MIXERS

Overview
Mixers are available in a great deal of formats and sizes, and even though most share the same fundamentals, there are many variants and options to choose from. As a mixer will probably be one of the largest single purchases youll make for your set-up, its particularly important to know your exact requirements before buying. Historically, mixers were designed specifically for use in either a live or a studio setting, whereas these days, particularly at the low to mid-end of the market, the flexibility incorporated into their designs means that the same mixer can often be put to good use in either environment. Whether you are intending to use your mixer in a studio, or as a front of house (FOH) or monitor mixer, you should always consider the different scenarios you may encounter in the future. Limited numbers of inputs, outputs and auxiliary sends are the most common shortcomings of mixers, so its a good idea to have a few extra as youll often find yourself needing them at a later date.

Allen & Heath GL2400 Live Sound Mixer Although even the most basic mixers can appear daunting to the uninitiated, once you understand a single input channel and the main output section, youre pretty much there - ultimately, everything can broken down into either inputs or outputs. The input section of the mixer will typically have microphone inputs on balanced XLR connectors, unbalanced line inputs on jack connectors, or often a combination of both. Each input channel will have a selection of signal processing controls such as gain, EQ, pan and auxiliary or auxh sends. The output section groups all the inputs together ready for any final processing, before being sent to the main stereo output. In some cases you will find groups or buses where a collection of individual channels can be grouped together to form a sub-mix, allowing them all to be controlled by a single fader, before the groups own output is routed to the master section. Well look at each of these functions more closely in the features section.

Types
Analogue

MACKIE 1402 VLZ3 - 14 channel mixer Analogue mixers are still favoured by many sound engineers for two main reasons - their warm sound and their simple and conventional layout. The similarity of interfaces found on different analogue mixing desks allows users both to learn and operate new models very quickly and effectively. The sound of analogue EQ in particular is hard to beat, and indeed some engineers spend long hours trying to emulate this sound with digital systems. With an analogue desk, effects units and processors such as compressors, gates and reverbs are patched in via a series of inputs and outputs known as auxiliaries and inserts (more on these later). This gives engineers great flexibility, but can also be time consuming and a little complex to set up.

Digital

Yamaha 01X - 28 channel Digital Mixer

Digital mixers generally offer similar functionality to analogue mixers, but their operation can be quite different. Using a new digital mixer can sometimes be something of a challenge, as a simple function that would be found on the main surface of an analogue mixer can instead be hidden behind a series of onscreen menus. However, once the user is familiar with these, the power of a digital mixer can easily be seen, with benefits such as on-board signal-processing, the storing of whole mixes, and parameter automation. Digital mixers processing power allows them to run both effects and signal processing internally, often providing compressors, reverbs and other effects on every channel, without the use of a single piece of outboard gear. Although this type of internal processing has been enthusiastically received in recording studios, in the live environment, the need to access parameters immediately has left engineers a little more sceptical. Manufacturers are starting to address these concerns though, and many are now offering improved operating systems and more immediate tactile control, just like a traditional mixing desk.

USB/FireWire

Phonic PHHB24FW MK II Helix Board Mixers with built-in computer connections operate like conventional analogue (or sometimes digital) consoles, but with the added advantage of having integrated audio interfaces. If youre looking for a standalone analogue mixer to use in conjunction with your computer recording software, then you may well want to consider something with built-in USB or FireWire. Some of these offer a simple stereo interface with your DAW, whereas higher-end models offer full multi-track recording and mixing, and quite often come bundled with software.

Powered

the t.mix PM 184X II compact powered mixer Powered mixers are mainly used by smaller live acts, and are essentially regular mixers fitted with an internal power amp. These offer a convenient solution for musicians who want a convenient and easily set up portable PA system - all you need do is plug your microphones and instruments into the inputs, your speakers to the outputs, and youre ready to go. One drawback of powered mixers is that if you find yourself needing more power later on, it can be difficult to add extra amplifiers and speakers (and of course the built-in amp you have paid for is now redundant and heavy!), although you will quite often find a stereo pre-amp output, allowing a feed to be sent to a larger system.

