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787:(VCA) VCAs function somewhat like a submix but let the operator control the level of multiple input channels with a single fader. Unlike subgroups, no sub-mix is created. The audio signals from the assigned channels remain routed independently of VCA assignments. Since no sub-mix is created, it is not possible to insert processing such as compressors into a VCA group. In addition, on most VCA-equipped consoles, post-fader auxiliary send levels are affected by the VCA master. This is usually desirable, as post-fader auxiliary sends are commonly used for effects such as reverb, and sends to these effects should track changes in the channel signal level. When implemented on a digital console the same functionality may be referred to as a DCA or control group (CG), depending on the brand of mixer.
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important feature for live broadcasts); second, it allows the operators to set up two identical mix positions, one at front of house — where the audio will be mixed during a performance — and the other at some other location within the theater (e.g., with the broadcasting equipment); this way, if the acoustics at front of house are unfavorable, a mix can be programmed at an acoustically better position in the room, and the presets (on the faders and knobs) can be accessed from the front of house console during the performance.
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912:. On meters using LEDs, there may be different colored LEDs to indicate when there is signal present in the channel's input; the audio level of the channel, typically by lighting up more LEDs; and clipping, which may be indicated using a different colored LED. In one popular color-coding system, green LEDs indicate signal presence and the audio level; one or more amber LEDs indicate that the channel is approaching clipping; and one or more red LEDs indicate clipping.
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the operator to quickly mute everything but the signal being adjusted. For example, if an audio engineer is having problems with clipping on an input, they may use SIP to solely hear that channel, so that the problem can be diagnosed and addressed. SIP is potentially disastrous if engaged accidentally during a performance, as it will mute all the channels except one, so most consoles require the operator to take very deliberate actions to engage SIP.
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allowing the engineer to process a whole group of signals at once. Once again using the drum kit example, the use of bus-processing can enable the sound engineer to run all of the drum kit through an audio compressor effect to reduce unwanted signal peaks, rather than having to route all of the 10 or more mic signals on the drum kit individually. There may also be insert points for a certain bus or even the entire mix.
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into separate controls for additional inputs or for adjusting equalization or aux send levels. This layering can be confusing for some operators. Many digital mixers allow internal reassignment of inputs so that convenient groupings of inputs appear near each other in the fader bank, a feature that can be disorienting for persons having to make a hardware patch change.
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for creating distortion) are a much greater source of coloration of sound than the choice of mixer. The mixing style and experience of the person mixing may be more important than the make and model of audio console. Analog and digital mixers both have been associated with high-quality concert performances and studio recordings.
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at all or there is a compact group of motorized faders designed to fit into a small space and connected to the computer. Many project studios use such a space-efficient solution, as the mixing room at other times can serve as the business office, media archive, etc. Software mixing is integrated as part of a
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Many electronic design elements combine to affect perceived sound quality, making the global "analog mixer vs. digital mixer" question difficult to answer. Experienced live sound professionals agree that the selection and quality of the microphones and loudspeakers (with their innate higher potential
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and other storage methods are employed to bring past performance data to a new venue in a highly portable manner. At the new venue, the traveling mix engineer simply plugs the collected data into the venue's digital mixer and quickly makes small adjustments to the local input and output patch layout,
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channels. Most boards have 3-4 program channels, though some have more options. When a given channel button is selected, the audio will be sent to that device or transmitter. Program 1 is typically the on-air live feed, or what those listening to the broadcast will hear. Other program channels may
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to make smooth transitions between songs which are played from sources that are plugged into the mixer. Compared with other mixers that are used in sound recording and live sound, DJ mixers have far fewer inputs. The most basic DJ mixers have only two inputs, though some have four or more inputs for
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or patch panel. Patch bays are more common in recording mixers than live sound mixers. In live sound, the cables from the onstage microphones and instrument outputs are not typically plugged directly into the mixer, because this would require a large number of individual cables to go from the stage
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The master control section is used to adjust the levels of the overall output of the mixer. The master control section on a large live venue or sound recording mixer typically has sub-group faders, master faders, master auxiliary mixing bus level controls and auxiliary return level controls. On most
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For recorded sound, the mixing process can be performed on screen, using computer software and associated input, output and recording hardware. The traditional large control surface of the mixing console is not necessarily utilized. In a software studio, there is either no physical mixer fader bank
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Most digital mixers use technology to reduce physical space requirements, entailing compromises in user interface such as a single shared channel adjustment area that is selectable for only one channel at a time. Additionally, most digital mixers have virtual pages or layers that change fader banks
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two consoles, making both consoles exact copies of each other with the same inputs and outputs, the same settings, and the same audio mix. There are two primary reasons for doing this; one, in the event of a hardware failure, a second redundant console is already in place and can be switched to (an
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Subgroup and main output fader controls are often found together on the right-hand side of the mixer or, on larger consoles, in a center section flanked by banks of input channels. Matrix routing is often contained in this master section, as are headphone and local loudspeaker monitoring controls.
