Yamaha Programmable Mixer 01 Getting Started Manual page 49

• Balance levels—once you've optimized the input levels, applied
some corrective EQ, and positioned instruments using pan, you're
ready to balance the levels. You should already have some idea of
how you want the mix to sound. This will, obviously, depend on
the application and the instruments being mixed. Start with all
faders at about 0dB. This is an optimum setting with regard to
mixer performance and leaves you with some headroom to
increase levels later. If one particular instrument is too quiet,
rather than increasing its level it may better to try reducing the lev-
els of some of the other instruments. If you keep raising faders
bit-by-bit, you'll soon end up with some faders set at maximum
and no room for further adjustment. Vocal and instrument levels
should be balanced to create an agreeable sound mix. Nothing too
loud, nothing too quiet. What needs to be heard (i.e. vocals, solo
instruments) can be, and backing instruments are in the back-
ground.
• Balance tonal content—now that all instruments can be heard
together, you may need to redo some of your earlier EQ adjust-
ments. For example, instruments with overlapping frequencies
often cause peaks at certain points in the audio spectrum when
mixed. Using a peaking EQ you can cut back some of these over-
lapping frequencies. This will improve the separation between the
instruments and provide a more tonally balanced mix. Besides the
input channels and effects returns, three-band parametric EQ is
also featured on the stereo outputs. You can use this EQ to improve
a room's acoustics, using narrow peaking EQ to cut troublesome
frequencies. The overall sound should be tonally balanced so that
the low, mid, and high bands of the audio spectrum contain an
equal amount of sound energy. Too much bass or treble leads to
listening fatigue. With EQ it is generally better to cut than boost.
• CUE—when several instruments are mixed, it can be difficult to
make individual judgements about them. CUE allows you to listen
to channels in isolation. If you can hear noise or other unwanted
sounds, use CUE to listen to each channel in turn, without affect-
ing the main mix, and correct as necessary.
• ON/OFF—use the [ON] buttons to turn OFF unused channels.
Also useful for turning OFF microphones in between performer,
band, and set changes. Channels with noisy sound sources can be
turned ON as and when required, eliminating unnecessary noise.
When channels are turned OFF they can be monitored via CUE,
so you can make adjustments before adding sounds to the mix.
• Fader groups—fader groups allow you to control several faders
simultaneously using just one fader. This can be used to create a
submix within the main mix, so that, for example, drum levels,
keyboard levels, or vocal levels can be adjusted with ease.
ProMix 01 has four fader groups.
General Mix Procedure
ProMix 01 Getting Started Guide
43