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Soundcraft Registered Community Trade Mark / RTM No. 000557827
SOUNDCRAFT
HARMAN INTERNATIONAL INDUSTRIES LTD.
CRANBORNE HOUSE,
CRANBORNE ROAD,
POTTERS BAR,
HERTS, EN6 3JN, UK.
TEL: +44 (0)1707 665000
FAX: +44 (0)1707 660742
EMAIL: info@soundcraft.com
SOUNDCRAFT USA
1449 DONELSON PIKE,
NASHVILLE TN 37217, USA
TEL: 1-615-360-0471
FAX: 1-615-360-0273
EMAIL: soundcraft-usa@harman.com
www.soundcraft.com
Soundcraft reserves the right to improve or otherwise alter any information supplied in this
document or any other documentation supplied hereafter. E&OE 08/01
Part No. ZL0439
T
S
HE
OUNDCRAFT
G
M
UIDE TO
IXING
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Summary of Contents for SoundCraft ZL0439
- Page 1 1449 DONELSON PIKE, NASHVILLE TN 37217, USA TEL: 1-615-360-0471 FAX: 1-615-360-0273 EMAIL: soundcraft-usa@harman.com www.soundcraft.com Soundcraft reserves the right to improve or otherwise alter any information supplied in this document or any other documentation supplied hereafter. E&OE 08/01 Part No. ZL0439...
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Page 2: Table Of Contents
THE SOUNDCRAFT GUIDE TO MIXING – CONTENTS SECTION 1: STARTING OUT SECTION 4: PA MIXING A What does a Mixer do? A Introduction, A Typical Live Performance; Microphones, Cables and Connections, Connecting External Effects and B Guidelines in Choosing a Mixer. - Page 3 • Will I be doing any location work where there won’t be devices to be MIC/LINE any mains power available? placed within the • Have I read the Soundcraft Guide to Mixing from cover PROCESSOR Input Path - see to cover? - COMPRESSOR...
- Page 4 Because effects and volume are not a distraction, PFL solo 100Hz is very useful for setting proper input preamp levels. Some Soundcraft mixers use SOLO IN PLACE, which POST/ allows you to monitor signals after the fader in their true stereo image, and with any effects that have been added.
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Page 5: Balanced
STE-C NB: Soundcraft jack stereo inputs default to Mono STE-A when the left input is used. RCA phono connectors do GAIN NOT have this option. -
Page 6: The Master Section
THE MASTER SECTION More Information on Condenser Mics can be N Mix Outputs found in Section 3 - Mixing Mix outputs provide left and right level control of the final Techniques. MIX INSERT MONITOR MONO SUM stereo mix. Many consoles feature mix insert points too, Further detail on mic allowing the connection of signal processors across the wiring may be found in... -
Page 7: D Signal
D. Signal Flow LINE Now the typical mixer features have been explained in detail it is important to understand how they form together. The route which a signal source takes through a mixer is normally shown using one of two devices: PREAMP a block diagram or a signal flow diagram. - Page 8 A. Input Devices CONNECTING EQUIPMENT Microphones TO YOUR MIXER All microphones should be connected via each input’s XLR connectors. Do not use line inputs. As we explained in the last section, it is the job of the mixer For more information on miking up individual instruments, to accept the various signal sources, set the levels and route refer to sections 4 and 6 - PA Mixing and In the Studio.
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Page 9: Inputs And Outputs
DAT machine or perhaps a second hand, open-reel 2-track. A POST FADER AUXILIARY OUTPUT. If you are uncertain, Post fader auxiliaries are coloured blue on Soundcraft mixers with the relevant channel aux pots C. Output Devices usually marked "post". The left and right outputs from the... -
Page 10: A Choosing The Right
Microphone Pick-up Patterns MIXING TECHNIQUES A pick-up (Polar) pattern refers to the area(s) from which a microphone "picks up" its sound. It is important to choose the right pattern for your application, or you may pick up sounds from areas you don’t want or lose sound A. - Page 11 (‘3’ to ‘6’ on meter scale). This allows for the extra 10dB of gain that is available on Soundcraft input faders. • Release PFL/Solo. • Repeat for all other inputs. NB: EQ affects gains settings. If you adjust the EQ you will need to re-check your gain level using the above method.
