Transcript Console - Pacific Audio Visual Institute

Live Sound Analog Mixing Consoles
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Come in many different sizes and configurations for
different applications
The most common live sound consoles, range between 8
and 52 input channels
8 Ch
12 Ch
16 Ch
24 Ch
32 Ch
48 Ch
52 Ch
And vary in number and types of outputs
Consoles are sometimes described by the number of
Channels, Groups, and Master outputs they have
24 X 8 X 2 (24 Input Channels, 8 Groups and Stereo out)
16 X 4 X 2
32 X 8 X 2
Live Sound Analog Mixing Console
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All consoles consist of an Input section, master
section and a group output section
All consoles basically work the same however
some have additional features built in to make it
more powerful and to make our job easier
Input Section
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Generally once you’ve learned the different
controls of one input channel you’ve learned all
the input channels
Common Inputs Connections
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Connections are usually physically inline with
the channel strip on the rear panel or they can
be on the top panel of the console
Mic In
XLR
Line In ¼” Balanced
Insert = INS ¼” Balanced
Direct Out
Input Strip Controls
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+48 Switch (Phantom Power) For Powering Condenser
mics and Active Di’s
Polarity or Phase Reverse Switch ( Zero with Slash )
Flips the Phase 180 degrees
Pad Switch (Attenuates input signal by a preset
amount)
Gain pot (Mic Pre Amp) Sets input level to obtain
optimal gain
HPF Switch ( Preset High Pass Filter 75hz – 100hz )
EQ Section
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3 Different EQ types
Fixed EQ ( Frequencies are fixed at the factory )
Semi Parametric or Sweep Eq
Parametric
Fixed EQ
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You can boost or cut two or three factory set
fixed frequencies
Usually High shelving Mid peaking dipping, Low
Shelving
10 – 12khz
2.5 Khz
80 – 100Hz
Semi Parametric EQ
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1 or 2 Sweepable Mids
Preset Bandwidth or Q
High Shelving
Low Shelving
Fully Parametric EQ
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Adjustable Bandwidth or Q on all frequency
ranges
EQ in SWITCH
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EQ Circuit In
EQ Circuit Out
Auxiliary Sends
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The Auxiliary send routes a split of the incoming signal
to an auxiliary bus which can then be used with external
devices or used as auxiliary mixes
Auxiliary sends can either be pre-fader or post-fader
Pre fader for use as monitor sends
Post Fader for effect sends
Can be use for a separate mix ( Press Feed,
Videographers, Recording, separate speaker system )
Pan
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Panorama
Mono input channels can be faded between left
and right main outs and odd and even numbered
groups
Mute
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Turns channel off post fader
Pre or Post Auxiliary depending on the console
PFL / Solo
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Pre Fader Listen
Pre Fader Level
Sends Input Channel Level to the Master Meter
and to the headphone Jack
Listen wedge when mixing monitors
Fader Section
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Master / Group Assign switches, assigns the
channel to a particular group or to the stereo
master
Input Level Meter Shows input level pre fader at
all times
Master Section
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Subgroup and main output fader controls are
often found together on the right hand side of
the mixer or, on larger consoles, in a center
section flanked by banks of input channels.
Matrix routing is often contained in this master
section, as are headphone and local loudspeaker
monitoring controls.
Aux returns are found in the master section
Aux Masters are also found in the master section
VCA
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Voltage Controlled Amplifier
Only found on Higher End Consoles
Master controller of input channel faders
All functions of the channel fader remain
constant
No degradation of audio quality
Matrix
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A separate mix of the subgroups and stereo
mixes sent to a mono out
Used for camera Feeds, Recording, fills, delayed
speakers etc.
General Mixing Tips
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Unity Gain is God when operating mixers
Run at Zero on all inputs and outputs for best
signal to noise ratio
Maintain unity gain during event
When adjusting channel input gain keep in mind
those adjustments will affect all routing and
sends
Don’t Spill your Beer on the board!