Digital mixing console

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In professional audio, the digital mixing console ( DMC ) is an electronic device used to combine, route, and alter the dynamics, tuning and other properties of multiple audio input signals, using a computer digital than analog circuits. The digital audio sample, which is an internal representation of the analog input, is summed to what is known as the trunk to produce a combined output. Professional digital mixing console is a special desk or control surface that is manufactured specifically for the task, and is usually stronger in terms of user control, processing power and audio effect quality. However, computers with the right controller hardware can act as devices for digital mixing consoles because they can mimic the interface, input, and output.

Video Digital mixing console

Usage

Digital mixing consoles are commonly used in recording studios, public address systems, sound reinforcement systems, broadcasting, television, and post-film production.

General voice system issues and solutions

Most DMCs are expensive and sophisticated tools. The most common problems associated with DMCs are complex structures, which can be difficult to navigate without prior experience or system knowledge. Users usually need a basic understanding of signal flow, audio terminology, and hardware implementation.

Part of the solution to alleviate operator problems is to automate if possible. The advent of modern digital computer technology is now possible to install sound system components that will almost operate alone. When upgrading or installing a new sound system, it is advantageous to install items that require little direct human operation.

The digital mixing console can compensate for the lack of operator experience as it can save the settings programmed by an expert mixer. For example: A knowledgeable person can customize all microphone settings, monitors, etc. for specific events. Once everything is properly adjusted, the set-up is named and stored in memory. After that, less knowledgeable operators can only select that setting in their console or computer.

One can easily program different configurations of presets or "snapshots," into the mixing console. The default configuration included with the DMC is known as a preset. Once the saved settings are recalled, the operator can still perform manual volume adjustments, etc., without affecting the saved program. In other words, they can change many things and all that has to be done is to press the recall and mixer automatically back to all the correct start-up settings.

Another trap in terms of direct application is the location of improper equipment. There is no voice operator that can adjust the sound system immediately unless it can hear exactly what the majority of the audience is listening to, but for issues related to space, appearance and security, one can not always find their voice control equipment in the middle of their auditorium. This is even more of a problem if the auditorium is a multi purpose building that is often converted for other events. A digital mixer can solve this problem: the voice operator can operate the entire sound system from the laptop computer. With the right settings, it can even be done by wireless tablets to improve mobility. In fact, many digital mixer functions are easier to operate from a computer screen than the actual mixing console.

Another advantage of DMC is the many control features provided for each input channel. The typical built-in DMC effect is robust and includes gateway, compressor barrier, equalizer, feedback controller, and other signal processing hardware. One of the advantages of a large number of internal effects is that the DMC system is less susceptible to outside failures and interference than settings using outboard hardware.

Many digital mixers have controls that mimic the look and feel of a classic analog mixer. This is comparable to a fly-by-wire system in modern aircraft. Controls are similar, but the underlying mechanism has changed from voltage level to binary information.

Third party plug-ins can add functionality in a digital mixer. Plugins allow for further expansion of the on-board equalizer, compression and echo effects.

Use dual DMC to increase live recording

In a truly professional broadcast and recording application, one does not use what is called a home mix for high quality audio recording. The reason is when direct sound engineering for any auditorium, one has to deal with the acoustic parameters of a particular auditorium. This requires various adjustments of equalization, bass, treble, volume, etc. While these adjustments can improve the sound quality in the auditorium, they are not required for recording. In fact, the mixed-house adjustment often reduces the sound quality recorded. Once the bass, treble, volume and other effects of the home mix are added to the mixed recording, it's hardest to fix. Conversely, adjustments and signal processing effects that are often used to improve the mix of recording are not always necessary in a home mix.

To facilitate this, the signal must be shared and given to the OB, the recording crew or the film crew. This split can be analog or digital; an analog split would normally be a decoy of all the phase signals being either passively divided or through an isolated transformer split. Transformers are preferred because they provide isolation and prevent microphone preamps on different systems interacting, for example recording pre-amps that cause level changes in FOH or Monitor. Digital splits can come in many forms, Often AES/EBU, MADI, Firewire directly to DAW, or more network conscious digital snake formats, such as AVB, Dante, Ethersound or Rocknet, many other proprietary formats also exist.

Maps Digital mixing console

Advantages and disadvantages

Benefits

No additional noise, distortion (unintentional), or other signal degradation when the signal is in the digital domain, between output from analog to digital converter (ADC) and input to digital to analog converter (DAC).
Introduction aux can be mixed on main fader rather than on potentiometer array.
Signal routing is often much more flexible than with analog-based consoles.
The console settings can be saved and loaded at will. This is very useful in live events where settings for each band can be prepared mostly before, saved, and then loaded as needed.
There are usually many on-board effects and available virtual signal processors, eliminating the need for additional hardware modules, and related costs, size, weight, cable, signal quality problems, etc.

Losses

There is an analog-to-digital conversion, then signal processing, then digital to analog conversion, which degrades sound quality. This is debatable, as quality degradation is not always apparent.
The number of faders is often less than the number of input channels. Additional input channels are inaccessible until bank faders are redirected to control them.
Digital conversion and processing add latency, or delay, into signals.
The act of making adjustments is often slower for concise digital mixers that require the user to open one or more layers of commands before reaching the desired control.