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Console basics
Before the console
A mixer is a device that can take in multiple inputs and send them out to something with fewer inputs.
Multiple audio signals are combined and sent to a common output, such as a multi-track tape recorder.

A multi-track recorder is a tape recorder that divides the tape into separate pieces, all of which can be
recorded separately / simultaneously and then be played back altogether. Individual instruments can be
assigned to each track and can be recorded and played back independently; this allows for more
flexibility in the mixing and editing process.
● Prior to the development of multi-track recorders, all elements of a recording (vocals, instruments,
etc.) had to be performed and recorded all at once into one track — this also limited the amount
of control the engineer had over the final mix.
● Multi-track recorders allowed for different elements in a recording to be separated into individual
tracks, meaning that each element could be adjusted instead of one big recording.
● However, this consequently created the need for a device that would be able to combine all of
these separately-recorded parts into one final mix i.e. the recording console.

A recording console is a group of mixers confined within one 'box' that routes the different mixes
needed for the multi-track recording process — you're able to individually apply effects to different tracks
and consolidate them into one final mix.
○ If the tape returns are next to the input section, it's a split console.
○ If the tape returns are in the middle of the input section, it's an inline console.

Mnemonic for memorizing the dimensions of a console

Interesting Gary Talks (too) Much

Inputs ✕ Groups ✕ Tape returns ✕ Masters

It's important to note that tape returns aren't found on every console (like the API in Studio D doesn't have any
— it assumes you're sending out to Pro Tools in the computer there) so this mnemonic isn't all that helpful. You
do get tested on this anyway and the correct answer is tape returns!
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Parts of a recording console

Input section
Takes in input from a microphone or line signal — the first thing your signal passes through.
● MIC / LINE button: Allows you to switch between a low or high impedance signal.
● Trim knobs: Adjusts the gain coming into the board, either boosting weaker signals or lowering
gain to prevent distortion.
● Pad button: used only when lowering gain with the trim knob isn't enough to reduce the sound
coming into the board.
● +48V button: refers to voltage, representing phantom power. This supplies additional power for
certain devices without the need for an external power source — this is typically used for
condenser mics.
● Phase button: changes the signal's polarity (+ to -, or - to +); this prevents multiple mic input
signals from falling out of phase with each other (usually looks like this on a console: ∅).

EQ
Allows you to isolate and adjust frequencies, usually by boosting or lowering them.
● IN / OUT button: allows you to turn on and off the EQ to compare the sound
● EQ tends to come in different configurations from console to console
● When using EQ on a console, to figure out what frequencies you want to adjust, you go through
each designated knob — adjust accordingly with the sweep knob.
○ Each frequency band has a specific range of frequencies it affects (e.g. the low frequency
knob might affect frequencies below 100 Hz, while the high frequency knob might affect
frequencies above 10 kHz).
● TIP: Always try to start off with a good source sound before moving into EQ – the idea is that
you're trying to improve the sound, not to fix it with EQ.

Bus / group section

Outputs a signal to the multi-track.
● A bus is a pathway used to multiple audio signals; also known as a group. They can also be used
for creating stereo sound from multiple mono channels, or processing multiple channels
simultaneously with the same effects.
○ Note that the ways in which buses are routed on a console varies from one console to
another, and some consoles may actually have buses designated for specific things (ex.
'drum bus' for submixing drum channels)
● Pan knobs: controls the stereo placement of each channel in the mix.
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● L-R buttons: used to route each channel to the left or right output bus.
● Bus outputs: buttons labeled with numbers usually indicate which bus you're assigning a
channel to,
● Mute: allows you to turn off certain channels.

Tape return section

Takes inputs from a multi-track tape recorder and sends them through the console; can also be used to
process + mix other signals from external devices such as FX processors, synthesizers, etc.
● Tape level controls: These are the knobs or faders that control the volume of the recorded
material as it is played back through the console. The tape level controls are used to balance the
levels of the different tracks and to adjust the overall level of the mix.
● Tape pan controls: allow you to adjust the stereo position of the recorded material within the
mix. The tape pan controls are used to create a sense of space and dimension in the mix by
placing different tracks in different positions across the stereo field.
● Tape monitor section: ]includes a set of controls for listening to the playback of the recorded
material through the console's monitor speakers or headphones. The tape monitor section may
include controls for adjusting the level and tone of the monitor signal, as well as options for
soloing or muting individual tracks.
● Aux sends: allow you to send the recorded material to external effects processors or to create
headphone mixes for the musicians in the studio.

