Unit 1d –

Channel Strip in
a Mixing
Console
Definition

1. A channel strip is a key component of both

analog and digital mixing consoles, as well as
digital audio workstations (DAWs). Each channel
strip controls the processing and routing of an
individual audio signal. Here's a detailed look at
the common elements found in a channel strip
and their functions:
1. The Input
Section

• The input section of a channel strip in a mixing

console is where the audio signal first enters the
console. This section is crucial for shaping the
initial characteristics of the sound before further
processing and mixing. It begins with the input
connectors, which are essential for connecting
various audio sources to the mixing console. These
connectors are designed to handle different types
of signals, ensuring compatibility and optimal
signal quality. Here’s a detailed overview of the
input section typically found in a channel strip:
The Connectors

1.Its
starts of with an XLR input connected
to a microphone preamplifier and a TRS
Input with a selector switch. This can be
replaced by an XLR/TRS combo
connector taught earlier.
Channel Inserts
Channel inserts on a mixer allow you to integrate external effects or processing
units (like compressors, EQs, or reverbs) into the signal path of individual
channels. These inserts are typically found on analog mixers but are also emulated
in digital mixers and DAWs. The insert point which is a TRS female connector
which is usually located after the preamp and before the EQ and fader sections.
Mackie Onyx 80 series Mixing
Console Inserts
These 1/4" TRS jacks provide a send and return point for each channel. Use the
INSERT jacks to connect serial effects devices such as compressors, equalizers, de-
essers, or filters to each individual channel.
The INSERT points are after the GAIN, Polarity, and Low Cut controls, but before the EQ
and Fader controls. The send (tip) is low-impedance, capable of driving any device.
The return (ring) is high-impedance and can be driven by almost any device.
Special insert cables are available, specially designed for this kind of insert jack.
Mackie Onyx 80 Tip = Send (output to effects device)
•

• Ring = Return ( input from effects device)

series Mixing • Sleeve = Common ground (connect shield to all three

sleeves)
Console Inserts - • Besides being used for inserting external devices,

Wiring
these jacks can also be used as an unbalanced channel
direct outputs; post-GAIN, post-LOW CUT, and pre-EQ.
Input Section - Functions and
Features
Input Gain (Trim) Control
• Adjusts the input level to match the console’s operating level.
• Ensures proper signal strength without distortion.

Pad Switch
• Reduces the input signal by a fixed amount (e.g., -10dB or -20dB).
• Prevents distortion from high-level signals.
Input Section - Functions and
Features (Continued)
Low Cut Filter (HPF)
Removes low-frequency content below a set frequency (e.g., 75Hz, 100Hz).
Helps to eliminate rumble and low-frequency noise.
Phase (Polarity) Switch
Inverts the phase of the input signal.
Useful for correcting phase issues in multi-microphone setups.
Phantom Power (48V) Switch
Supplies power to condenser microphones via the XLR input.
Necessary for condenser mics to operate properly.
Input Section -
Functions and
Features
(Continued)
Kindly Note:
• It is not necessary that each
function of the input section will
be available on the mixing
console.
• For use in a DAW, this section will
be included in the Audio Interface.
 Understanding and effectively using the dynamic section can significantly improve the

2. The
quality and clarity of your recordings and mixes. The dynamic section of a channel strip is
crucial for controlling the dynamic range of the audio signal. It typically includes several
key components:

Dynamic
Section
 Compressor: Reduces the dynamic range by attenuating the volume of the loudest parts of
The
•
the signal, making quiet parts more prominent and creating a more consistent overall
volume. Key controls include threshold, ratio, attack, release, and makeup gain.

Dynamic • Limiter: A type of compressor with a high ratio (often ∞:1) that prevents the signal from
exceeding a specified level. It ensures that peaks do not exceed a certain threshold,
Section protecting against distortion and clipping.
Gate: Mutes the signal when it falls below a certain threshold, reducing noise and bleed
Continue
•
from other sources. Key controls include threshold, attack, hold, and release.

