In sound recording and reproduction, and sound reinforcement systems, mixing console is an electronic device to combine sound from many different audio signals. Input to the console includes a microphone used by the singer and to pick up acoustic instruments, signals from electrical or electronic instruments, or recorded music. Depending on the type, the mixer can control analog or digital signals. The modified signal is summed to produce a combined output signal, which can then be broadcast, amplified through a sound reinforcement system or recorded.
The mixing console is used in many applications, including recording studios, public address systems, voice reinforcement systems, nightclubs, broadcasting, television, and post-film production. Simple and simple applications combine signals from a microphone on a stage into an amplifier that drives a set of loudspeakers for the audience. The DJ mixer may have only two channels, to mix two recording players. A small stage in the coffee shop may only have six channel mixers, enough for two singers-a guitarist and a percussionist. The nightclub stage mixer for rock music shows may have 24 channels to mix signals from the rhythm section, main guitar, and some vocalists. The mixing console in the professional recording studio may have 96 channels.
In practice, mixers do more than just mix the signals. They can provide ghost power for condenser microphones; pan control, which changes the sound position in the stereo sound field; filtering and equalization, allowing the voice technician to increase or cut the selected frequency to improve the sound; dynamic range compression, allowing engineers to increase overall gains of systems or channels without exceeding the system's dynamic limit; routing facility, to send signals from the mixer to other devices, such as a sound recording system or control room; and monitoring facilities, where one of a number of sources can be switched to loudspeakers or headphones for listening, often without affecting the main output of the mixer. Some mixers have onboard electronic effects, such as reverb. Some mixers intended for small direct-show applications may include an integrated power amplifier.
Video Mixing console
Terminology
The mixing console is also known as audio mixer , audio console , mixing table , sound mixer , , or just as a board or mixer .
Maps Mixing console
Structure
The analog mixer board is divided into several functional parts. Some of the more important functional parts are divided into several subsections.
channel input strip
Channel input strips are usually banks with monaural input channels or identical stereos arranged in columns. Typically, each channel column contains a number of buttons, potentiometer turn and fader buttons to control the preamplifier input gain, adjust signal equalization on each channel, control the route from the input signal to other functional parts and adjust the channel contribution to the overall mix produced.
The type of input that can be plugged into the mixer depends on the intended purpose of the mixer. A mixer intended for residence or recording studio usually has a variety of input jacks, such as XLR connectors for microphones and output from DI boxes and 1/4 "jacks for line level sources.A DJ mixer usually has RCA connector inputs for music previously recorded on a turntable or CD player and one mic input.
Depending on the mixer, the channel may have a button that allows the audio engineer to change the signal route to different outputs for monitoring purposes, activate the attenuation of the pad (often reduce the signal by 15 dB or 20dB to prevent distortion or audio clipping undesirable), or enable other features, such as "rumble filters" (for example, preset equalizer that filters below 75 Hz on the selected channel). Some higher-priced mixers have a parametric equalizer or a semi-parametric equalizer for one or more of the equalizer bands, often in the mid ("mid") range.
Channel strips are usually numbered so that audio engineers can identify different channels. For each channel input, the mixer provides one or more input jacks. In medium-sized live venues and sound recording mixers, these input jacks are numbered as well and consolidated at the patch site. In smaller mixers, the input jacks can be mounted on the top panel of the mixer, near the top, to facilitate connection and disconnection of inputs during use of the mixer.
The input strips are usually separated into these sections:
- Jack input
- Microphone preamplifier
- Equalization
- Dynamic processing (eg dynamic range compression, gating)
- Routing includes direct outs, auxiliary-sending ("aux-sending"), panning controls and task subgroups
- Level-control fader (on some small micro-mixer, this may be a rotary button, to save space)
On many consoles, this section is color-coded for rapid identification by operators. Each signal (eg, singer's vocal microphone, signal from DI amp electric bass, etc.) that is plugged into the mixer has its own channel. Depending on the specific mixer, each channel is stereo or mono. In most mixers, each channel has XLR input, and many have a RTS or quarter-inch telephone line. The smallest, cheapest stirrer may have only one XLR input with another input as the line input. This can be used by singer-guitarist or other small actions. Basic input control
Under each input, there is usually some rotary control (knob or "pot"). The first knob is usually the trim or gain control. The input buffers signals from external devices and this controls the amount of gain (boost) or attenuation (turn off gain) required to carry signals to nominal levels for processing. This stage is where most interference interruptions are picked up, due to the high gain involved (about 50 dB, for microphones). Balanced inputs and connectors, such as XLR or telephone connectors, reduce interference problems.
