MIXING DESK
A mixing desk brings together all of the different instruments and parts you've written and recorded into one place. You can then change the parameters of each part as you wish, such as:
-Volume and pan
-Frequency content
-Stereo position
-Dynamics and effects
Using the mixing desk you can combine all of the separate pieces of your production into one whole, and then record that as a stereo file ready to put onto a CD, or to upload somewhere as an MP3.
PATCH BAY
![Picture](/uploads/4/8/7/7/48777985/patchbay_1.jpg?255)
This is the patch bay, the audio from the wall box is transferred in to here where we can determine which channel the audio will go through when going to the table mixer, also known as digital workstation
DAW(DIGITAL AUDIO WORKSTATION )
![Picture](/uploads/4/8/7/7/48777985/screen-shot-2016-12-14-at-12-48-16-pm.png?373)
From the digital workstation the sound can be mixed using
different software such as logic x pro from D A W(Digital Audio Workstation.
A digital audio workstation or DAW is an electronic device or computer software application for recording, editing and producing audio files such as songs, musical pieces, human speech or sound effects.
different software such as logic x pro from D A W(Digital Audio Workstation.
A digital audio workstation or DAW is an electronic device or computer software application for recording, editing and producing audio files such as songs, musical pieces, human speech or sound effects.
How to use a mixing desk?
ROUTING
CHANNELS
![Picture](/uploads/4/8/7/7/48777985/published/screen-shot-2016-12-14-at-12-34-39-pm.png?1482952413)
Channel input strip.
The input strip is usually separated into these sections: Input jacks.
-Microphone preamplifiers
-Equalization
-Dynamics processing (e.g. dynamic range compression, gating)
-Routing including direct outs, aux-sends, panning control and subgroup assignments
-Input faders (on some smaller mixers, these may be rotary knobs, to save space)
On many consoles, these sections are colour-coded for quick identification by the operator. Each signal e.g. a singer's vocal mic, the signal from an electric bass amp's DI box that is plugged into the mixer has its own channel.
Depending on the specific mixer, each channel is stereo or monaural. On most mixers, each channel has an X L R input. The smallest, least expensive mixers may only have one X L R input with the other inputs being line inputs. These can be used by a singer-guitarist or other small acts.
(turning down of gain) needed to bring the signal to a nominal level for processing. This stage is where most noise of interference is picked up, due to the high gains involved B
A mixing console may provide insert points after the buffer/gain stage. These provide a send and return connection for external processors that only affect an individual channel's signal. Effects that operate on multiple channels connect to auxiliary sends (below).
Input channels are where XLR cables are plugged usually located on a wall-box each channel is linked to a channel on the mixing desk normally known as channel strips. INPUT 1 would be linked channel 1 on the mixer. the amount of a mixing desk channel strip very from 5 strips to a maximum of 24 or even more. Each channel strip has turners in different shapes and sizes which control things such as the volume, gain, pan and etc...
he level of the signal as it enters the channel. In most cases this will be a pot (potentiometer) knob which adjusts the level. The idea is to adjust the levels of all input sources (which will be different depending on the type of source) to an ideal level for the mixer. There may also be a switch or pad which will increase or decrease the level by a set amount (e.g. mic/line switch).
BUSSES
![Picture](/uploads/4/8/7/7/48777985/screen-shot-2016-12-14-at-12-45-43-pm.png?533)
Busses are used for live sounds and usually during a live recording, this is because a bus allows one or more audio to be routed to one destination where it will be can modified or figured as one track. They are more commonly used for routing hannel signals to a master group fader, a multitrack recorder, or the main stereo master fader. In software mixing applications such as FL Studio, LOGIC PRO X and Sony Acid PRO, Ableton Live AND Adobe Audition they are able to have number of busses and also allow renaming buses which means during a live recording they can be group faded than faded one by one, also known as "control over several sources in one fader".
A bus is basically a path in which you can route one or more audio signals to a particular destination. Destinations can include groups, auxiliary sends, stereo mix, foldback or monitor. Commonly busses are used to route channel signals to a master group fader, a multitrack recorder, or the main stereo master fader (or all).
In live sound applications it is favourable to have a number of busses available to use. This is due to the fact that as audio channels can be bussed together and controlled by one group fader, it frees up the hands of the engineer and gives him/her less faders to have to control on the fly. It should be noted that although the master group fader does have control over the level of the summed audio in the group, the individual levels will remain with the offset set on the channel fader.