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Solo in place (SIP) is a related feature on advanced consoles. It typically is controlled by the cue button, but unlike cue, SIP affects the output mix; It mutes everything except the channel or channels being soloed. SIP is useful for setup of a mixing board and troubleshooting, in that it allows
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allows the operator to listen to one or more selected signals without affecting the console's main outputs. A sound engineer can use the cue feature to, for instance, get a sound recording they wish to play soon cued up to the start point of a song, without the listeners hearing these actions. The
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system or a control room; and monitoring facilities, whereby one of a number of sources can be routed to loudspeakers or headphones for listening, often without affecting the mixer's main output. Some mixers have onboard electronic effects, such as reverb. Some mixers intended for small venue live
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sold more than 1000 PM5D mixers by July 2005, and other manufacturers are seeing increasing sales of their digital products. Digital mixers are more versatile than analog ones and offer many new features, such as reconfiguration of all signal routing at the touch of a button. In addition, digital
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In a typical live sound mixing context, with a band playing at a venue, consisting of a rhythm section, solo instrumentalists and singers, the master control section allows the audio engineer to control the volume of the entire group with just one fader (for monaural mixers) or a pair of left and
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The channel strips are typically numbered so that the audio engineer can identify the different channels. For each channel input, a mixer provides one or more input jacks. On mid- to- large-sized live venue and sound recording consoles, these input jacks are numbered as well and consolidated in a
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can connect digital system elements for expanded monitoring and control, allowing the system technician to make adjustments to distant devices during the performance. The use of remote control technology can reduce the amount of venue space used for the front-of-house mixing console, and recover
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Since the option first appeared associated with analog mixing the 1990s as wired remote controls for certain digital processes such as monitor wedge equalization and parameter changes in outboard reverb devices, the concept has expanded until wired and wireless remote controls are being seen in
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to as much as 10 ms, depending on the model of digital mixer and what functions are engaged. This small amount of latency is not a problem for loudspeakers aimed at the audience and not necessarily a problem for monitor wedges aimed at the artist, but can be disorienting and unpleasant for
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as a submix, a group of channels that are then added as a whole to the final mix. For instance, many drum mics could be grouped into a bus, and then the proportion of drums in the final mix can be controlled with one bus fader. A bus can often be processed just like an individual input channel,
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and may also be available as a line-level output that is intended to drive a monitor speaker system. The terms AFL (after-fader listen) and PFL (pre-fader listen) are used to describe respectively whether or not the level of the cue signal for an input is controlled by the corresponding fader.
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Analog consoles have a column of dedicated, physical knobs, buttons, and faders for each channel, which is logical and familiar to generations of audio engineers who have been trained on analog mixers. This takes more physical space but can accommodate rapid responses to changing performance
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are apt to have many fewer controls than mixers designed for live or studio production mixing, dropping pan/balance, EQ, and multi-bus monitoring/aux feed knobs in favor of cue and output bus selectors, since, in a radio studio, nearly all sources are prerecorded or preadjusted.
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allowing for full show readiness in very short order. Some digital mixers allow offline editing of the mix, a feature that lets the traveling technician use a laptop to make anticipated changes to the show, shortening the time it takes to prepare the sound system for the artist.
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Public address systems in schools, hospitals and other institutions use a mixing console to set microphones to an appropriate level and can add in recorded sounds such as music into the mix. PA mixers usually have controls that help to minimize audio feedback.
700:. The smallest, least expensive mixers may only have bass and treble controls. Most mid-range and higher-priced mixers have bass, midrange, and treble, or even additional mid-range controls (e.g., low-mid and high-mid). Many high-end mixing consoles have
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Within a digital mixer, there can be differing amounts of latency, depending on the routing and on how much DSP is in use. Assigning a signal to two parallel paths with significantly different processing on each path can result in
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points after the input gain stage. These provide send and return connections for external processors that only affect an individual channel's signal. Effects that operate on multiple channels connect to auxiliary sends (below).
764:) that allows adjustment of the level of that channel. These are usually sliders near the front of the mixing board, although some smaller mixers use rotary controls to save space. The signals are summed to create the main
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Radio broadcasts use a mixing desk to select audio from different sources, such as CD players, telephones, remote feeds, prerecorded advertisements, and in-studio live bands. These consoles, often referred to as
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the signal. The sound engineer typically adjusts the gain of the input signals to get the strongest signal that can be obtained without causing clipping. Having the gain set as high as possible improves the
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can send the signal to an external processor such as a reverb, with the return signal routed through another channel or designated auxiliary return. Post-fader sends are normally used in this case. Pre-fade
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The types of inputs that can be plugged into a mixer depend on the intended purpose of the mixer. A mixer intended for a live venue or a recording studio typically has a range of input jacks, such as
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and several vocalists. A mixing console in a professional recording studio may have as many as 96 channels. Consoles used for live sound can go even higher, with some having up to 384 input channels.
1415:. In the 1970s, hip hop DJs developed a technique of adjusting the fader and crossfader controls of mixers at the same time as they manipulated records on turntables, creating unique rhythmic
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feed one or more computers used for editing or sound playback. Another program channel may be used to send audio to the talent's headset if they are broadcasting from a remote area.
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is present at all stages of an analog mixer, though good gain stage management and turning unused channels down to zero minimizes its audibility. Digital circuitry is generally more
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line inputs. The smallest, least expensive mixers may only have one XLR input with the other inputs being line inputs. These can be used by a singer-guitarist or other small acts.
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within a digital mixer introduces latency. Audio inserts to favorite external analog processors make for approximately double the usual latency. Further latency can be traced to
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of the signal on each channel, controlling routing of the input signal to other functional sections, and adjusting the channel's contribution to the overall mix being produced.
816:. A test tone generator might be located in the master output section. Aux returns such as those signals returning from external processors are often in the master section.
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On many consoles, these sections are color-coded for quick identification by the operator. Each signal (e.g., a singer's vocal mic, the signal from an electric bass amp's
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1431:. The tones generated from a no-input mixer are created by connecting an output of the mixer into an input channel and manipulating the pitch with the mixer's dials.
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can be used to attenuate the signal. Both preamplifiers and pads, and the controls associated with them, are available in the input section of most mixing consoles.
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Depending on the mixer, a channel may have buttons which enable the audio engineer to reroute the signal to a different output for monitoring purposes, turn on an
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The meters may be above the input and master sections or they may be integrated into the input and master sections themselves. Meters may have needles or
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Analog mixers, too, must deal gracefully with overloading and clipping at the microphone preamplifier and as well as avoiding overloading of mix buses.
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would not produce an adequate signal level to drive loudspeakers, because the microphone's signal is too weak; the microphone signal needs a
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An analog mixing board is divided into functional sections. Some of the more important functional sections are subdivided into subsections.
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inputs and connectors, such as XLR or phone connectors that have been specifically wired as balanced lines, reduce interference problems.
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while delivering an accurate digital stream. Overloading during further processing and mixing of digital streams can be avoided by using
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Most rock and pop bands use a mixing console to combine musical instruments and vocals so that the mix can be amplified through a
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to produce the combined output signals, which can then be broadcast, amplified through a sound reinforcement system or recorded.
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relation to entire digital mixing platforms. It is possible to set up a sound system and mix via laptop, touchscreen or tablet.
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1014:. The test tone can be used to troubleshoot issues before the band arrives and determine if channels are functioning properly.
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mixers, the master control is a fader. However, on some small mixers, rotary knobs are used instead to save space (and cost).
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Only the smallest mixers, such as four to six-channel mixers that might be used on location outdoors, have a battery option.
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when recombined. Some digital mixers incorporate internal methods of latency correction so that such problems are avoided.
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control. The input/preamp conditions the signal from the external device and this controls the amount of amplification or
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pointing at the performers or in-ear monitors); this mix is thus independent of the main mix produced by the faders.
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Further channel controls affect the equalization of the signal by separately attenuating or boosting a range of
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to indicate the levels for each channel, for the master outputs and to indicate whether the console levels are
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for each channel. To obtain a good gain structure, engineers usually raise the gain as high as they can before
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to the mixer. Instead, the onstage mic and instrument cables are typically plugged into the stage box of a
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routes a split of the incoming signal to an auxiliary bus, which can then be routed to external devices.
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Some mixing consoles, particularly those designed for broadcast and live sound, include facilities for
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On the other hand, many digital mixers allow for extremely easy building of a mix from saved data.
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that add further reverb, compression, delay and tone-shaping tools. Several digital mixers include
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to strengthen the signal so that it is strong enough for the power amplifier. For some very strong
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input channels arranged in columns. Typically, each channel's column contains a number of rotary
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can either be pre-fader or post-fader, in that the level of a pre-fader send is set by the
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or a semi-parametric equalizer for one or more of the equalizer frequency bands, often the
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DJs using a larger number of sources. These sources could include turntables, CD players,
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cable which runs from the stage to the mixer. The snake is then plugged into the mixer.
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Consoles with a cue feature have a dedicated button on each channel, typically labeled
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control, whereas post-fade sends depend on the position of the channel fader as well.
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musicians may create feedback loops within mixers, creating an instrument known as a
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for some simple applications, such as courtrooms, conferences and panel discussions.
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A small mixer that could be used for a singer-guitarist's performance at a small
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electronically amplified in their ears but delayed by a couple of milliseconds.
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signals, the signal that is plugged into the mixer may be too strong, and cause
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fashion, mixing console controls and displays are almost always labeled in
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or parametric) at the output, for controlling the tone of the overall mix.
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Profile mixer on location at a corporate event. This digital mixer allows
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sales have increased dramatically since their introduction in the 1990s.
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on each channel. Some mixers have a general equalization control (either
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can provide a monitor mix to musicians on stage (which they hear through
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Opening
Pandora's Box? The "L" word - latency and digital audio systems
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In practice, mixers do more than simply mix signals. They can provide
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and final output in all digital systems must be controlled to avoid
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An audio engineer adjusts a mixer while doing live sound for a band.
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Talkback controls allow conversation with the artist through their
535:(on small mixers, these may be rotary knobs to save space and cost)
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producers and engineers were early users of the mixing board as a
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In a digital mixer, the microphone preamplifier is followed by an
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functions. A few incorporate loudspeaker management tools such as
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SL9000J (72 channel) console at
Cutting Room Recording Studio, NYC
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from radio transmitters such as walkie-talkies and cell phones.
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Channel input strip, Group, and Master section on Mackie ONYX 80
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the next song to the desired starting point before playing it.
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use monaural signals to produce simulated stereo sound through
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Yamaha 2403 audio mixing console in a 'live' mixing application
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where the artist hears their voice acoustically in their head
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Mixed
Signals - Studying the basics of a Mixer's signal flow
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Most live radio broadcasting soundboards send audio through
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For convenience, some mixing consoles include inserts or a
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for processing. Due to the high gains involved (around +50
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The first knob at the top of an input strip is typically a
30:"Audio mixer" redirects here. For the film profession, see
2069:"How To Record a Live Concert: Capturing Your Gig On tape"
1024:
be interfaced with computers or other recording equipment.
463:(often reducing the signal by 15 or 20 dB to prevent
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Both digital and analog mixers rely on analog microphone
1223:
16-channel mixing console with compact short-throw faders
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The channel input strips are usually a bank of identical
247:
shows may have 24 channels for mixing the signals from a
1397:. The DJ mixer also allows the DJ to use headphones to
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consoles often include processing capabilities such as
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equipment is referenced to a nominal level of +4
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that is applied to the input signal to bring it to a
1886:"96 Inputs and 22 Buses For Glorious Surround Sound"
968:
A sound engineer at the controls of a SSL9000J mixer
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The input strip is usually separated into sections:
207:
Mixing consoles are used for applications including
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1822: – Video version of a mixing console
721:signal from the cue system is fed to the console's
543:, etc.) that is plugged into the mixer has its own
448:inputs for pre-recorded music being played back on
291:performance applications may include an integrated
270:, which changes a sound's apparent position in the
79:. Unsourced material may be challenged and removed.
619:Audio engineers typically aim at achieving a good
1275:. Intermediate processing in older systems using
1203:and from normal digital signal processing steps.
1252:A studio engineer at a Control 24 mixing surface
1127:. Some products are expandable via third-party
1987:"Sound Advice > Q. Are all Decibels equal?"
1525:Console 72 in 48 out with GML Fader Automation
915:As the human ear experiences audio level in a
758:Each channel on a mixer has a volume control (
2140:
2095:"Explanation about Matrix/ALD/IEM/Soundboard"
1163:Digital mixers have an unavoidable amount of
8:
2767:Professional Lighting and Sound Association
1564:Category:Audio mixing console manufacturers
235:may have only two channels, for mixing two
2357:Comparison of analog and digital recording
2147:
2133:
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1481:CR1604-VLZ mixing console in a home studio
1361:sourced directly from the mixing console.
1095:Comparison of analog and digital recording
1851:The logarithmic response applies both to
467:), or activate other features, such as a
139:Learn how and when to remove this message
1933:Rumsey, Francis; McCormick, Tim (2009).
1353:'s PA system. Among the highest quality
875:
627:results; this helps to provide the best
1877:
1832:
1438:
1451:Local Radio Mark III radio mixing desk
679:Program channels on a radio soundboard
2828:New Interfaces for Musical Expression
1049:provide amplifier power for external
596:A microphone plugged directly into a
428:for microphones and the outputs from
303:A mixing console is also known as an
7:
1941:(Sixth ed.). Elsevier. p.
1389:, or electronic instruments such as
972:Most, but not all, audio mixers can
77:adding citations to reliable sources
2012:"Yamaha PM5D Sales Top 1,000 Units"
1357:of live performances are so-called
800:right faders (for stereo mixers).
471:. Some higher-priced mixers have a
987:required by condenser microphones.
25:
2377:Reel-to-reel audio tape recording
1292:resistant to outside interference
1039:or other communication interface.
2846:
1545:
1530:
1515:
1501:
1486:
1471:
1466:Mixing desk for live performance
1456:
1441:
1167:, ranging from less than 1
849:
828:
520:Routing, including direct outs,
369:
360:
351:
192:. Inputs to the console include
186:sound recording and reproduction
53:
38:. For the music profession, see
2362:Experimental musical instrument
1985:Robjohns, Hugh (October 2003).
215:, sound reinforcement systems,
64:needs additional citations for
1552:Gecko Exodus Odyssey MXR 5204L
1027:control or be controlled by a
884:There are usually one or more
1:
2547:Electronic musical instrument
2093:UrbanSteel (March 17, 2009).
943:Hardware routing and patching
783:Some higher-end consoles use
634:A mixing console may provide
2853:Record production portal
2742:Institute of Broadcast Sound
1312:space for audience seating.
1189:digital to analog conversion
1185:analog to digital conversion
785:voltage-controlled amplifier
180:is an electronic device for
27:Device used for audio mixing
2878:Sound production technology
2762:Musical Electronics Library
1265:analog-to-digital converter
200:. The modified signals are
190:sound reinforcement systems
2894:
2509:Sound reinforcement system
2418:Sound reinforcement system
1975:. Retrieved on 2008-08-20.
1561:
1509:Solid State Logic SL4064G+
1092:
528:, and subgroup assignments
509:Dynamics processing (e.g.
456:, and a single mic input.
29:
2842:
2732:Audio Engineering Society
2630:Software effect processor
2610:Digital audio workstation
2451:Digital signal processing
2215:Digital audio workstation
1586:Automated Processes, Inc.