Microphones plugged directly into the power amplifier will not produce sound, because microphone signals are too weak; the microphone signal needs to be plugged into the preamplifier to amplify the signal so that it is strong enough to be amplified by the power amplifier. For some very strong line level signals, the signal plugged into the mixer may be too strong, and may cause audio clipping. For signals that are too strong, a 15 dB or 20 dB pad can be used to attenuate the gain. Audio technicians usually aim to achieve a good "gain structure" for each channel. To obtain a good gain structure, the engineer usually raises the gain as high as possible before the audio clipping results; this helps to provide the best signal to noise ratio (S/N ratio).
The mixing console can provide an insert point after the buffer/gain stage. It provides send and return connections for external processors that only affect individual channel signals. Effects that operate on multiple channels are connected to the auxiliary send (below).
Additional shipping routing
auxiliary send directs the split from the incoming signal to the additional bus, which can then be routed to an external device. Auxiliary sending can be a pre-fader or post-fader, since the pre-fade send level is set by the auxillary send control, while the post-fade send depends on the fader channel position as well. Auxiliary sending can send a signal to an external processor such as a reverb, with a return signal directed through another channel or specified additional refund. This is usually post-fader. Pre-fade auxiliary sending can provide a mixture of monitors for musicians on stage (which they hear through monitor speakers pointing at monitor or in-ear monitor); this mixture does not depend on the main mixture.
Most live radio broadcasts send audio through the "program" channel. (See image to bottom left) When a given channel button is selected, audio is sent to the device or transmitter. Program 1 is usually a live feed in the air, or what they hear from the broadcast will be heard. Most boards have 3-4 channel programming, although some have more options. Often, one programming channel will feed one or more computers that are used for editing or playing sound. Other channels can be used to send audio to talent headsets if they broadcast from remote areas.
Channel equalization
The channel control further affects signal equalization by separately attenuating or increasing the range of frequencies. The smallest and cheapest mixer may only have bass and treble controls. Most mid-range mixers and higher prices have bass, midrange, and treble, or even additional mid-range controls (for example, mid-low and mid-mid). Many high-end mixing consoles have a parametric equalizer on each channel. Some mixers have general equity control (either graphics or parametric) on the output, to control the tone of the whole mix.
System cue
The gesture system allows the operator to listen to one or more of the selected signals without affecting the console's audio output. A voice technician can use the "gesture" feature to get the sound recordings he wants to play immediately until the starting point of a song, without the listener listening to this action. Signals from the gesture system are fed to headphone headphones and may also be available as channel level outputs intended to drive the monitor speaker system. The terms PFL (Pre Fade Listen) and AFL (After Fade Listen) are used to characterize the point in the signal stream from which the gesture signal is lowered. The input channel is usually configured as PFL so the operator can audition the channel without sending it to any mix. Consoles with gesture features have dedicated buttons on each channel, usually labeled Cue (or AFL , PFL, Solo , or Listen ).
Solo In Place (SIP) is a related feature on advanced consoles. It's usually controlled by the Cue button, but unlike Cue, SIP is "destructive" (ie, has a big impact on) of the output mix. It turns off all but the merged channel. SIP is useful for mixing board and troubleshooting settings, as it allows the operator to turn everything off quickly but the signal is being worked on and adjusted. For example, if an audio engineer is having problems with a keyboard input signal "hot" synthesizer leading to unwanted clipping, he can press SIP to just hear the keyboard channel, so he can trim the input gain or press "pad button" (giving only one example). SIP potentially catastrophic if accidentally involved during the show, because SIP will turn off all channels except one, so most consoles require operators to take highly deliberate actions to involve SIP mode.
Subgroups and route mixes
Each channel on the mixer has a volume control ( fader ) that allows the channel level adjustment. These are usually sliders near the front of the mixing board, although some of the smaller mixers use rotary controls to save space. The signals are summed to create a main mixture, or bundled on the bus as a submix, a group of channels that are then added to get the final mix (for example, many mic drums can be grouped into buses, and then the proportion of the drum in the final mixture can be controlled with one fader bus). Buses can often be processed like individual input channels, allowing engineers to process the entire group of signals at once. Again using the drum kit example, the use of bus processing can allow voice engineers to run all drum kits through the effects of audio compressors to reduce unwanted signal peaks, rather than having to direct all 10 or more mic signals in the drum kit individually. There may also be an insertion point for a particular bus, or even a whole mix.
