the performers, e.g. guitar amps. CONDENSER
Electrical component exhibiting capacitance (the ability to temporarily
BALANCE store electric current) and block direct current.
Relative level of the left and right channels of a stereo signal.
CONDENSER MICROPHONE
BALANCED
A method of audio connection which ‘balances’ the signal between A type of microphone which picks up sound via a thin, flexible
two wires and a screen which carries no signal. Any interference is diaphragm placed in proximity to a metal plate — as opposed to the
picked up equally by the two wires, through common mode rejection rigid diaphragm-and-coil system used by dynamic microphones.
at the destination differential balanced input resulting in cancellation Condenser mics are very sensitive, especially to distant sounds and
of the interference signal. For balancing to be effective, both the high frequencies. They have to be powered, which can be achieved by
sending and receiving device must have balanced output and input batteries, but for professional use a 48v DC PHANTOM POWER supply
stages respectively. is provided from the console via the balanced mic cable.
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CONDUCTOR DIGITAL
A thing that conducts or transmits heat or electricity. The processing and storage of signals with sound- information
represented in a series of ‘1s’ and ‘0s’, or binary digits.
COMPRESSOR DIRECT OUTPUT
A device designed to control or reduce the dynamic range of an A pre-/post-fade, post-EQ line level output from the input channel,
audio signal. bypassing the summing amplifiers, typically for sending to individual
tape tracks during recording.
CROSSOVER DRY
A passive circuit, normally built into a speaker system which divides
the full-range audio signal from an amplifier in order to feed the Slang term for an original audio signal that has had no added effects.
SECTION 8: Glossary
individual drive units, ie: bass, midrange and treble.
DYNAMIC RANGE
CUEING The ratio in decibels between the quietest and loudest sounds in the
To put a piece of equipment in readiness to play a particular part of audible range that the audio equipment will reproduce.
the recording material. Assisted on a mixing console by use of the PFL
(Pre-Fade LIsten) facility. DYNAMIC MICROPHONE
A type which uses a thin diaphragm attached to a coil of wire
CUT-OFF FREQUENCY arranged about a permanent magnet. Any variation in air pressure on
The frequency at which the gain of an amplifier or filter has fallen the diaphragm will cause the coil to generate a minute electric current
by 3dB. which then requires amplification.
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EXPANDER GROUND
The opposite of a compressor, an expander increases the dynamic Ground and Earth are often assumed to be the same thing, but they
range of signals falling below a pre-determined threshold. are not. Earth is for electrical safety, while Ground is the point of zero
voltage in a circuit or system.
FADER
A linear control providing level adjustment. Favoured by professionals GROUND LOOP
due to smoothness of activation and the ability to give an instant A ground loop occurs when there are too many ground points,
visual indication of status. allowing small electrical currents to flow.
FILTER GROUP
A filter is a device or network for separating waves on the basis of An output into which a group of signals can be mixed.
their frequencies.
SECTION 8: Glossary
HEADROOM
FOH The available signal range above the nominal level before clipping
An acronym for Front Of House. In the entertainment world ‘House’ is occurs.
a collective term for the audience at a theatre, cinema, etc. Hence an
FOH console will be situated ‘audience-side’ of the stage. A ‘house’ PA HERTZ (Hz)
system refers to the main audio system responsible for the principal Cycles (or vibrations) per second.
sound in the venue.
HIGH PASS FILTER
FOLDBACK A filter that rejects low frequencies below a set frequency, typically
A feed sent back to the artistes via loudspeakers or headphones to 100Hz.
enable them to monitor the sounds they are producing.
IMPEDANCE
FOLDBACK SEND The AC resistance of a circuit which has both resistive and reactive
A pre-fade auxiliary output used to set up an independent monitor components.
mix for the performers.
IMPEDANCE BALANCING
FREQUENCY RESPONSE A technique used to minimise the effect of hum and interference
The variation in gain of a device with frequency. when connecting to external balanced inputs.
FSK (Frequency Shift Keying) INDUCTOR
A method of synchronisation which generates a series of electronic Reactive component that presents an increasing impedance with
tones related to the tempo of the music. These tones may then be frequency. A coil in a loudspeaker crossover is an inductor.
record on a spare track of the multitrack recorder.
INSERT POINT
FX UNIT A break point in the signal path to allow the connection of external
Slang term for Effects Unit. Typical effects units are delays, reverbs, devices, for example signal processors or to another mixer.
pitch shifters, and chorus units.
K OHM, K Ω, or kHz
GAIN x 1000 ohms, x 1000 ohms, and x 1000Hz respectively.
Gain is the factor of how much the level of a signal is increased or
amplified. Normally expressed in decibels. LINE LEVEL
Signals at a nominal level of -10dBV to +4dBu, usually coming from a
GATE low impedance source such as keyboards, drum machines,etc.
A user-adjustable electronic device that switches off the signal path
when the signal falls below a certain predetermined level or threshold. mA (milliampere)
Typically used to ensure silence between pauses in the signal during One thousandth of an ampere, a measure for small electrical currents.
vocal passages or to prevent ‘spill’ between the close-proximity,
multiple mics on a drum kit. MIC SPLITTER
A device which divides the output from a microphone in order to
GRAPHIC EQUALISER supply two signals, for example; FOH console and recording mixer or
Device incorporating multiple narrow-band circuits allowing boost and monitor console.
cut of predetermined frequencies. Vertical fader controls are used
which provide a ‘graphic’ representation of the adjustments across the MIDBAND
frequency range. The range of frequencies to which the human ear is most sensitive.
34
®
MIXDOWN PEAKING
The process of taking the outputs from a multitrack recorder, A signal of the maximum displacement from its mean (average)
processing as required and combining all elements to create a stereo position.
‘master’.
PHANTOM POWER
MONITOR LOUDSPEAKER The +48v DC voltage applied equally to the two signal pins of a
Any high quality loudspeaker which is used to check the quality or balanced mic input to provide powering for condenser microphones.
status of the signal.
PHASE
MTC (MIDI Time Code) Phase is the fraction of the whole period that has elapsed, measured
An interpretation of SMPTE allowing the time code to come in as part from a fixed datum. A term used to describe the relationship of two
of the MIDI data stream. audio signals: in-phase signals reinforce each other, out-of-phase
SECTION 8: Glossary
signals result in cancellation.
MULTICORE
A cable with multiple cores allowing signals to be carried PHONO PLUG
independently but within the same physical outer casing. A hi-fi connector developed by RCA and used extensively on semi-pro
recording equipment.
MUTE GROUPS
A method of combining the on/off status of a selection of channels POLARITY
under a single control button. The orientation of the positive and negative poles of an audio
connection. Normally, connections are made positive to positive,
NEARFIELD MONITOR negative to negative and this would ensure correct polarity. If this is
A high quality, compact loudspeaker designed for use at a distance of reversed the result will be out-of-phase signals (see PHASE above).
three to four feet from the operator. Their use ensures that detrimental
room effects are minimised. POP SHIELD
A device used in the studio, consisting of a thin mesh placed between
NORMALISE the microphone and vocalist in order to reduce the ‘explosive’ effects
A socket is said to be normalised when it is wired in such a way that of ‘P’ and ‘T’ sound
the original signal path is maintained unless a plug is inserted into
the socket. The most common examples of normalised connectors are POST-FADE
the INSERT POINTS found on mixing consoles. The point in the signal path after the channel or master fader and
therefore affected by fader position.
OSCILLATOR
A tone generator for test and line-up purposes. PRE-FADE LISTEN (PFL)
A function that allows the operator to monitor the pre-fade signal in a
OVERDUB channel before it reaches the main mix.
To add another part to a multitrack recording or replace one of the
existing parts. PRE-FADE
The point in the signal path before the monitor or master position and
OVERLOAD therefore unaffected by the fader setting.