1323:digital audio workstation
1273:floating-point arithmetic
1149:Digital signal processing
1029:digital audio workstation
511:dynamic range compression
284:dynamic range compression
2823:Professional audio store
2725:People and organizations
2711:Sound recording engineer
1089:from third-party vendors
500:Microphone preamplifiers
2241:Microphone preamplifier
1656:Harrison Audio Consoles
702:parametric equalization
184:audio signals, used in
2182:Electronic and digital
1839:Peak meters often use
1387:portable media players
1342:
1277:fixed-point arithmetic
1253:
1224:
1100:Digital mixing console
1090:
969:
880:
791:Master output controls
680:
643:Auxiliary send routing
344:
213:public address systems
169:
161:
32:Production sound mixer
1558:Notable manufacturers
1359:soundboard recordings
1336:
1251:
1222:
1077:
1070:Digital versus analog
995:add onboard external
967:
899:signal-to-noise ratio
879:
678:
629:signal-to-noise ratio
551:input, and many have
342:
264:condenser microphones
167:
156:
2640:Software synthesizer
2605:Digital audio editor
2391:Playback transducers
2251:Multitrack recording
1991:www.soundonsound.com
692:Channel equalization
563:Basic input controls
473:parametric equalizer
409:for controlling the
405:knobs, buttons, and
231:for the audience. A
73:improve this article
1937:Sound and Recording
1376:playing music at a
1141:crossover filtering
768:, or combined on a
557:TRS phone connector
389:Channel input strip
2691:Re-recording mixer
2494:Keyboard amplifier
2210:Binaural recording
1971:2008-09-30 at the
1413:musical instrument
1355:bootleg recordings
1343:
1254:
1225:
1193:format conversions
1137:real-time analyzer
1091:
1019:console automation
1006:create an audible
970:
929:professional audio
881:
868:Peak program meter
681:
345:
170:
162:
36:Re-recording mixer
2860:
2859:
2666:Guitar technician
2562:Music workstation
2446:Digital recording
2423:Speaker enclosure
2342:8-track cartridge
2284:Phonograph record
1767:Ward-Beck Systems
1737:Speck Electronics
1726:Solid State Logic
1606:Cadac Electronics
1576:Allen & Heath
1494:Solid State Logic
1464:Allen & Heath
1309:Computer networks
903:auxiliary outputs
754:Busses and submix
323:, or simply as a
209:recording studios
149:
148:
141:
123:
40:Live sound mixing
16:(Redirected from
2885:
2851:
2850:
2849:
2737:Goji Electronics
2676:Monitor engineer
2635:Software sampler
2542:Electronic drums
2519:Electronic music
2489:Guitar amplifier
2334:Analog recording
2294:Compact cassette
2256:Music production
2164:Music technology
2156:Music technology
2149:
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2126:
2107:
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2090:
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2079:
2064:
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2019:
2014:. Archived from
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1805:Electronic mixer
1549:
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1490:
1475:
1460:
1445:
1237:USB flash drives
1153:automatic mixing
1123:suppression and
1051:passive speakers
991:Some mixers can
853:
835:Meter bridge on
832:
670:monitor speakers
555:or quarter-inch
469:high-pass filter
417:, adjusting the
373:
364:
355:
144:
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88:"Mixing console"
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2786:
2720:
2686:Record producer
2671:Mixing engineer
2644:
2591:
2557:MIDI controller
2532:Circuit bending
2513:
2455:
2432:
2408:Monitor speaker
2386:
2328:
2276:Recording media
2270:
2261:Music sequencer
2246:Monitor speaker
2192:Sound recording
2186:
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1973:Wayback Machine
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1316:Software mixers
1304:
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1174:in-ear monitors
1161:
1097:
1072:
1059:
1017:read and write
962:
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756:
714:
694:
666:auxiliary sends
661:Auxiliary sends
653:Auxiliary sends
645:
598:power amplifier
565:
526:panning control
522:auxiliary-sends
517:), if supported
391:
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293:power amplifier
288:sound recording
225:post-production
198:digital signals
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2791:Related topics
2788:
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2747:Lejaren Hiller
2744:
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2706:Sound operator
2703:
2701:Sound follower
2698:
2696:Sound designer
2693:
2688:
2683:
2678:
2673:
2668:
2663:
2658:
2656:Audio engineer
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2486:
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2476:
2474:Bass amplifier
2471:
2469:Mixing console
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2205:Mixing console
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2115:
2114:External links
2112:
2109:
2108:
2085:
2067:Shambro, Joe.
2059:
2045:
2021:
2018:on 2006-05-06.
2003:
1977:
1958:
1951:
1925:
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1866:
1857:
1855:and frequency.
