Basic Mixer Fundamentals (Part 2)

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In part one of Basic Mixer Fundamentals, we talked about the differences between analog and digital boards, a breakdown of what controls are in one channel strip, and by just learning one channel, you already know 75% of the board. 

This second part of this series will help you understand the following 15% and help you identify certain characteristics of a mixing console.

I’ll talk about what is being used to route all your inputs to your outputs as well as workflow and recording options. Of course, all mixers differ by their make and model so the workflows and recording options mixers provide you with will be different from one another. 

Overview of Part 2

  • Rear Panel
  • Buses, Aux
  • Effects
  • Master Section & Recording Options

 

Rear Panel

 

INPUT SECTION

 

Remember in Part 1 we stated that the left side of the mixing board is where all channel strips go? Well, if you turn your board around and look straight at the BACK or rear end of your board, your inputs will be on the RIGHT side connecting with the channel strips that are in the front left of your audio mixer. If this is confusing let me know

The inputs will most likely consist of XLR and 1/4 inch (instrument) cables to connect your microphones and instruments. Depending on the mixer, it may also include the following…

  • midi connection
  • wedge/in-ear monitors
  • aux-ins
  • phone connections
  • and so much more

Every mixer is different and will have its own set of inputs to confirm its design and build plan. A great way to figure out which input goes where is to look at the name or number that is associated with each input. If you need to find something very specific, the best place to find out is in the owner’s manual. DON’T THROW IT AWAY! This baby will tell you exactly what and where everything is that pertains to your mixer. If you happen to misplace the owner’s manual, no worries! Head over to the manufacturer’s website and download a copy of the pdf.

 

OUTPUT SECTION

 

Now for your Outputs, the ones that you will be using one hundred percent of the time will be the Main Outputs (L/R) consisting of XLR connections. Mixers will also have a 1/4 connection (L/R) for subwoofers or if your monitors only allow you to use 1/4 cables.

The output section may also consist of the following…

  • Aux outputs 
  • Power Switch
  • Additional XLR Outputs
  • Interface connections such as a computer or Ethernet
  • etc…

Just like the inputs, every mixer is unique and will have its functions and settings according to its design. This is what makes every sound console so different and why most sound engineers prefer certain sound mixers for their projects.

 

Buses & Auxes

 

Buses

Buses are a group of channels combined into one channel to have a balanced take on an instrument that has more than one microphone or input connection. In other words, think of it as a group of people (Channels/Inputs) getting on a public bus (Buses) that takes them to the same designated stop.

This is mainly used on drums since they usually carry more than one mike at a time, sometimes up to 8 channels. The workflow to keep the instrument balanced throughout the main mix can be time-consuming and challenging to move all those faders at once. 

So this type of bus will allow you to take all those channels into one fader where you can keep it as a group, also called a subgroup. We will talk more about the difference between a subgroup and a bus, but right now as a beginner, just focus on learning what a Bus is.

Aux

Auxiliary mixes allow you to create another “main mix” that can be sent to another output that is separate from the main output.

For instance, when on stage, musicians need to hear themselves and the rest of the band play to keep in time, so they need a separate mix going to their in-ear monitors or wedges. The band will hear a different mix from their in-ear monitors than from the mix being played through the speakers to the crowd.

Another popular use for Aux channels is to have FX(effects) routed to these channels. They create an easier workflow for the engineers to play and artistically create FX throughout the performance or track of a song.

Now, where does the FX come from? 

 

Onboard effects

 

From guitar modulers, compressors, limiters, DeEssers and so much more, manufacturers give you instant access by building effects into the board, this is where the name “onboard effects” come from. This saves you time and money from buying another piece of hardware or software aside from your mixer to give you more creativity to your mixes.

The main two effects you should focus on for now are Reverb and Delay.

Remember, turning on these effects is a preference and part of the creative process. There is no right or wrong way of how much or how little you need in your music or sound. Every venue, instrument, and style of music is different so don’t be afraid to add or take away however much effect you need.

Reverb

Reverb is created when a sound takes place in a certain setting, sending those soundwaves to bounce off the walls in a room or space. Depending on the location, the size of the room, and the distance of the sound source, reverb can create depth and space for any instrument or vocal recording. Here are a few types of reverbs you should look out for.

  • Hall Reverb- great for
  • Room Reverb- use this on
  • Chamber Reverb- try it on
  • Plate Reverb- great for vocals 
  • Spring Reverb- great for vocals

Delay

Delay for music production is a time-based effect that will allow you to fully control what is being delayed, how much delay, and how long you want the audio source to have duplicate delays between each other. So basically how many repeats are on a certain audio channel and how long you want those repeats to last. 

There are many, many types of Delays so don’t be afraid to play around with what sounds great for you. Here are a few to name.

  • Tape Delay
  • Modulated Delay with Chorus/ Flangers/Phasers
  • Stereo Delay
  • Ping-Pong Delay
  • and so much much much more

A lot of people confuse reverb with delay, but remember that reverb gives you the size of a room while the delay is a repeat of an instrument, vocal, or sound.

 

Master Section & Recording

 

The master section is where the main mix sits and is ready to head out to the main speakers. This section makes the audio engineer’s job easier to have full control of the entire mix. 

Just like a channel strip, the master section will have EQ, dynamics, a mute button, and a fader to have full control of the entire track or performance. 

Other features in the Master Section may include

  • A Level Meter: to determine the levels of a mix
  • The Talkback: a way to communicate with the musicians onstage
  • The Headphone Jack: an additional main output where you can monitor the main mix in the same or different perspective and allow the main mix to continue through the main outputs.
  • Tape Inputs: a place where you can connect your phone or computer for house music, digital mixers will most likely provide more than one input either through a 1/4 cable or Bluetooth. Analog boards will usually have a pair of RCA cables for one input.

Recording Options

 

Analog mixers will provide you a connection to connect Tape machines or, in a more modern approach, have a built-in SD card slot for instant multitrack recording. Digital or Hybrid Mixers will more than likely have a way to record your channels whether on an SD card or USB connection.

Nowadays you will see digital or hybrid mixers that carry an audio interface, allowing you to record directly from your computer as well as allow you to practice your mixing in playback mode. This option is found mostly in digital mixers because of the advanced features it is built with.

 

Conclusion

I hope you found this small series helpful. Please let me know if there is anything I missed or if you found a certain section confusing by writing in the comment section below.

 Shalom!