In Studio applications, busses can be used to group signals together for recording when there are too many channels of audio for them all to be sent to your multitracker/interface/soundcard. Busses are also commonly used to create a foldback headphone mix for the musician(s) to listen to. If you are using a smaller mixing desk for home recording there is not great need for a great number of busses - although it is good to have an auxilliary send and/or in built effects.
Busses in Live Sound
A bus is basically a path in which you can route one or more audio signals to a particular destination. Destinations can include groups, auxiliary sends, stereo mix, foldback or monitor. Commonly busses are used to route channel signals to a master group fader, a multitrack recorder, or the main stereo master fader (or all).
In live sound applications it is favourable to have a number of busses available to use. This is due to the fact that as audio channels can be bussed together and controlled by one group fader, it frees up the hands of the engineer and gives him/her less faders to have to control on the fly. It should be noted that although the master group fader does have control over the level of the summed audio in the group, the individual levels will remain with the offset set on the channel fader.
In Studio applications, busses can be used to group signals together for recording when there are too many channels of audio for them all to be sent to your multitracker/interface/soundcard. Busses are also commonly used to create a foldback headphone mix for the musician(s) to listen to. If you are using a smaller mixing desk for home recording there is not great need for a great number of busses - although it is good to have an auxilliary send and/or in built effects.
Busses in Live Sound
AUDIO INTERFACES
![Picture](/uploads/4/8/7/7/48777985/screen-shot-2016-12-14-at-12-38-19-pm.png?288)
An audio interface is a piece of hardware that expands and improves the sonic capabilities of a computer. Some audio interfaces give you the ability to connect professional microphones, instruments and other kinds of signals to a computer, and output a variety of signals as well. In addition to expanding your inputs and outputs, audio interfaces can also greatly improve the sound quality of your computer.
Every time you record new audio or listen through speakers and headphones, the audio interface will reproduce a more accurate representation of the sounds. They’re an absolutely essential component in computer-based audio production. They’re used for recording music and podcasts, and in video post production for recording voice-overs and sound design.An audio interface is a piece of hardware that expands and improves the sonic capabilities of a computer. Some audio interfaces give you the ability to connect professional microphones, instruments and other kinds of signals to a computer, and output a variety of signals as well.
AUXILIARIES
![Picture](/uploads/4/8/7/7/48777985/screen-shot-2016-12-14-at-12-44-12-pm.png?201)
Auxiliaries are also known as Auxiliaries Channels in which it allows you to send a 'copy' of a CHANNEL SIGNAL to another destination. This usually done to provide separate monitor feeds, add layers to the audio, manage the CHANNEL easily and add effects such as reverb, echo and compression. Each input channel includes an auxiliary channel control knob this adjusts the level of the signal sent to the auxiliary output . The auxiliary output is the sum of the signals sent from each channel. If a particular channel's auxiliary knob is turned right down, that channel is not contributing to the auxiliary channel.An aux-send (auxiliary send) is an electronic signal-routing output used on multi-channel sound mixing consoles used in recording and broadcasting settings and on PA system amplifier-mixers used in music concerts.Sometimes called aux channels for short, auxiliary channels are a way to send a "copy" of the channel signal somewhere else. There are many reasons to do this, most commonly to provide separate monitor feeds or to add effects (reverb etc).
PHANTOM POWER
![Picture](/uploads/4/8/7/7/48777985/screen-shot-2016-12-14-at-12-40-01-pm.png?271)
Phantom power, in the context of professional audio equipment, is DC electric power transmitted through microphone cables to operate microphones that contain active electronic circuitry.[1] It is best known as a convenient power source for condenser microphones, though many active direct boxes also use it. The technique is also used in other applications where power supply and signal communication take place over the same wiresA condenser microphonerequires power to produce a DC polarizing voltage and to power an internal amplifier required to drive long cablesPhantom power supplies are often built into mixing consoles, microphone preamplifiers and similar equipment. In addition to powering the circuitry of a microphone, traditional condenser microphones also use phantom power for polarizing the microphone's transducer element. Three variants of phantom power, called P12, P24 and P48, are defined in the international standard IEC 61938:2013[2] although it is recommended that only 24 volt systems should be used for new developments.[3][4][5] Two specialized variants, P12L and SP48, are mentioned in an informative annex for specialized applications.Phantom power, in the context of professional audio equipment, is a method for transmitting DC electric power through microphone cables to operate microphones that contain active electronic circuitry. It is best known as a convenient power source for condenser microphones, though many active direct boxes also use it.