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An Introduction to the Mixing Console
stuart.jones3@southwales.ac.uk
www.stuartjones.org
Basic Principles
Agenda
1. Introduction
2. Basic Principles
3. Signal Flow
Introduction
? + =Obviously without knowledge of the mixing console..........
Introduction
We are going to run into problems
Introduction
Basic Principles
Basic PrinciplesStudio Layout
Live RoomMonitors
Headphones
Microphones
D.I. Boxes
Tie Lines
Control Room
Monitors
Tie Lines
Mixing Console Outboard
Recording
Two Track
Mixing Console Connections
Mic Inputs
Line Inputs
Tape Sends or Group Outputs
Tape Returns or Monitor Inputs
Microphones
Keyboards and other line level sources
Multitrack Recording
Headphone Amp
Effects
Dynamic Processing
Power Amplifier
Pre fade Auxiliary Output
Post Fade Auxiliary Sends
Stereo Auxiliary Returns
Insert Returns
Insert Sends
Monitor Outputs
2 Track Returns
Monitor Outputs
Basic PrinciplesStudio Layout
Live RoomMonitors
Headphones
Microphones
D.I. Boxes
Tie Lines
Control Room
Monitors
Tie Lines
Mixing Console Outboard
Recording
Two Track
Mixing Console Connections
Mic Inputs
Line Inputs
Tape Sends or Group Outputs
Tape Returns or Monitor Inputs
Microphones
Keyboards and other line level sources
Multitrack Recording
Headphone Amp
Effects
Dynamic Processing
Power Amplifier
Pre fade Auxiliary Output
Post Fade Auxiliary Sends
Stereo Auxiliary Returns
Insert Returns
Insert Sends
Monitor Outputs
2 Track Returns
Monitor Outputs
Basic PrinciplesStudio Layout
Live RoomMonitors
Headphones
Microphones
D.I. Boxes
Tie Lines
Control Room
Monitors
Tie Lines
Mixing Console Outboard
Recording
Two Track
Mixing Console Connections
Mic Inputs
Line Inputs
Tape Sends or Group Outputs
Tape Returns or Monitor Inputs
Microphones
Keyboards and other line level sources
Multitrack Recording
Headphone Amp
Effects
Dynamic Processing
Power Amplifier
Pre fade Auxiliary Output
Post Fade Auxiliary Sends
Stereo Auxiliary Returns
Insert Returns
Insert Sends
Monitor Outputs
2 Track Returns
Monitor Outputs
Basic PrinciplesStudio Layout
Live RoomMonitors
Headphones
Microphones
D.I. Boxes
Tie Lines
Control Room
Monitors
Tie Lines
Mixing Console Outboard
Recording
Two Track
Mixing Console Connections
Mic Inputs
Line Inputs
Tape Sends or Group Outputs
Tape Returns or Monitor Inputs
Microphones
Keyboards and other line level sources
Multitrack Recording
Headphone Amp
Effects
Dynamic Processing
Power Amplifier
Pre fade Auxiliary Output
Post Fade Auxiliary Sends
Stereo Auxiliary Returns
Insert Returns
Insert Sends
Monitor Outputs
2 Track Returns
Monitor Outputs
Basic PrinciplesStudio Layout
Live RoomMonitors
Headphones
Microphones
D.I. Boxes
Tie Lines
Control Room
Monitors
Tie Lines
Mixing Console Outboard
Recording
Two Track
Mixing Console Connections
Mic Inputs
Line Inputs
Tape Sends or Group Outputs
Tape Returns or Monitor Inputs
Microphones
Keyboards and other line level sources
Multitrack Recording
Headphone Amp
Effects
Dynamic Processing
Power Amplifier
Pre fade Auxiliary Output
Post Fade Auxiliary Sends
Stereo Auxiliary Returns
Insert Returns
Insert Sends
Monitor Outputs
2 Track Returns
Monitor Outputs
Basic PrinciplesStudio Layout
Live RoomMonitors
Headphones
Microphones
D.I. Boxes
Tie Lines
Control Room
Monitors
Tie Lines
Mixing Console Outboard
Recording
Two Track
Mixing Console Connections
Mic Inputs
Line Inputs
Tape Sends or Group Outputs
Tape Returns or Monitor Inputs
Microphones
Keyboards and other line level sources
Multitrack Recording
Headphone Amp
Effects
Dynamic Processing
Power Amplifier
Pre fade Auxiliary Output
Post Fade Auxiliary Sends
Stereo Auxiliary Returns
Insert Returns
Insert Sends
Monitor Outputs
2 Track Returns
Monitor Outputs
Basic PrinciplesStudio Layout
Live RoomMonitors
Headphones
Microphones
D.I. Boxes
Tie Lines
Control Room
Monitors
Tie Lines
Mixing Console Outboard
Recording
Two Track
Mixing Console Connections
Mic Inputs
Line Inputs
Tape Sends or Group Outputs
Tape Returns or Monitor Inputs
Microphones
Keyboards and other line level sources
Multitrack Recording
Headphone Amp
Effects
Dynamic Processing
Power Amplifier
Pre fade Auxiliary Output
Post Fade Auxiliary Sends
Stereo Auxiliary Returns
Insert Returns
Insert Sends
Monitor Outputs
2 Track Returns
Monitor Outputs
Basic PrinciplesStudio Layout
Live RoomMonitors
Headphones
Microphones
D.I. Boxes
Tie Lines
Control Room
Monitors
Tie Lines
Mixing Console Outboard
Recording
Two Track
Mixing Console Connections
Mic Inputs
Line Inputs
Tape Sends or Group Outputs
Tape Returns or Monitor Inputs
Microphones
Keyboards and other line level sources
Multitrack Recording
Headphone Amp
Effects
Dynamic Processing
Power Amplifier
Pre fade Auxiliary Output
Post Fade Auxiliary Sends
Stereo Auxiliary Returns
Insert Returns
Insert Sends
Monitor Outputs
2 Track Returns
Monitor Outputs
Basic PrinciplesStudio Layout
Live RoomMonitors
Headphones
Microphones
D.I. Boxes
Tie Lines
Control Room
Monitors
Tie Lines
Mixing Console Outboard
Recording
Two Track
Mixing Console Connections
Mic Inputs
Line Inputs
Tape Sends or Group Outputs
Tape Returns or Monitor Inputs
Microphones
Keyboards and other line level sources
Multitrack Recording
Headphone Amp
Effects
Dynamic Processing
Power Amplifier
Pre fade Auxiliary Output
Post Fade Auxiliary Sends
Stereo Auxiliary Returns
Insert Returns
Insert Sends
Monitor Outputs
2 Track Returns
Monitor Outputs
The Mixing Console has 3 sections:
• Input Section – Mic/Line Input
• Monitor Section – Recorded Input
• Master Section – Main Control
Basic Principles
There are two basic studio mixing desk configurations:
1.Split Consoles - The input path (channel path) is separate from the monitor path (tape return
path).
2.In Line Consoles - The input path and the monitor path are both included on the same physical
strip.
