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AE130 Power Point Week 7 Day 14 Console Components and DAW

The document discusses the main components and signal flow of an audio mixing console, including the channel input section for selecting mic/line level and gain staging, equalization controls, auxiliary sends, routing signals through busses and subgroups, monitoring playback and returns, and overall output through the master fader. It also briefly outlines similar components in a ProTools channel strip and provides homework of reading a chapter on recording techniques.

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John Turner
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69 views38 pages

AE130 Power Point Week 7 Day 14 Console Components and DAW

The document discusses the main components and signal flow of an audio mixing console, including the channel input section for selecting mic/line level and gain staging, equalization controls, auxiliary sends, routing signals through busses and subgroups, monitoring playback and returns, and overall output through the master fader. It also briefly outlines similar components in a ProTools channel strip and provides homework of reading a chapter on recording techniques.

Uploaded by

John Turner
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PPTX, PDF, TXT or read online on Scribd
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AE130 Power Points

STUDIO AUDIO ENGINEERING 1


WEEK 7 DAY 14
Channel Input Section
Channel Input Section

1) Choose between different types of inputs (Mic/Line)

2) Preamp – microphone outputs are usually very low (-45 to


-55 dB) the mic gain on a preamp allows us to boost the signal
(+20 to +70dB) to a line level signal (standard operating signal)

3) Line Trim – Receives a signal that is at line level but can
attenuate or boost the incoming signal

4) Boosting a level too much will cause the preamps output to
be overdriven (LED overload light)
Channel Input Section

5) Input attenuation pad – Used to reduce a signal


by a specific amount (-10 or -20dB)

6) Phase Reverse (Polarity Invert) – Invert polarity


of the output of the preamp section 180 degrees

7) 48V Phantom Power – Some microphones require


power to operate, Phantom power works by sending
a positive DC voltage of +48V through both audio
conductors (pin 2 and 3)
Equalization
Equalization

1) Abbreviated as just EQ

2) Controls the amplitude of various frequencies


within the audible bandwidth

3) Correct specific problems in a instrument

4) Overcome deficiencies in the frequency response


of a mic or in the sound of a instrument
Equalization

5) Allow contrast between sounds to better blend


them within a mix

6) Alter a sound for a musical or creative reason


Insertion Point

1) A break in the signal path (send and return point)


can be pre or post equalizer depending on the
system.

2) Allows external processors to be placed with in the


signal path

Used for outboard equalization and dynamics


Auxiliary Sends
te and mix signals from one or more
the various effects, output sends, and
phone cue sends of a console

o have multiple sends (2, 4, 8, up to 16)

sed for headphones/monitors and


zed mix functions

used for FX
Aux Masters

Each individual aux send gets summed though its


own master
Channel Fader
Channel Fader

Controls the output level of that channel

Contains solo, mute and pan controls

Some consoles allow the faders to be flipped with the


monitor fader

Could be motorized and allow you to write


automation (record movements of the fader) or
control an automated VCA
Routing Matrix
Routing Matrix

1) After the channel faders output, the signal is sent


to the routing matrix

2) Similar terms are Multi-track Buss, Routing


Matrix, Bussing Matrix, Summing Matrix, Busses,
Groups, Outputs.

3) On some consoles, each buss or group is sent to its


own master (buss master or group master)
Routing Matrix

4) Allows signal to be sent to the multi-track


recorder, the main stereo output of the console (L-R
Mix, Master Fader or Mix Buss) or sub-grouping

5) Sub-Grouping is when multiple signals are sent to


the same bus or pair of busses
Bus Masters/Group Masters/Sub Masters
Monitor Path

1) Listen back to the multi-track recorder during the


recording process, additional console returns during
the mixing process. Can be accessed via the patch
bay on most consoles.

2) The multi-track recorders outputs are normalled


to the input of the monitor path in record mode, but
in mix mode, the MTR normals to the channel faders
freeing the monitor section for additional mix
returns via the patch bay.
Monitor Path

- Some monitor paths will incorporate their own EQ


and Aux sends as well as extra routing possibilities

- Some consoles will allow you to switch processing


and aux sends between the channel path and
monitor path

- Mackie refers to their monitor path as the “Mix B”


Path (monitor fader/small fader)
Monitor Level (Mix B)

- On the Mackie Console, instead of a fader it is a


potentiometer (a rotary gain, pan, or other type of
continuously variable signal control)
Mix B Master
Mix B Master

- The Mackie console incorporates a master for the


monitor section of the console

- The output of all the Mix B monitor paths will sum


through their own master
Aux Returns
Aux Returns

- Really just a extra smaller monitor path located in


the master section

- Typically used to monitor back to time based effects


(delay, reverb, chorus etc.)

-Usually route the output of the aux returns to sum


through the main output of the console (L-R Mix)
Master Fader (L-R Mix)
Master Fader (L-R Mix)

- All outputs of the faders assigned to the L/R Mix


(also called the Stereo Bus) will sum through this
main output control

- Overall control for everything being sent two the


two track recorder for the final mix down format

- Typically set to unity, very rare to adjust unless you


want to drive the output of the console harder or the
output of the console is being driven too hard.
Master Section
Master Section

1) Monitor different sources and formats (output of


console/cd player/headphone mix, mono, stereo, and
surround)

2) Control of global console modes

3) Speaker level control (control room level)

4) Select between different speakers

5) Talkback / headphone controls


Protools Channel Path
I/O (Input to signal path)
Inserts
Aux Sends
Fader
Pan
I/O (Output of signal path)
Master Fader
READ MODERN RECORDING TECHNIQUES
CHAPTER 7
Signal Flow Diagram
Signal Flow Diagram

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