![]() ![]() This could be to utilize an outboard effects unit or even to simply create a copy of the original track to parallel compress. An aux allows the desk to send an identical signal from the channel to another destination. If you’ve mixed in the box before, then think of these as like a bus channel. Auxiliary SendsĪ mixing console usually has a selection of auxiliary sends on each channel. ![]() Some EQ’s can either be set to affect the signal before it hits your DAW or after (at the monitoring stage). The EQ on a mixing console isn’t as effective at targeting specific frequencies as a graphic EQ or a plug in but they are great for making adjustments during the recording process. You will usually find an EQ section on your desk which allows you to tweak the frequency content of your signal. This is often done via a patch bay or through points on the channel strip in smaller mixers. You would need to physically route this out of the insert, into your effect and then back into the signal chain. It allows you to place an effects unit or signal processor (such as a compressor) into the signal chain. InsertsĪn insert will usually lie between the preamp and EQ section of the desk. when one is positive the other is negative) then you can end losing the low end in the affected tracks and sometimes the whole signal itself. This is crucial to check when using multiple microphones as if one or more are out of phase (i.e. Essentially this flips the waveform of your signal upside down, so the positive oscillations are now negative and vice versa. You’ll usually see an option to reverse the phase of your signal. Often producers will use external preamps depending on their taste, rather than the desk preamp, which can be inserted into the signal chain via a patch bay. ![]() As mentioned before, microphone signals tend to be quite weak, so a preamp is needed to increase the gain of the signal to a recordable level. If ‘mic’ is selected then the signal will route to the desk preamp. You’ll also usually have a Pad option which enables you to lower the signal by a certain amount of dB if it is too loud (for example if your microphone is particularly sensitive and your singer is particularly loud). Gain staging is crucial to getting a clean signal and ensuring you have an adequate signal to noise ratio. Next you need to set the correct gain level. Always double check however as not all mics will require phantom power and can be damaged by accidentally turning it on. If you are using a condenser microphone you will need to enable phantom power, which sends a small electrical signal to the microphone, essentially turning it on. If mic is selected then your signal will be input to the desk preamp, whereas line will usually skip this section as extra gain isn’t necessary. The reason being mic signals are a lot weaker than line so to ensure proper gain staging you need to set the desk up to receive the appropriate feed. You will first need to tell the console whether you are recording from a microphone source or a line (such as a keyboard or synthesiser). So we know generally what the function of a mixing console is now, so let’s break it down into more details and understand what happens to the signal as it travels from its source to monitoring. Nothing is actually recorded onto the console.Īfter setting your gain levels you will usually find an EQ section on the desk which will allow you to sculpt your sound before hitting the DAW and sometimes you’ll even be able to add a touch of compression via the console.Īfter the signal reaches your computer it will feed through your DAW channel (and it’s plugins) and then back out to the desk where you can lower or raise the volume on the channel faders. The Function Of A Mixing ConsoleĪ mixing console allows you to feed your recorded signal into your DAW and then monitor the sound as a full mix via the console faders. To make things easier for you, we’re tackling the basics of mixing console signal flow. It’s once you start implementing a desk into your workflow that it can start to become a little more complicated. The consoles you see in a typical studio are essentially larger versions of this. You’ll have your option to increase or decrease gain, phantom power and line/mic inputs. It’s easy to feel overwhelmed when faced with routing your signal through a mixing console but the reality is it’s a fairly easy process that can be translated from one desk to another.Ī very simplified way of understanding a mixing desk is to compare it to your interface at home. We’ve all stood in front of a mixing console in a studio and wondered ‘how the heck does this work?’. Learn how to read a signal flow diagram.Disclosure: We may receive commissions when you click our links and make purchases. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |