Misplaced Pages

#99900

75-469: The Neve Control Room (designed by Vincent Van Haaff) features an 80-channel vintage Neve 8078 Console with 31105 mic pre/EQs. The left side of this console was the original West Coast Motown board which was used to record many Motown artists, including Diana Ross , The Temptations , Gladys Knight , Bubba Knight , G. C. Cameron , James Jamerson , Marvin Gaye , and The Jackson 5 . Madonna purchased

150-399: A logarithmic fashion, mixing console controls and displays are almost always labeled in decibels , a logarithmic measurement system. Since the decibel represents a relative measurement, and not a unit itself, the meters must be referenced to a nominal level . Most professional audio equipment is referenced to a nominal level of +4  dBu , while semi-professional and domestic equipment

225-408: A sound recording system or a control room; and monitoring facilities, whereby one of a number of sources can be routed to loudspeakers or headphones for listening, often without affecting the mixer's main output. Some mixers have onboard electronic effects, such as reverb. Some mixers intended for small venue live performance applications may include an integrated power amplifier . A mixing console

300-560: A Rupert Neve-designed Masterpiece. The Mastering room has wooden panels and colorful fabrics from Brussels and Paris woven into its acoustical design. Sonic Ranch has a collection of over 55 vintage and modern guitars, 50 vintage and mod amps, 4 modern and 3 vintage drum kits, 54 guitar pedals, 1927 Steinway and 1978 K. Kawai grand pianos, and a 1961 B3 organ with 147 Leslie. The mic collection includes 3 Neumann U47 Long Body Chrome Tops, 2 Neumann M249s, 2 Neumann KM 53s and 54s, 2 Steven Paul Audio Modified Neumann U67s, 2 Neumann M269s which are

375-455: A bus, and then the proportion of drums in the final mix can be controlled with one bus fader. A bus can often be processed just like an individual input channel, allowing the engineer to process a whole group of signals at once. Once again using the drum kit example, the use of bus-processing can enable the sound engineer to run all of the drum kit through an audio compressor effect to reduce unwanted signal peaks, rather than having to route all of

450-405: A digital mixer introduces latency. Audio inserts to favorite external analog processors make for approximately double the usual latency. Further latency can be traced to format conversions such as from ADAT to AES3 and from normal digital signal processing steps. Within a digital mixer, there can be differing amounts of latency, depending on the routing and on how much DSP is in use. Assigning

525-743: A high-gain circuit that increases the low signal level from a microphone to a level that is better matched to the console's internal operating level. In a digital mixer, the microphone preamplifier is followed by an analog-to-digital converter . Ideally, this process is carefully engineered to deal gracefully with overloading and clipping while delivering an accurate digital stream. Overloading during further processing and mixing of digital streams can be avoided by using floating-point arithmetic . Intermediate processing in older systems using fixed-point arithmetic and final output in all digital systems must be controlled to avoid saturation . Analog mixers, too, must deal gracefully with overloading and clipping at

600-426: A mixer has a volume control ( fader ) that allows adjustment of the level of that channel. These are usually sliders near the front of the mixing board, although some smaller mixers use rotary controls to save space. The signals are summed to create the main mix , or combined on a bus as a submix, a group of channels that are then added as a whole to the final mix. For instance, many drum mics could be grouped into

675-717: A mixing console to combine musical instruments and vocals so that the mix can be amplified through a nightclub 's PA system. Among the highest quality bootleg recordings of live performances are so-called soundboard recordings sourced directly from the mixing console. Radio broadcasts use a mixing desk to select audio from different sources, such as CD players, telephones, remote feeds, prerecorded advertisements, and in-studio live bands. These consoles, often referred to as air-boards are apt to have many fewer controls than mixers designed for live or studio production mixing, dropping pan/balance, EQ, and multi-bus monitoring/aux feed knobs in favor of cue and output bus selectors, since, in

750-455: A monitor mix to musicians on stage (which they hear through monitor speakers pointing at the performers or in-ear monitors); this mix is thus independent of the main mix produced by the faders. Most live radio broadcasting soundboards send audio through program channels. Most boards have 3-4 program channels, though some have more options. When a given channel button is selected, the audio will be sent to that device or transmitter. Program 1

825-414: A number of rotary potentiometer knobs, buttons, and faders for controlling the gain of the input preamplifier , adjusting the equalization of the signal on each channel, controlling routing of the input signal to other functional sections, and adjusting the channel's contribution to the overall mix being produced. The types of inputs that can be plugged into a mixer depend on the intended purpose of

SECTION 10

#1732791498100

900-449: A performance — and the other at some other location within the theater (e.g., with the broadcasting equipment); this way, if the acoustics at front of house are unfavorable, a mix can be programmed at an acoustically better position in the room, and the presets (on the faders and knobs) can be accessed from the front of house console during the performance. Digital mixing console sales have increased dramatically since their introduction in

975-406: A range of frequencies . The smallest, least expensive mixers may only have bass and treble controls. Most mid-range and higher-priced mixers have bass, midrange, and treble, or even additional mid-range controls (e.g., low-mid and high-mid). Many high-end mixing consoles have parametric equalization on each channel. Some mixers have a general equalization control (either graphic or parametric) at