Features
Most mid to high-end mixers draw from very similar feature sets, and tend to vary only in quality and channel and/or feature quantity. Well now take a closer look at some of these basic features, as their explanation should provide a better understanding of the fundamentals of mixing, and will be useful in a broad variety of situations.

Input Channels
The large majority of a mixers surface is usually made up of channel strips - these are normally identical vertical strips running across the mixer which allow individual processing and control of each input signal. Most channels are usually mono, and these are generally used for microphones and sometimes instruments such as guitars. Mixers will often also incorporate a handful of stereo channels which allow for the connection of stereo keyboards, playback devices and submixers, and tend to offer fewer features than found on typical mono channels. Each channel strip is made up of multiple signal processing controls which we will look at in more detail later in this section.

Channel Faders

Subgroups
As mentioned previously, subgroups allow the grouping of individual channels before their signal is sent to the master section. A fader (or two) allows the user global control over a groups level, particularly useful for backing vocals and drum kits for instance. They may have their own outputs for multi-track recording, as well as insert points and/or aux sends to simplify effects and signal processing. Mixers with subgroups will have a selection of push buttons next to the channel faders to determine which group(s) the signal is routed to. Groups are generally stereo, in which case panning information from the channel is also transmitted to the group.

Master Section
This is where all the signals are brought together, ready for any final processing before being distributed to the outputs, which can range from a single stereo out, to multiple outs including sends for tape machines, speakers, headphones and more. Insert points may also be found here, along with the master fader(s), some form of metering, and possibly further EQ and built-in effects processing, particularly on mixers aimed specifically at live use.

Chanel Strip Details

Gain

The gain control or pot (short for potentiometer) can normally be found at the top of the channel strip near the input connector. Gain is also sometimes referred to as 'trim', as it is the control used to adjust the input signal to the correct level for the rest of the mixers circuitry. Careful adjustment needs to be made to ensure that the signal is not too hot which can result in distortion from clipping or overloading the channel, and also that it is not so low as to give a poor signal to noise ratio. Signals which are weak at this point will need boosting further down the audio path, which will then increase noise levels. Correct adjustment of the gain control is normally assisted by some form of visual metering, from a single clip LED on budget models, to full LED bargraph displays or VU meters at the top of the range. Even budget models will usually have reasonable metering on the master section, and this can be pressed into use for individual channels by using PFL (see below).

EQ (Equalisation)
EQ is used to boost or cut specific frequencies of a sound. Although the term was originally intended to describe the correction or equalisation of a sound, it is now just as often used as a way of enhancing a signal. There are a number of different EQ types, but mixers invariably offer some kind of parametric EQ on the channel strips, and sometimes a graphic EQ on the master section. Parametric EQs offer up to three control knobs per band gain (which is known as cut in its negative stages), centre frequency, and bandwidth or Q which determines how far around the centre frequency the gain control is effective. Note than any gain or cut applied will have a bell shape around the centre frequency. EQs with all three of these controls per band are known as fully parametric; those with only gain and frequency as semiparametric; and those that operate at fixed frequencies are not really parametric at all, more glorified tone controls, although these can still be very useful. Graphic EQs operate at a number of fixed frequencies, each controlled by its own slider.

High Pass Filter (HPF)

Also usually found near the top of the channel, a High Pass Filter is an invaluable tool, allowing the attenuation of low frequencies which can otherwise clutter up your mix. They are particularly useful for removing rumbles picked up by microphones, either from low frequency on-stage sources such as bass cabinets and kick drums, or footsteps transmitted through mic stands. Most high pass filters are fixed at a specific frequency, normally around 100HZ, although some offer separate control over this.

Phantom Power

Phantom power global switch Most condenser microphones and DI boxes require electrical power in order to operate, which can sometimes be supplied via a battery, but most often by 'phantom power'. Depending on the mixer, phantom power is switched on and off either independently per channel, or globally across a number of channels, and is distributed to the source device by the same cable that is carrying the audio signal. Although it is generally not a problem to send phantom power to microphones that dont require it, some ribbon mics can be damaged by it, so make sure you choose a model with individual switches if you intend using these. Phantom power is often labelled as +48v, which is an abbreviation for the standard required voltage of 48 volts do not be alarmed by this as the currents involved are very small!