To exceed the operating capacity of an electronic or electrical circuit.
PROCESSOR
PAN (POT) A device which affects the whole of the signal passing through it, e.g.
Abbreviation of ‘panorama’: controls levels sent to left and right gate, compressor or equaliser.
outputs. Allows positioning of signals within the stereo sound stage.
Q (Bandwidth)
PARAMETRIC EQUALISER A measure of the sharpness of a bandpass filter. The higher the value
A graphic equaliser in which the cut/boost, frequency and bandwidth of Q, the narrower the band of frequencies that passes through the
are all adjustable. filter.
PASSIVE RESISTANCE
A circuit or component which does not amplify the signal or is not Opposition to the flow of electrical current.
powered.
REVERB
PATCH BAY Acoustic ambience created by multiple reflections in a confined
A system of panel mounted connectors used to bring inputs and space. A diffuse, continuously smooth decay of sound.
outputs to a central point from where they can be routed using plug-in
patch cords. RINGING OUT
The process of finding the problem frequencies in a room by steadily
PATCH CORD increasing the gain of the system until feedback occurs. A GRAPHIC
Short cable used with patch bays. EQUALISER is then used to reduce the offending frequencies.
35
®
SIGNAL TRANSIENT
Electrical representation of input such as sound. An instantaneous rise in the signal level e.g. a cymbal crash or similar.
STEREO
Two channel system feeding left and right speakers to create the illusion
of a continuous sound field. Stereo: from the Greek word for ‘solid’.
36
+48V
MASTER POWE R
MIC/LINE 100Hz +48V
+48V
AUX BUSSES
MIX LEFT BUS
MIX RIGHT BUS
SUB LEFT BUS
SUB RIGHT BUS
PFL/AFL BUS
GAIN
MIX
INSERT F ADER LEF T
MI C PFL / ENABLE MIX LEFT
INPUT 3
s
s
1 2
DIRECT
PRE / POST AUX3
A Typical Block Diagram
MIX /
DIRECT PRE ON SUB
MIX / MONO MONO
OUTPUT
SUB OU T
F ADER L
2 TRACK 2 TR K
CH. 1 - 8 ON LY PA N
R
POST
L METER/
PFL/AF L
PHONES
MONO INPUTS 1 - 12
PHONES
C/RM L
PFL / ON PFL/AF L
ENABL E F ADER BAL
MIX / C/RM R
HF & LF SUB PF L R METER/
L
EQ ENABLE PFL/AF L
R HF & LF
EQ F ADER SUB LEF T
AUX1 OU T
SUB LEF T
AUX2
F ADER SUB RIGH T
OU T
SUB RIGH T
AUX3
SU B
TO MI X
MIX L
MIX / AF L A FL
L SUB
R
AUX1
(AUX 3 SIMILAR)
AUX1
(3 )
AUX2
AUX2 PRE
®
37
Notes
38
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®
E&OE. All contents © 2010 Soundcraft. No part of this publication may be copied, transmitted or stored electronically or otherwise for commercial gain, although the copyright holder
will allow copying and distribution for personal or non-profit use.
39
®
SOUNDCRAFT
HARMAN INTERNATIONAL INDUSTRIES LTD.
CRANBORNE HOUSE,
CRANBORNE ROAD,
POTTERS BAR,
HERTS, EN6 3JN, UK.
TEL: +44 (0)1707 665000
FAX: +44 (0)1707 660742
EMAIL: soundcraft@harman.com
SOUNDCRAFT USA
8500 BALBOA BOULEVARD,
NORTHRIDGE CA 91329, USA
TEL: 1-818-920-3212
FAX: 1-818-920-3209
EMAIL: soundcraft-usa@harman.com
www.soundcraft.com
Soundcraft reserves the right to improve or otherwise alter any information supplied in this
document or any other documentation supplied hereafter. E&OE 07/10