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Page 12: C Using The Mixer's
C Using the Mixer’s EQ THE FREQUENCY RANGE OF DIFFERENT INSTRUMENTS AND WHICH EQ BANDS AFFECT THEM Equalisation is useful for making both corrective and creative changes to a sound, but it needs to be used with FIG. 3.9 care. Corrective applications include making tonal changes to compensate for imperfect room acoustics, budget microphones or inaccurate loudspeaker systems. -
Page 13: D Using Effects
Bearing the above points in mind, the best approach is to D. Using Effects Units use small amounts of boost, especially when working live. EQ cut, on the other hand, causes far fewer problems, and rather than boost a particular sound it is frequently more The Different Types rewarding to apply cut in whichever part of the audio The problem with mixing ‘dry’... - Page 14 treatments work well on synth pad sounds such as strings Pre- and Post-fade Auxiliaries and are best used in stereo where they create a sense of Pre-Fade movement as well as width. Pre-fade auxiliaries are independent of the fader so that the amount of effect will not change with new fader levels.
- Page 15 Graphic Equalisers are most often used to process the E. Using Signal Processors mix at live venues by notching out troublesome frequencies that may be causing feedback. They may also be used to enhance a mix at a poor sounding venue. In recording they The Difference between Signal Processors are used to create "flat"...
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Page 16: Monitor Mix
threshold, but an expander works like an automatic mixing F. Creating a Foldback/ engineer who pulls down the signal when the signal falls Monitor Mix below the threshold; the more it falls below the threshold - the more he pulls down the fader. Performers usually require their own mix independent from Expanders are most often use in Studio recording to the main/engineer’s mix. -
Page 17: Cables And Connections
Cables and Connections PA MIXING Interference and hum can be avoided! A few minutes spent checking cable runs and connectors pays dividends. • A balanced audio connection provides low noise operation A. A Typical Live Performance by cancelling out any interference in a signal. It does this by using a 2-conductor mic cable surrounded by a shield. - Page 18 • It is dangerous to lift the mains earth when trying to • Be sparing on the use of artificial reverb. Most venues are eliminate hum. You can isolate hum by lifting the too reverberant anyway, and excessive reverb will ruin the appropriate audio signal shield.
- Page 19 Setting the Mix Avoiding Feedback • Turn down the amplifier gain before the system is first • Turn down or mute any mics not in use. This reduces the switched on. This will avoid unwelcome howls of feedback risk of feedback and avoids the back line being picked up. and can prevent loudspeaker damage due to switch-on •...
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Page 20: Large Sized
Large Sized Venues B. Larger Performances Large venues will require a separate “Front of House” (FOH) console for the audience mix and a Monitor console for the band, as with a larger stage area each band member Although the example shown in the ‘Mixing Live’ diagram will require at least one monitor wedge. - Page 21 M E D I U M S I Z E D V E N U E S DRUMMER'S MONITOR MID/HI RIGHT SPEAKER LEFT SPEAKER MID/HI MID/HI SPEAKER SPEAKER SUB SPEAKER SUB SPEAKER SUB SPEAKER WEDGE MONITORS WEDGE MONITORS ACTIVE AMPS CROSSOVER AUX PRE OUTS MIXER...
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Page 22: C Recording
Hints & Tips C. Recording Live • Try to locate the mixer in a different room to the performance to avoid distraction from the live sound. If this is not possible, use a good pair of noise-excluding In some situations, you may want to record a performance. headphones for monitoring. - Page 23 • It is normal for a telecommunication link to be used OTHER APPLICATIONS between the FOH and monitor engineer so that they can talk to each other during the performance. • Each stage monitor needs its own power amp. Keep things tidy by using rack-mounted stereo amps.
- Page 24 B. Submixing There are certain groups of instruments or performers (drums, backing vocals, multi-keyboards, etc) that can be logically grouped together - to save on input channels - via a small mixer, the output of which can then be controlled by just one pair of faders on the master console.