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1810:Mix automation
1807:
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1762:Telos Alliance
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1429:no-input mixer
1330:
1327:
1317:
1314:
1303:
1302:Remote control
1300:
1245:
1242:
1216:
1213:
1209:comb filtering
1160:
1157:
1129:audio plug-ins
1087:audio plug-ins
1071:
1068:
1058:
1055:
1054:
1053:
1047:
1042:be powered by
1040:
1025:
1022:
1015:
1004:
989:
988:
981:
961:
960:Other features
958:
944:
941:
874:
864:
863:
855:
848:
847:
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834:
827:
826:
825:
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814:in-ear monitor
792:
789:
780:
777:
755:
752:
713:
710:
693:
690:
657:auxiliary send
649:auxiliary send
644:
641:
625:audio clipping
621:gain structure
610:audio clipping
564:
561:
537:
536:
531:Level-control
529:
518:
507:
502:
497:
465:audio clipping
461:attenuator pad
444:typically has
426:XLR connectors
390:
387:
378:
377:
368:
367:
359:
358:
350:
349:
348:
347:
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336:
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249:rhythm section
237:record players
174:mixing console
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61:
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52:
44:Audio engineer
26:
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10:
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2834:Vehicle audio
2832:
2829:
2826:
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2821:
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2811:
2809:
2806:
2804:
2803:High fidelity
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2438:Digital audio
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2382:Tape recorder
2380:
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2352:Cassette deck
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2289:Magnetic tape
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2266:Outboard gear
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2097:. U2start.com
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2031:Si Expression
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2017:
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2004:
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1661:Klotz Digital
1659:
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1636:Electro-Voice
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1244:Sound quality
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1195:such as from
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985:phantom power
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583:nominal level
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129:February 2010
121:
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111:
107:
104:
100:
97:
93:
90: –
89:
85:
84:Find sources:
78:
74:
68:
67:
62:This article
60:
56:
51:
50:
45:
41:
37:
33:
19:
18:Audio console
2873:Audio mixing
2844:
2577:Sound module
2537:Drum machine
2479:Effects unit
2468:
2372:Player piano
2299:Compact disc
2221:Effects unit
2204:
2120:Mixer how-to
2099:. Retrieved
2088:
2076:. Retrieved
2062:
2054:
2048:
2038:, retrieved
2030:
2024:
2016:the original
2006:
1994:. Retrieved
1990:
1980:
1961:
1936:
1928:
1917:. Retrieved
1913:
1910:"Quantum852"
1904:
1893:. Retrieved
1880:
1860:
1847:
1835:
1820:Vision mixer
1752:Studiomaster
1428:
1423:
1416:
1403:
1395:synthesizers
1380:use a small
1372:
1366:
1363:
1348:
1344:
1329:Applications
1319:
1305:
1296:
1285:
1262:
1255:
1234:
1230:
1228:conditions.
1226:
1205:
1182:
1177:
1162:
1151:can perform
1133:spectrograph
1119:, automatic
1098:
1062:
1060:
997:effect units
990:
971:
946:
914:
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902:
883:
836:
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695:
684:
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665:
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656:
652:
648:
646:
633:
620:
618:
602:preamplifier
595:
572:
568:
566:
544:
538:
505:Equalization
489:
481:
477:middle range
458:
423:
419:equalization
415:preamplifier
392:
384:
328:
324:
320:
316:
312:
308:
304:
302:
280:equalization
272:stereo field
257:
229:loudspeakers
221:broadcasting
206:
177:
173:
171:
150:
135:
126:
116:
109:
102:
95:
83:
71:Please help
66:verification
63:
2818:Music store
2813:Home cinema
2772:Robert Moog
2757:Max Mathews
2681:Piano tuner
2649:Professions
2625:Scorewriter
2582:Synthesizer
2398:Loudspeaker
2101:October 18,
2078:October 18,
2053:Whirlwind.
1996:12 February
1616:Crest Audio
1425:Noise music
1339:coffeehouse
1215:Ease of use
1109:compression
917:logarithmic
890:peak meters
840:Legacy Plus
698:frequencies
579:attenuation
495:Input jacks
440:sources. A
317:sound mixer
313:mixing desk
305:audio mixer
299:Terminology
268:pan control
253:lead guitar
241:coffeehouse
194:microphones
178:mixing desk
2867:Categories
2808:Home audio
2798:Audiophile
2615:GarageBand
2461:Live music
2403:Headphones
2367:Phonograph
2236:Microphone
2231:Headphones
2177:Electrical
2172:Mechanical
2040:2017-10-30
1919:2024-04-20
1895:2016-12-20
1872:References
1772:Wheatstone
1732:Soundcraft
1562:See also:
1418:scratching
1378:dance club
1367:air-boards
1281:saturation
1093:See also:
1079:Digidesign
1012:oscillator
810:headphones
779:VCA groups
718:cue system
712:Cue system
606:line level
454:CD players
450:turntables
438:line level
434:1/4" jacks
321:soundboard
245:rock music
217:nightclubs
99:newspapers
2572:Sequencer
2499:PA system
2428:Subwoofer
2413:PA system
2347:Amplifier
2309:Hard disk
2226:Equalizer
2073:About.com
1853:amplitude
1800:Board mix
1782:Yorkville
1742:Stage Tec
1651:Focusrite
1646:Fairlight
1626:DHD audio
1601:Behringer
1540:SeriesTEN
1523:Focusrite
1421:effects.