d
• Expander: Increases the dynamic range by attenuating the signal when it falls below a
certain threshold, making quiet sounds quieter. It is the opposite of a compressor.
3. The Equalization Section
The equalization (EQ) section of a channel strip allows you to adjust the balance of
frequencies within an audio signal. Here are the main components typically found
in the EQ section:
High-Pass Filter (HPF): Removes low frequencies below a certain cutoff point. Useful
for eliminating unwanted low-frequency noise or rumble.
Low-Pass Filter (LPF): Removes high frequencies above a certain cutoff point. Used
to reduce high-frequency noise or to make a signal sound more mellow.
Low-Shelf Filter: Boosts or cuts frequencies below a certain point, affecting the low
end of the spectrum. Ideal for adjusting the bass content.
High-Shelf Filter: Boosts or cuts frequencies above a certain point, affecting the
high end of the spectrum. Used for adjusting the brightness or presence.
Parametric EQ, Semi Parametric EQ and Graphic EQ
4. The Auxiliary Section
The auxiliary section of a channel strip is crucial for routing and processing signals in a
mixing console or digital audio workstation (DAW). Understanding and effectively using the
auxiliary section of a channel strip is key to advanced mixing techniques, enabling creative
and practical control over the audio signal flow in both recording and live sound
environments. Here’s a breakdown of its main components and functions:
Aux Sends (Auxiliary Sends)
Purpose: Allows you to send a portion of the channel's signal to an external
destination, such as an effects processor or a monitor mix.
Types:
Pre-Fader Sends: The signal is sent before it passes through the channel fader.
This is useful for monitor mixes, as changes to the main mix fader won’t affect the
level sent to the monitors.
Post-Fader Sends: The signal is sent after it passes through the channel fader. This
is typically used for sending signals to effects processors so that the level of the
effect is in proportion to the channel’s fader level.
Pre-EQ Sends: The signal is sent before it passes through the EQ section. This is
useful for monitor mixes, as changes to the main mix EQ settings won’t affect the
color of the signal sent to the monitors.
Aux Returns (Auxiliary Returns)
Purpose: Brings the processed signal from external effects
back into the mixer. Often found in the master section of
the mixer. This is not found on the channel strip.
Control: Usually includes level and pan controls to blend
the effects with the original signal.
Aux Bus (Auxiliary Bus)
Purpose: This is a variation of Aux Send. It is a pathway for
routing auxiliary signals to a common destination. An aux
bus aggregates the signals from multiple aux sends from
different channel strips for processing or monitoring.
Aux Master (Auxiliary Master)
Purpose: Provides control over the overall level of the
signal being sent to the aux bus. This is where you control
the combined level of all aux sends feeding into a
particular auxiliary bus. Often found in the master section
of the mixer. This is not found on the channel strip.
Practical Uses of The Aux Section
• Effects Processing: Sending a signal to a reverb or delay
unit and then blending the wet (effected) signal back with
the dry (original) signal.
• Monitor Mixes: Creating different mixes for performers in a
live or studio setting, where each performer can have a
unique mix in their headphones or monitors.
• Parallel Processing: Sending a signal to an outboard
compressor or EQ and blending it back with the original to
achieve a desired effect.
Example Configurations of The Aux
Section
• Vocals: You might send the vocal channel to a reverb processor using
an aux send, with the aux send set to post-fader. This way, when you
adjust the vocal fader, the amount of reverb remains proportional.
• Drum Kit: You could use pre-fader aux sends to create a monitor mix
for the drummer, ensuring that changes to the main mix do not
affect the drummer's headphone mix.
• In a Digital Audio Workstation (DAW): In a DAW, aux sends and
returns are often handled using auxiliary tracks. These tracks
function similarly to their analog counterparts, allowing for flexible
signal routing and processing.
5. Pan Control
The pan control, or pan pot (short for "panoramic
potentiometer"), is an essential feature of a channel strip in both
analog and digital mixing consoles. It allows you to position the
audio signal within the stereo field, creating a sense of spatial
placement for the listener. It is a powerful tool in audio mixing
that allows for precise spatial placement of audio signals within
the stereo field. By effectively using panning, you can create a
balanced, clear, and immersive mix that translates well across
different playback systems.
Here’s a detailed look at its functions and applications:
Function of the Pan Control:
• Stereo Positioning: The primary function of the pan
control is to place the audio signal anywhere between
the left and right speakers in a stereo mix. Turning the
pan control to the left sends more of the signal to the left
speaker, while turning it to the right sends more of the
signal to the right speaker.
• Balancing: It helps in balancing the mix by positioning
instruments and vocals so that they don't all cluster in
the center, making the mix, more open and clearer.
Types of Pan Control
• Mono Channels, Simple Left-Right Panning: For mono
signals, the pan control determines the balance of the
signal between the left and right channels.
• Stereo Channels. Balance Control: For stereo signals, the
pan control functions as a balance control, adjusting the
level of the left and right signals relative to each other.
Practical Applications of Pan Control:
• Instrument Placement: Different instruments can be placed in
different positions within the stereo field to create a sense of width
and depth in the mix. For example, you might pan guitars slightly left
and right, the bass centered, and backing vocals spread across the
stereo field.
• Creating Space: Panning helps in creating space in the mix. By
spreading elements across the stereo field, each element has its own
space, preventing them from masking each other.
• Mono Compatibility: Ensuring elements are panned properly can also
help with mono compatibility, ensuring that the mix translates well on
mono playback systems.
Examples of Pan Control:
• Drum Kit: In a stereo mix, you might pan the hi-hats slightly
to the left, the toms spread across the stereo field, the
overheads wider apart, and the kick and snare centered.
• Orchestral Mix: Strings could be panned to the left,
woodwinds slightly left, brass slightly right, and percussion to
the right to mimic the typical orchestral seating arrangement.
• Vocal Mix: Lead vocals are usually centered, while harmonies
and backing vocals can be panned left and right to add width
to the vocal section.
Dynamic Panning:
In modern digital audio workstations, panning can be
automated, allowing for dynamic changes in the position
of elements within the stereo field over time. This can add
movement and interest to a mix.
The Pan Law