Direct Outs
Direct outputs are typically configured pre-EQ (although this is sometimes switchable) and are normally found on every channel of mixers that have them. By connecting the signal directly to a multi-track recorder or DAW, they enable each channels basic signal to be recorded without processing - these can then be returned to the mixer later on for mixdown. Direct outs can also be put to good use in live environments for making recordings to be mixed at a later date.

Insert Points
Insert connections provide both an input and output, typically on a single TRS (tip-ring-sleeve) jack connector. They are usually located next to the input connections and are specific to the associated channel. As they send the whole signal, they are normally used for the connection of dynamics processors such as compressors and noise gates.

Auxiliaries

Auxiliaries or auxes are the normal point at which to connect outboard effects processors, and are used to send a copy of a signal from one or more channels to an external device such as a reverb unit, the level of the copy from each channel being controlled by its own knob the channels aux send. A desk will usually have a master control over the mix of aux sends from all the channels. An auxiliary return is a stereo input designed for the return signal from an effects unit, and is normally fed directly to the mix bus. Larger desks have multiple auxiliary busses for use with multiple effects units. Another common use for aux sends is to provide separate headphone mixes in the studio, or on-stage foldback mixes in a live environment. For this kind of use, it is important to use pre-fade auxes see the Important Terms section for an explanation.

Pan
Pan knobs (short for panorama) control the balance of each channels signal that is sent to the left and right outputs a central position sends equal amounts to both, resulting in the sound appearing to come from the middle of the stereo field.

PFL/AFL
PFL (Pre-Fade Listen) and AFL (After-Fade-Listen) are both means of overriding the normal signal routing, or soloing one or more channels for various purposes. PFL sends a signal to the monitor outputs independent of the position of the channel's fader, and simultaneously mutes the other channels. In other words, PFL allows you to solo a channel even if the fader is pulled all the way down. AFL performs the same function, but maintains the effect of the channel fader. Note that on most consoles, these processes affect the monitor outputs only, and do not interfere with the main, tape, or auxiliary outs. Both PFL and AFL (but more commonly AFL) are also known as solo.

Mute
This is a button which mutes the selected channel(s) irrespective of the fader position. After muting the user can quickly return the channel to its previous state without having to reset the level again, as would be the case if the fader was used to silence it.

Fader
At the bottom of each channel strip will be either a fader or rotary pot controlling the level of the signal sent to the main output - higher-end products tend to have longer throw faders with higher resolution.

Important Terms
Pre/Post-Fade
A term used to describe the route an audio signal takes within a mixer, most commonly applied to aux sends. Pre-fade means that the aux send isn't affected by the main fader level (and sometimes also the EQ) - this is usually used for monitor and headphone mixes, giving the performer a mix that is independent of the FOH or main mix. Alternatively, post-fade signals are affected by the fader level, and this is normally used for effects sends where the level of the effect or wet signal therefore follows the level of the untreated or dry signal.

Balanced or Unbalanced
Describes the manner of a signals transfer from source to destination. Balanced signals require a balanced output at one end and a balanced input at the other end in order deliver their advantage, which is the substantial reduction of any noise induced in the cable. This is achieved by sending the audio signal down two separate cores of the cable, one of which has its phase inverted. At the other end, the inverted signal is re-inverted and combined with the untreated signal, at which stage any interference that has been picked up in the cable will be cancelled out, leaving the original signal in-phase, at twice the strength, and without any interference. Balanced connections are usually made either with XLR or TipRing-Sleeve (TRS) jack connections. A balanced TRS jack connection will have two rings on the connector as opposed to an unbalanced one which has just one. TRS jacks are sometimes known as a stereo jacks, as they can also be used to transmit an unbalanced stereo signal. The main problem when using unbalanced connections is that of combating interference, and although less of an issue in smaller applications, unbalanced cables used in environments demanding longer cable runs can suffer from undesirable buzzes and hums. Almost all microphones and mic inputs are balanced, although line level inputs and outputs vary.