1351:nightclub
1063:mirroring
1057:Mirroring
1044:batteries
1008:test tone
999:(reverb,
949:patch bay
485:patch bay
335:Structure
276:filtering
2620:ProTools
2597:Software
2587:Theremin
2527:Chiptune
2484:Foldback
2314:MiniDisc
1969:Archived
1795:Aux-send
1789:See also
1701:PreSonus
1641:Euphonix
1591:AMS Neve
1538:Harrison
1407:DJs and
1382:DJ mixer
1269:clipping
1145:limiting
1121:feedback
983:provide
921:decibels
894:clipping
858:VU meter
820:Metering
806:monitors
591:Balanced
442:DJ mixer
430:DI boxes
395:monaural
233:DJ mixer
2716:Tape op
2567:Sampler
1815:Pan law
1671:Logitek
1621:D&R
1581:Audient
1496:SL9064J
1435:Gallery
1165:latency
1159:Latency
1010:via an
978:panning
927:. Most
842:console
706:graphic
685:program
545:channel
113:scholar
2830:(NIME)
2504:Reverb
1949:
1914:DiGiCo
1890:Yamaha
1777:Yamaha
1757:TASCAM
1747:Studer
1716:Roland
1696:Phonic
1691:Peavey
1676:Mackie
1631:DiGiCo
1611:Calrec
1571:Alesis
1479:Mackie
1183:Every
1117:reverb
1113:gating
1104:Yamaha
744:Listen
636:insert
541:DI box
533:faders
515:gating
432:, and
407:faders
399:stereo
223:, and
202:summed
182:mixing
115:
108:
101:
94:
86:
2782:STEIM
2777:SMPTE
2752:IRCAM
2217:(DAW)
2035:(PDF)
1827:Notes
1728:(SSL)
1721:Shure
1686:Midas
1288:Noise
1125:delay
1083:Venue
954:snake
761:fader
742:, or
329:mixer
325:board
120:JSTOR
106:books
2552:MIDI
2324:Opus
2103:2012
2080:2012
1998:2020
1947:ISBN
1841:LEDs
1711:Rane
1666:Lawo
1596:Avid
1201:AES3
1197:ADAT
1187:and
1143:and
1135:and
1033:MIDI
1031:via
1001:echo
910:LEDs
740:Solo
716:The
647:The
574:gain
569:trim
436:for
411:gain
278:and
262:for
239:. A
188:and
92:news
42:and
34:and
2319:MP3
2304:DAT
1943:109
1706:QSC
1681:MCI
1449:BBC
1409:Dub
1399:cue
1393:or
1374:DJs
1199:to
1178:and
1081:'s
1037:USB
937:dBV
933:dBu
888:or
838:API
812:or
771:bus
766:mix
736:PFL
732:AFL
728:Cue
614:pad
571:or
553:RCA
549:XLR
452:or
397:or
327:or
176:or
158:SSL
75:by
2869::
2661:DJ
2071:.
1989:.
1945:.
1912:.
1888:.
1325:.
1283:.
1169:ms
1147:.
1115:,
1111:,
1035:,
939:.
886:VU
866:⇐
856:⇑
808:,
738:,
734:,
730:,
631:.
587:dB
524:,
513:,
479:.
331:.
319:,
315:,
311:,
307:,
295:.
274:;
266:;
251:,
219:,
211:,
172:A
2148:e
2141:t
2134:v
2105:.
2082:.
2000:.
1955:.
1922:.
1898:.
1341:.
1046:.
1021:.
980:.
142:)
136:(
131:)
127:(
117:·
110:·
103:·
96:·
69:.
46:.
20:)
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