The pan law in a mixing console refers to the

adjustment of an audio signal's level as it is panned
between the left and right channels. Its purpose is to
maintain a consistent perceived volume regardless of
the signal's stereo position. When panning to the
center, the signal naturally becomes louder due to
equal output from both speakers. To counteract this,
the pan law reduces the signal level at the center,
ensuring even loudness across the stereo field. This
practice is essential for achieving a balanced and
cohesive sound in a mix. Here are some common pan
laws:
0 dB Pan Law: No attenuation is applied when panning. The
signal is at full volume regardless of its position.
This can make the center position sound louder
because both speakers are outputting the signal
at full volume.
-3 dB Pan Law: When the signal is panned center, it is
attenuated by 3 dB. This reduction helps
balance the perceived volume between the
center and the sides. This is a common pan law
in many mixing consoles and DAWs.
-4.5 dB Pan The signal is attenuated by 4.5 dB when panned
center. This provides a slightly more pronounced

Law: compensation than the -3 dB pan law.

-6 dB Pan Law: The signal is attenuated by 6 dB when panned
center. This creates an even more balanced
perception of loudness across the stereo field,
especially in environments with a lot of mono
compatibility considerations.
6.Mute Button
The mute button silences the audio signal of the selected channel.
This allows you to quickly and easily remove a track from the mix
without altering the fader's position. Here are some common Uses:
• Troubleshooting: Isolating problems in the mix by muting
channels one by one.
• Focus: Removing distractions by muting unnecessary channels
temporarily.
• A/B Comparison: Muting and unmuting channels to compare how
different elements interact in the mix.
7. Solo Button
The solo button allows you to isolate and listen to a single channel
(or group of channels) by muting all other channels. This is useful
for focusing on specific parts of the mix without interference from
other elements. Here are some common Uses:
• Detailed Listening: Focusing on the nuances of a particular track to
adjust.
• Editing: Isolating a track to edit out noise, correct timing issues, or
apply effects.
• Sound Design: Tweaking individual elements of the mix to get the
desired sound.
*Interaction Between Mute and Solo
• Multiple Solos: Some consoles and DAWs allow multiple channels
to be soloed simultaneously. This helps in listening to how specific
groups of channels sound together.
• Solo Safe: Certain channels, such as effects returns or buses, can
be set to "solo safe," meaning they won't be muted when other
channels are soloed. This ensures that you still hear the effects or
bus processing while soloing other tracks.
• Understanding and effectively using the mute and solo buttons
can significantly enhance your mixing workflow and allow you to
create more precise and polished audio productions.
8. Fader
The fader in a channel strip is a crucial control on both
analog and digital mixing consoles. It allows you to adjust
the volume level of an individual audio channel.
Characteristics of Faders
• Linear Movement: Most faders are linear, meaning they
move up and down along a straight path. This linear
movement represents the audio signal level from zero
(silence) to the maximum output level.
• Calibration: Faders are typically calibrated with markings
that indicate the relative level positions, such as -∞
(infinity) for no sound, 0 dB for unity gain (no change to
the signal level), and various decibel markings for
attenuation or boost.
* Gain Staging
Gain staging is a fundamental concept in audio recording
and mixing that involves managing the levels of audio
signals throughout the signal chain to ensure optimal
sound quality and avoid distortion or noise. Proper gain
staging helps maintain a clean, balanced signal and
prevents issues such as clipping or unwanted noise.
9. Metering
Metering provides visual feedback on the signal level to
prevent clipping and ensure proper gain staging. In other
word, metering in a channel strip provides visual feedback
on the audio signal's level at various stages of the signal
chain. This helps engineers and producers monitor and
adjust levels to ensure optimal sound quality and avoid
issues like distortion or clipping.
10. Groups
Groups on a channel strip allow you to manage and
control multiple audio channels simultaneously, enhancing
efficiency and consistency in mixing and processing. By
grouping related tracks, you can adjust levels, apply
effects, and automate parameters more effectively,
resulting in a more balanced and cohesive mix.
Understanding and utilizing grouping techniques is
essential for achieving a professional sound and
streamlining your workflow in both live and studio
environments. Here’s a breakdown of its key components
Groups Components and Functions:
• Group Faders: Each group typically has a dedicated fader that controls the
overall level of all channels assigned to that group. Moving this fader adjusts
the volume of all grouped channels proportionally.
• Group Mute/Solo: These buttons enable you to mute or solo all channels within
a group at once. This is useful for quickly isolating or silencing a set of related
tracks.
• Group Effects and Processing: Some systems allow you to apply effects or
processing to all channels within a group simultaneously, which can be helpful
for consistent treatment of similar sounds (e.g., applying reverb to all vocal
tracks).
• Group Routing: You can route the output of all channels in a group to a specific
bus or output, allowing for collective processing or mixing.