VCA group
Some high-end consoles use a voltage-controlled controller (VCA) to group VCAs and DCA functions somewhat like subgroups but let the operator control the level of multiple input channels with a single fader. Unlike subgroups, no sub-mix is ​​created. The audio signal from the defined channel remains routed separately from the VCA task. Since no sub-mix is ​​made, it is not possible to include processing like a compressor into a VCA/DCA group. In addition, on most consoles equipped with VCA/DCA, post-fader post attendance rates are affected by VCA master. This is usually desirable, because post-fader additional delivery is typically used for effects such as reverb, and sending to this effect should track changes in the channel signal level.
Primary output control
The master control section is used to adjust the overall output level of the mixer. In the context of distinctive live sound mixing, with bands playing on-site, consisting of rhythm parts, solo instrumentalists and singers, the master control section allows audio engineers to control the entire group volume with only one fader (for mono mixer) or a pair of left and right faders (for stereo mixer). In most mixers, the master control is a fader. However, on some mini-mixers, a play button is used instead to save space.
The master control part of a large residence or sound recording mixer usually has a fader sub-group, master fader, additional master mixer bus control and additional rate of return control. Additionally, they may have solo monitoring controls, microphone controls "talk-back" stages (so the sound engineer can talk to the band, which may be somewhat distant at live performances or that may be separated in isolation booths in the recording studio), turning off controls and mixers output matrix. In the smaller mixer, the input is to the left of the mixing board and the master control is on the right. In larger mixers, master controls are at the center with the input faders and channel strips on both sides.
Subgroups and main output fader controls are often found together on the right side of the mixer or, on a larger console, in the center flanked by the input channel banks. Matrix routing is often present in this part of the master, as are headphones and local loudspeaker monitoring controls. Comments feedback allows conversations with artists through their monitor, headphones or in-ear monitors. The tone test generator may be located in the master output section. Aux returns such as returning signals from an external processor often in the master section.
Measurements
Finally, there is usually one or more VU or peak meters (peak meters often use LEDs) to indicate the level for each channel, for the master output and to indicate whether the level of the console trims the signal. Sound engineers typically adjust the gain of the input signal to obtain the strongest signal that can be obtained without causing "clipping" (unwanted distortion) or causing "howling" audio feedback. Having a gain set as high as possible increases signal to noise ratio. Most mixers have at least one additional output, in addition to the main mix. This is an individual bus output, or auxiliary output , used, for example, to produce a different mix to the monitor on stage.
Audio level meter (which may be a VU meter with a needle or LED) may be above the input and master parts or they can be integrated into the input and master parts themselves. Audio level gauge indicates when the signals are cut off. At the audio level meter using LEDs, there may be different colored LEDs to indicate when there is a signal present in the channel input; audio channel level, usually by illuminating more LEDs; and clipping, which can be indicated using different colored LEDs. One color coding system is to use a green LED to indicate the presence of signal and audio levels; one or more yellow LEDs to indicate that the channel is approaching clipping; and one or more red LEDs to indicate clipping.
Because the human ear experiences audio levels in a logarithmic way (both amplitude and frequency), mixing control and console display almost always in decibels, logarithmic measurement systems. Since this is a relative measurement, and not the unit itself, the meter should be referred to the nominal level. The "professional" nominal rate used on a professional mixer is considered 4 dBu. The level of "consumer level" is -10 dBV.
Hardware routing and patching
For convenience, some mixing consoles include inserts or patch gulfs or patch panels. Pallet is primarily used for record takers. However, direct sound mixing may also include a patch bay. In live sound, the wires from the microphone on stage and the output of the instrument are usually not plugged directly into the mixer, as this will require a large amount of cable to go from the mixer stage. Instead, microphones on stage and instrument cables are usually plugged into the patch cove of the thick snake cable, which extends from the stage to the mixer. The output from the second snake patch bay (near the mixer) is then plugged into the mixer.
Other features
Most, but not all, audio mixers can
- uses a monaural signal (for example, from a 1/4 "electric guitar input) to produce stereo sound simulation through pan and balance control.
- gives the phantom power needed by some capacitor and condenser microphones.
Some mixers can
- adds an onboard external effects unit (reverb, echo, delay). In 2010, with digital effects units, mixers with onboard effects usually offer these effects.
- creates a "test tone" that can be heard through the oscillator. The test tone can be used to solve the problem before the band arrives and determine whether the channel is functioning properly.
- read and write down the console automation.
- is connected to a computer or other recording device (to control the mixer with a computer preset, for example).
- control or controlled by digital audio workstations via MIDI or proprietary commands.
- powered by battery (this is only for the smallest mixer, like four to six mixer channels that may be used off-site).
- provides power amplifier for external speaker cabinet, not powered ("passive") (this is called "powered mixer")
Mirroring
Some mixing consoles, especially those designed for live broadcast and sound, include facilities for "mirroring" two consoles, making both copies exactly copied to each other with the same input and output, same settings, and the same audio mix. There are two main reasons for doing this; one, in the event of a hardware failure, the second redundant console already exists and can be redirected to (essential features for live events); secondly, it allows the operator to set two identical mixed positions, one in front of the house - where the audio will be mixed during the show - and the other at several other locations within the theater (for example, with broadcasting equipment); In this way, if the acoustics in front of the house are not profitable, the mix can be programmed in a better acoustically indoors position, and presets (on faders and buttons) can be accessed from the front of the home console during the show.
Digital versus analog
The sale of digital mixing consoles has increased dramatically since its introduction in the 1990s. Yamaha sold more than 1000 PM5D mixers in July 2005, and other manufacturers saw an increase in sales of their digital products. Digital mixers are more versatile than analog ones and offer many new features, such as reconfiguring a route signal with a touch of a button. In addition, digital consoles often include processing capabilities such as compression, gating, reverb, automatic feedback presses, and delays. Some products can be expanded through third-party software features (called plugins) that add advanced reverb, compression, delay, and tone-shaping tools. Some digital mixers include spectrograph and real-time analysis functions. Some combine loudspeaker management tools such as filtering and crossover restrictions. Digital signal processing can perform automatic mixing for some simple applications, such as courtrooms, conferences, and panel discussions. Console with motorized fader can read and write console automation.
Propagation delay
Digital mixers have unavoidable amounts of latency or propagation delay, ranging from less than 1 ms to 10 ms, depending on the digital mixer model and what functionality to use. This little delay is not a problem for loudspeakers intended for the audience or even monitor wedges aimed at the artist, but it can be confusing and unpleasant for IEMs (In-ear monitors) where artists hear their voice acoustically in their heads. > and amplified electronically in their ears but delayed several milliseconds.
Any analog to digital conversion and digital to analog conversion in a digital mixer requires a propagation delay. Audio insertion to a favorite external analogue processor produces nearly twice the usual delay. Further delays can be traced to format such conversions from ADAT to AES3 and from normal digital signal processing steps.
In a digital mixer, there are different amounts of latency, depending on their routing and how many DSPs are used. Assigning signals to two parallel paths with significantly different processing on each path can lead to extreme comb filtering when reunited. Some digital mixers incorporate internal methods of latency correction so that the problem is avoided.
Ease of use
In 2010, analog consoles remained popular, because they had dedicated, physical, keyboards, keys, and faders for each channel, which were logical and familiar to many users. In addition, generations of audio engineers have been trained on analog mixers. This requires more physical space, but can accommodate quick responses to changes in performance conditions.
Most digital mixers use technology to reduce physical space requirements, involving compromises in the user interface such as a single shared channel adjustment area that can be selected for only one channel at a time. In addition, most digital mixers have pages or virtual layers that turn the fader banks into separate controls for additional input or to adjust the equalization rate or aux send. This coating can be confusing for some operators. The analog console makes a simpler understanding of hardware routing. Many digital mixers allow the re-assignment of internal inputs so that convenient input clusters appear close to each other in the fader bank, a feature that can be confusing for people who have to make hardware patch changes.
On the other hand, many digital mixers make it possible to build a very easy mix of stored data. USB flash drives and other storage methods are used to bring past performance data to new places in a highly portable way. In a new place, the mixed travel technician only connects the data collected to the place digital mixer and quickly makes small adjustments to the local input and output layout, enabling full show readiness in a very short period of time. Some digital mixers allow mixed offline editing, a feature that allows travel technicians to use laptops to anticipate event changes when travel , shortening the time it takes to set up a sound system for the artist.
Sound quality
Both digital and analogue mixers rely on analog microphone preamplifiers, high gain circuits that increase the low signal level of the microphone to a level better matched to the internal level of the console's operation. In this case, the two formats are equivalent to each other. In a digital mixer, microphone preamplifier is followed by an analog-to-digital converter. Ideally, this process is carefully designed to handle gracefully with overloading and clipping while delivering accurate digital streams. Further processing and mixing of digital streams in the mixer need to avoid saturation if maximum audio quality is desired.
The analog mixer also has to deal with overload and clipping in the preamplifier microphone and also avoid overloading the mixed bus. The very high frequency of hissing in an analog mixer is always present, although good gain stage management and changing unused channels to zero minimize its audibility. Unemployed subgroups leave "up" in the mix, add a background hiss to the main output. Many digital mixers avoid this problem with low level gating. Digital circuits are more resistant to outside interference from radio transmitters such as walkie-talkies and cell phones. Hiss can be reduced by electronic noise reduction device or with equalizer.
Many electronic design elements combine to affect the perceived sound quality, making the "analog mixer vs digital mixer" a global difficult question to answer. Experienced live sound professionals agree that the selection and quality of microphones and loudspeakers (with their higher potential to create distortion) is a much larger source of sound staining than mixer choices. Mixing styles and mixing experiences of people may be more important than the manufacture and model of the audio console. Both analog and digital mixers have been associated with high quality live concert and studio recording.
Remote control
Analog mixing in live sounds has had a choice since the 1990s using cable remote control for certain digital processes such as the equalization of monitor slices and parameter changes on the outboard reverb device. The concept has evolved until wired and wireless remote control is seen in relation to the entire digital mixing platform. It is possible to set the sound and mix system through laptop, touch screen or tablet. Computer networks can connect digital system elements for extended monitoring and control, allowing system technicians to make adjustments to remote devices during performance. The use of remote control technology can be used to reduce the amount of space used for the front house mixing console, dubbed the "seat-kill" in the music industry. Thus, using remote control technology somewhere can allow them to pay more customers to the venue.
Software mixer
For sound recording, the mixing process can be performed on screen, using computer software and associated inputs, output and recording hardware. The traditional large control surface of the mixing console is not used, saving space in the mixed position of engineers. In a software studio, there is no bank mixer fader physically at all or there are groups of compact motorized faders that are designed to fit into small spaces and connect to a computer. Many project studios use such space-saving solutions, since mixing rooms at other times can serve as business offices, media archives, etc. Mixing software is highly integrated as part of a digital audio workstation.
Apps
Public address systems in schools, hospitals, and other institutions use mixing consoles to set the microphone to the appropriate level and can add recorded sounds such as music into the mix. The PA mixer usually has controls that help to minimize audio feedback.
Most rock and pop bands use mixing consoles to incorporate musical instruments and vocals so that mixes can be strengthened through night club PA systems. Among high quality pirated recordings of live performances are so-called soundboard recording sourced directly from the mixing console.
Radio broadcasts use mixing tables to select audio from different sources, such as CD players, telephones, remote feeds, pre-recorded commercials, and in-studio live bands. These consoles, often referred to as "air boards" tend to have fewer controls than mixers designed for direct mixing of production or studio, dropping pan/equilibrium, EQ, and multi-bus/aux feed monitoring buttons that support signal and output bus cues, because, in radio studios, almost all sources are initiated or customized beforehand.
DJ who plays music for dancers in a dance club using a small DJ mixer to make a smooth transition between different songs played on the sound source plugged into the mixer. Compared to other mixers used in sound recording and direct sound, DJ mixers have much less input. The most basic DJ mixer has only two inputs. Some DJ mixers have four or more inputs. This sound source can be a turntable, a CD player, or an iPod. The DJ mixer also allows the DJ to use headphones to signal the next song to the desired starting point before playing it.
DJ hip hop music and producers and Dub engineers are early users of mixing boards as musical instruments.
Music music noise can create feedback loops in the mixer, creating an instrument known as a mixer without input. The tone generated from the mixer without input is made by connecting the mixer output to the input channel and manipulating the pitch with the mixer button.
Gallery
Famous manufacturers
See also
- Help send
- Mixed board
- Console automation
- DJ mixer
- Electronic mixer
- Pan law
Note
References
External links
- Mixer way
Source of the article : Wikipedia
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