Basic Principles
Basic PrinciplesSplit Consoles
Input Section Monitor SectionMaster Section
Multitrack Recorder
In Out
{
{{Mic/Line Input
Basic PrinciplesIn Line Consoles
Channel Fader
Master Section
Tape Return Path
Multitrack Recorder
In Out
Input Section
{Mic/Line Input
Input Section
{Mic/Line Input
Basic PrinciplesIn Line Consoles
Multitrack Recorder
Mic Line
Gain
In Out
Mixing Desk Channel Strip
Channel Path
Monitor Path
Channel path and monitor
path are on the same
physical channel strip
Often, a mixing console will take it’s name from it’s configuration. For example:
12:2
Inputs Outputs
The format becomes a little more involved when it comes to dedicated recording mixers. For example:
32 : 8 : 32 : 2
Inputs Groups
Monitor Channels
Outputs
Functional DescriptionBasic Principles
Audient ASP8024
Inputs
Routing to tape
Basic Principles
Signal Flow
L -R
1 -2
Signal FlowMic Line
Gain
EQ
Aux
Routing
Pan
Solo Mute
Amp
Speakers
Left Bus
Right Bus
L-R Master Faders
Multitrack Recorder
1 2Ins
1 2Outs
1 2Monitors
1 2Group Faders
Bus 1
Bus 2
L -R
1 -2
Signal FlowMic Line
Gain
EQ
Aux
Routing
Pan
Solo Mute
Amp
Speakers
Left Bus
Right Bus
L-R Master Faders
Multitrack Recorder
1 2Ins
1 2Outs
1 2Monitors
1 2Group Faders
Bus 1
Bus 2
Input
L -R
1 -2
Signal FlowMic Line
Gain
EQ
Aux
Routing
Pan
Solo Mute
Amp
Speakers
Left Bus
Right Bus
L-R Master Faders
Multitrack Recorder
1 2Ins
1 2Outs
1 2Monitors
1 2Group Faders
Bus 1
Bus 2
Routing
L -R
1 -2
Signal FlowMic Line
Gain
EQ
Aux
Routing
Pan
Solo Mute
Amp
Speakers
Left Bus
Right Bus
L-R Master Faders
Multitrack Recorder
1 2Ins
1 2Outs
1 2Monitors
1 2Group Faders
Bus 1
Bus 2
Bus
L -R
1 -2
Signal FlowMic Line
Gain
EQ
Aux
Routing
Pan
Solo Mute
Amp
Speakers
Left Bus
Right Bus
L-R Master Faders
Multitrack Recorder
1 2Ins
1 2Outs
1 2Monitors
1 2Group Faders
Bus 1
Bus 2
Group or Tape Sends
L -R
1 -2
Signal FlowMic Line
Gain
EQ
Aux
Routing
Pan
Solo Mute
Amp
Speakers
Left Bus
Right Bus
L-R Master Faders
Multitrack Recorder
1 2Ins
1 2Outs
1 2Monitors
1 2Group Faders
Bus 1
Bus 2
Tape
L -R
1 -2
Signal FlowMic Line
Gain
EQ
Aux
Routing
Pan
Solo Mute
Amp
Speakers
Left Bus
Right Bus
L-R Master Faders
Multitrack Recorder
1 2Ins
1 2Outs
1 2Monitors
1 2Group Faders
Bus 1
Bus 2
Monitor
L -R
1 -2
Signal FlowMic Line
Gain
EQ
Aux
Routing
Pan
Solo Mute
Amp
Speakers
Left Bus
Right Bus
L-R Master Faders
Multitrack Recorder
1 2Ins
1 2Outs
1 2Monitors
1 2Group Faders
Bus 1
Bus 2
L -R
1 -2
Signal FlowMic Line
Gain
EQ
Aux
Routing
Pan
Solo Mute
Amp
Speakers
Left Bus
Right Bus
L-R Master Faders
Multitrack Recorder
1 2Ins
1 2Outs
1 2Monitors
1 2Group Faders
Bus 1
Bus 2
Audient StudioBasic Signal Flow and Foldback Set Up
Mic Line
Gain
Routing
Mix
Amp
Speakers
L-R Master Faders
Multitrack Recorder
Ins Outs
Short Fader
1-24
Long Fader
1. Input - Signals from live room will always be a mic input. Does the
microphone need phantom power? If so, cut channel before turning on
phantom power. Adjust gain accordingly.
2. Routing - Where do you want the signal to go? It is advisable to work
in line (e.g. route channel 1 on desk to channel 1 on recording device).
3. Short Fader - This sends a level to your recording device. Set to 0dB
on desk. Do not put this fader into the mix.
4. Input Monitor - Engage recording track on your recording device. You
should now see your signal metering.
5. Long Fader - Put this into the mix. Check signal to noise ratio.
6. Master Section - Adjust the master faders and main monitor volume
accordingly.
Aux A
Foldback Aux AMaster Foldback A
L R
Aux A
Master Section Patchbay
L R
Foldback A
41 42
Live Room Returns
Signal FlowSummary
InputRouting
BusGroup or Tape Sends
TapeMonitor
An Introduction to the Mixing Console
© stuart jones, 2013
stuart.jones3@southwales.ac.uk
www.stuartjones.org
Basic Principles
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