The Sound Console
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ScribdTranslationsThe Sound Console
Uploaded by
ScribdTranslationsTHE SOUND CONSOLE
Mixing table or mixer, also known by its name in English, mixer. In other
places, especially in Latin America, we call it a console. It is the device
that combines different sound sources (voice collected by a microphone,
effects from the computer, music from a CD) to offer us a unique signal.
Mackie Onyx 1220i console http://www.mackie.com/
Knobs : They are circular potentiometers used in channel controls for
gain, equalization...
Pushbuttons or Switches : Small buttons that activate or deactivate some
functions.
Faders : These are linear potentiometers, also called sliding faders. Its
function is to increase or decrease the signal level.
PARTS OF A CONSOLE
Although we see many buttons, the consoles are a repetition of the same.
It doesn't matter one with 4 channels or another with 40. In reality, there
is only one channel that repeats and repeats. By knowing one, you know
them all.
1. TICKETS
The consoles have different inputs through connectors. They are usually
on the top or on a back panel.
The numbers in red on the drawing correlate with the numbers in bold and
in parentheses.
· Microphone inputs
They are XLR-Canon (1) or Jack-Plug (2) connectors, in both cases female.
It is always advisable to connect microphones through the XLR inputs.
Microphone inputs are identified with the word MIC. These inputs have a
preamplifier that boosts the weak signal coming out of a microphone. If
we connect the microphone through another input, such as the line input,
a very low sound will reach the console.
Most consoles come with a switch to activate Phantom power*(3)*. This
phantom power, typically +48 volts, is necessary for the operation of
condenser microphones.
· Line inputs
They are identified as LINE (4) . In them, we connect all the external
equipment such as tape decks, compact disc players, the computer,
musical instruments... The connectors are Jack-Plug or RCA.
· PHONO inputs
They are used for record players or turntables that, like microphones,
deliver a very low signal. There is also a preamplifier on that input.
If we do the opposite, for example, connect a CD player to a PHONO input,
as that input is pre-amplified, the sound will reach the console saturated,
that is, we will have excess audio level.
· Digital tickets
The new consoles, although they are analog, come with digital
connections to communicate with audio cards, with the advantage of
having less quality loss than with analog connections. The most common
are FireWire, S-PDIF and USB.
2. OUTPUTS
· Master or Main(5)
It is the main output of a console. In radio it is what we take to the
transmitter and is known as program output or PGM. In production
consoles it is the signal that we record and, in DJ or concert consoles, it
is the output that we amplify so that everyone can hear it. They are stereo
outputs with two channels, left-*L*eft and right-*R*ight, with Jack or XLR
connectors.
· Alternate or Subgroups (6)
In radio consoles it is known as PGM2 or audition, a second signal that
can be used for monitors, recording...
On large consoles there are several alternate outputs called subgroups or
buses. They are very useful for recording or monitoring. Suppose we are
recording an album by tracks. The master output will not be very useful
since we do not want, at the moment, a summed signal.
We assign the guitar input channel to subgroup 1. We will connect the
subgroup output 1, through a multichannel audio card, to one of the virtual
channels of the computer, and so on with all the instruments. In this way,
each one has their direct and independent path. This path begins and ends
with Plug or XLR connectors.
· REC, Tape or recording (7)
Many production consoles lack subgroup outputs, but instead have a send
to record the mix coming out of the console to a cassette or computer. On
some consoles this output is indicated as Tape Out. Most of them are RCA
connectors.
· Control Room (8)
This output is the one used for monitoring. Let's look at a specific case of
a small production studio.
We take the master output to the recording input of the computer. But we
need to listen to sound while editing. For that we use the Control Room
output. With the master we control the volume of the signal we record, but
the sound we hear is independent and we manage it with different
buttons. The Control Room output is taken to a sound amplifier and its
output to cornets or studio monitors. Sometimes we listen to the room
sound loudly and turn the master down. This is a mistake. The master
must be left at 0 dB and the one we have to lower or raise is the Control
Room.
Many radio consoles also have this monitoring output. It is used to listen
to what is on air in the studio or in the broadcast room. For example, we
are in a live program and a cut of an interview is playing. The guests need
to hear it and, if they do not have headphones for everyone, speakers are
placed to serve as feedback.
Most professional radio consoles have a muting system for the monitoring
outputs. That is, when the music ends and the microphone channel is
opened for the announcers to speak, the monitoring is cut off and nothing
can be heard through the speakers. This prevents feedback, that
unbearable effect that occurs when you speak into a microphone in front
of a speaker.
· Phones (9)
To connect headphones or earphones and monitor the audio with them.
3. OUTPUT CONTROLS
We just looked at the different output types, but there is one part of the
console that controls them all. It is usually to the right of the team. In that
place we have the faders (10) of the main output (master or Main Mix) and
the subgroup outputs. Their number will depend on the console model.
There are also controls for the headphone output, Control Room (11) …
A vital part that is also found in this area is the vumeter (12) . These
indicators allow us to know the signal level that will come out of the
console. If we are saturating a lot, there will be an excess of signal, the
vumeter bulbs will turn red and we will lower the level. If, on the other
hand, we fall short and the lights do not turn on, we must increase the
input levels.
4. INTEGRATED EFFECTS MODULE
Some consoles, especially designed for production, come with different
integrated effects such as reverbs and delays.
5. AUXILIARIES
At a professional level, for live concerts, for example, it is preferred to
use external effects modules, devices that receive a signal from the
console, process it and return it. For these external modules, auxiliary
inputs are mainly used. Through SEND we send the voice to the input of
the external effects module. The team adds a reverb and returns the
processed voice to the console through the RETURN input. Most of these
connections are made with Plugs.
6. INPUT CHANNELS
The console input channels are all the same. As we already said, seen
one, seen all.