Master section
Contains the majority of output controls for a signal.
● Auxiliary masters: volume knobs that lower or raise the mix being sent to external FX processors
(ex. reverb, delay). This allows you to control the levels of the wet/dry mix in the overall sound.
○ They can also be used to send an individual mix to monitors or headphones for the
performers to hear, while still maintaining a separate mix for the main output.
● FX returns: used to add external effects to the mix, usually through a separate device or
processor; the signal is sent back into the console via. the FX return.
○ The level of the FX return is typically controlled by a volume knob or fader in the master
section of the console.
● Master buses: routes the final mix of all the channels to the main output / outputs of the console.
● Solo and mute buttons: isolates or silences a specific channel or group of channels.
● Panning: determines the left-right placement of the audio signal in the stereo field.
● L-R buttons: switches the audio signal between the left and right output channels, or to isolate a
specific channel for monitoring.
● Direct outs: allows you to directly patch one channel to another or to an external recording
device through individual output jacks.
● Groups (buses): combines multiple channels together into a single output or submix.
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Aux send section

Sends to headphones and/or FX units.
● The AUX sections (send and return) are for creating auxiliary mixes that diverge from the main
mix — you can add different effects and other changes, then send these out to different outputs,
such as headphone mixes for musicians while recording.
● The PRE / POST switch determines whether the signal being sent to the aux output is affected by
the fader level or not.
○ PRE: The sound splits off from the fader and plays regardless of what the fader is doing.
○ POST: The sound goes out the auxes and depends on the fader for volume.
● When monitoring / listening in headphones, always listen in PRE

Aux return section

Receives signal from FX units.
● The talkback button is connected to a microphone built into the console — this is used by the
engineer to communicate with musicians in the recording room.
○ Sometimes there are multiple buttons that enable talkback, usually numbered. These are
intended for communication to specific channels — if you have a musician assigned to each
talkback number, you can talk to each one specifically.
● Slate button — what you say into the console mic will be recorded onto the actual track; used by
engineers to record a spoken or sound effect cue onto a specific track during recording.
● Headphone section — controls volume for the engineer and control room controls volume for
control room speakers (sometimes there are separate knobs for these or they’re combined in
one).
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EQ (in-depth)
An EQ is a filter circuit that passes the isolated frequencies to a gain control, allowing you to boost or
reduce the volume of the aforementioned frequencies without altering the others in the sound.

EQ is used to alter the tone of a sound. In order to do so, you need to be able to adjust specific
frequencies without altering others — i.e. filtering them out.The number of bands in an EQ determines
how flexible it is (2-band, 3-band, 4-band, multiband, etc.)

● Fixed EQ, selectable EQ, sweepable EQ, sweepable EQ + sweepable width is parametric
● A tone control is a filter and volume knob, which changes the harmonics of a sound.

When using an EQ, you’re working within the frequency spectrum of human hearing — this spectrum can
be broken down into sections with specific sonic characteristics:

● LOWS (20 — 400 Hz) — adds depth to the sound. Too much of it can give it a ‘boomy’ quality that
takes up a lot of headroom.
● MIDS (400 — 5,000 Hz) — can flesh out your mix. Too much of it will create a ‘boxy’ soundspace.
● HIGHS (5,000 — 20,000 Hz) — can add definition and a ‘sparkling’ quality to your mix, but too
much of it can harshen it or make it sound tinny.

The frequency most affected by the EQ is known as the center frequency, which can be identified by
looking at the middle of the EQ’s bell curve. Width is how far out the bell curve stretches across the
frequency spectrum.

Types of EQ
EQ types are defined in terms of the user’s ability to choose which center frequency and width is boosted
or cut, which will be applied to the original sound (essentially what frequency and width choices are
provided to the user affects its type).

● PEAK-DIP FILTER: center frequency is surrounded by frequencies that are also affected (less and
less) as they get farther from the center frequency.
● SHELVING EQ: center frequency and all the frequencies on one side of it are affected equally
while the frequencies on the other side of it dip down.
● BAND-FIXED EQ: you can control whether the EQ is on or off, you can’t change the center
frequency or the width.
● SELECTABLE EQ: several options of frequencies to apply EQ to.
● PARAMETRIC EQ: sweepable EQ with sweepable width