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Page 25: Recording Media
C. The Console IN THE STUDIO Studio work presents additional problems for a mixing console in that it has to deal with a two stage process A. Essentials & Ergonomics requiring very different skills. Think about room layout and equipment. No, we’re not 1 Recording - Sound sources have to be captured on going to plan your studio for you, but here are a few multitrack tape. - Page 26 • If your console is not large enough to cope with every D. Simple Multitrack Recording multitrack send and return, connect only as many Direct Outs as you need per take. For example, if you are The diagram below shows a simple recording set-up using a recording solo you will only be recording one instrument at multipurpose console equipped with direct outs and a pair a time anyway, so a maximum of only two direct outs will...
- Page 27 mixer’s block diagram and use outputs coming after the E. Simple Multitrack Mixdown effects return for this purpose. • Do not record in the same room in which you are playing The diagram below shows how a simple set-up will look for unless your monitor speakers are muted.
- Page 28 Multitrack Recording and Mixing with an F. Using a Dedicated “In-Line” Console “In-Line” Mixing Console A more complex recording set up with an “in-line” console SEND is shown opposite in Fig 6.4. Both multitrack ins and outs TRACK For recording projects beyond 8 track, a RETURN are plugged into the same channel strip, avoiding the need multipurpose console is usually inadequate, being...
- Page 29 ELECTRIC GUITAR centre of the neck, about 12-18ins from the instrument. • Some players prefer the sound of a valve amplifier, so be • Acoustic guitars sound best in slightly live rooms, if necessary place a piece of acoustically reflective board prepared to mic up the speaker cabinet using a cardioid beneath the player.
- Page 30 reduce unwanted rumble, between 180 and 250Hz to section, although peaking into the red area is acceptable. reduce boxiness. • Check all the effects units for correct input levels. • If fitted, use the Solo In Place function to check Compressor: Attack around 50mS;...
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Page 31: Unbalanced Line
UNBALANCED INPUT BALANCED INPUT the output. Soundcraft uses XLR sockets for its balanced mic inputs. FIG. 7.5 The wiring convention for XLRs is: Pin 1 - Shield, Pin 2 - Hot (+ve) and Pin 3 - Cold (–ve). - Page 32 BARGRAPH GLOSSARY A row of LEDs calibrated to indicate signal level. BOOST/CUT CONTROL ACOUSTIC FEEDBACK (HOWLROUND) A single EQ control which allows the range of frequencies passing A whistling or howling noise caused by an amplified signal ‘feeding through its filter to be either amplified or attenuated. The centre back’...
- Page 33 CROSSOVER A passive circuit, normally built into a speaker system which Slang term for an original audio signal that has had no added divides the full-range audio signal from an amplifier in order to effects. feed the individual drive units, ie: bass, midrange and treble. DYNAMIC RANGE CUEING The ratio in decibels between the quietest and loudest sounds in...
- Page 34 FILTER HEADROOM A filter is a device or network for separating waves on the basis of The available signal range above the nominal level before clipping their frequencies. occurs. HERTZ (Hz) An acronym for Front Of House. In the entertainment world Cycles (or vibrations) per second.
- Page 35 MUTE GROUPS POLARITY A method of combining the on/off status of a selection of channels The orientation of the positive and negative poles of an audio under a single control button. connection. Normally, connections are made positive to positive, negative to negative and this would ensure correct polarity. If this is NEARFIELD MONITOR reversed the result will be out-of-phase signals (see PHASE above).
- Page 36 2-TRACK RETURN A line level stereo input on a mixing console designed to accept the SOUNDCRAFT output from a 2-Track recording device. May also be used as an The name found on some of the best-value professional audio additional effects return, depending on the internal routing of the equipment around.
- Page 37 A Typical Block Diagram (Spirit SX shown)
- Page 39 E&OE. All contents © 2001 Soundcraft. No part of this publication may be copied, transmitted or stored electronically or otherwise for commercial gain, although the copyright holder will allow copying and distribution for personal or non-profit use.