1050-668: A signal to two parallel paths with significantly different processing on each path can result in comb filtering when recombined. Some digital mixers incorporate internal methods of latency correction so that such problems are avoided. Analog consoles have a column of dedicated, physical knobs, buttons, and faders for each channel, which is logical and familiar to generations of audio engineers who have been trained on analog mixers. This takes more physical space but can accommodate rapid responses to changing performance conditions. Most digital mixers use technology to reduce physical space requirements, entailing compromises in user interface such as

1125-446: A single shared channel adjustment area that is selectable for only one channel at a time. Additionally, most digital mixers have virtual pages or layers that change fader banks into separate controls for additional inputs or for adjusting equalization or aux send levels. This layering can be confusing for some operators. Many digital mixers allow internal reassignment of inputs so that convenient groupings of inputs appear near each other in

1200-473: A slanted latia ceiling which optimizes acoustic diffusion. When stripped of baffles and carpets, it serves as an echo chamber during mixdown . The center tracking room, leading to the Drum Room, has carpets and absorbable material between the traditional vigas in the ceiling structure which shortens the decay time in the room and makes it suitable for vocals and electric guitar tracking. The Drum Room has

1275-410: A sound's apparent position in the stereo field ; filtering and equalization , which enables sound engineers to boost or cut selected frequencies to improve the sound; dynamic range compression , which allows engineers to increase the overall gain of the system or channel without exceeding the dynamic limits of the system; routing facilities, to send the signal from the mixer to another device, such as

1350-481: A space-efficient solution, as the mixing room at other times can serve as the business office, media archive, etc. Software mixing is integrated as part of a digital audio workstation . Public address systems in schools, hospitals and other institutions use a mixing console to set microphones to an appropriate level and can add in recorded sounds such as music into the mix. PA mixers usually have controls that help to minimize audio feedback. Most rock and pop bands use

1425-443: A vintage Neve 8088 console with Class A 31102 mic pre/EQs which were designed by Rupert Neve in 1977. The Adobe Tracking Room is 30 × 28 × 16 feet (9.1 × 8.5 × 4.9 m) and has geometric ceiling panels, corner and half rounds, and massive ceiling trusses to enhance acoustic diffusion. This studio is on a property that contained one of the original "Custom House" crossing points from Mexico into

1500-428: A wood floor, a slanted wood ceiling and wooden doors which can be opened or closed to adjust the ambiance of the room. The top room, which descends into the control room, contains a 6 ft 11 in (2.11 m) 1978 K. Kawai piano and a 1961 Hammond B3 with a Leslie speaker . The Adobe Studio was designed by Vincent Van Haaff within a hundred-year-old adobe structure with a vaulted wooden ceiling. It contains

1575-419: Is a Class-A design microphone/line preamplifier with three equaliser bands. The equaliser has a fixed 12kHz high frequency band and switchable low and mid range bands with cut and boost controls. There is also a passive third-order (18 dB/octave) high pass filter. Two switches were also fitted on the module's front panel for equaliser bypass and phase polarity. The 1073 module was designed to be part of

SECTION 20

#1732791498100

1650-432: Is also known as an audio mixer , audio console , mixing desk , sound mixer , soundboard , or simply as a board or mixer . An analog mixing board is divided into functional sections. Some of the more important functional sections are subdivided into subsections. The channel input strips are usually a bank of identical monaural or stereo input channels arranged in columns. Typically, each channel's column contains

1725-465: Is created, it is not possible to insert processing such as compressors into a VCA group. In addition, on most VCA-equipped consoles, post-fader auxiliary send levels are affected by the VCA master. This is usually desirable, as post-fader auxiliary sends are commonly used for effects such as reverb, and sends to these effects should track changes in the channel signal level. When implemented on a digital console

1800-433: Is enabled on multiple channels, a mix of these signals is heard through the cue system. Solo in place (SIP) is a related feature on advanced consoles. It typically is controlled by the cue button, but unlike cue, SIP affects the output mix; It mutes everything except the channel or channels being soloed. SIP is useful for setup of a mixing board and troubleshooting, in that it allows the operator to quickly mute everything but

1875-472: Is fed to the console's headphone amp and may also be available as a line-level output that is intended to drive a monitor speaker system. The terms AFL (after-fader listen) and PFL (pre-fader listen) are used to describe respectively whether or not the level of the cue signal for an input is controlled by the corresponding fader. Consoles with a cue feature have a dedicated button on each channel, typically labeled Cue , AFL , PFL , Solo , or Listen . When cue

1950-446: Is possible to set up a sound system and mix via laptop, touchscreen or tablet. Computer networks can connect digital system elements for expanded monitoring and control, allowing the system technician to make adjustments to distant devices during the performance. The use of remote control technology can reduce the amount of venue space used for the front-of-house mixing console, and recover space for audience seating. For recorded sound,

2025-434: Is signal present in the channel's input; the audio level of the channel, typically by lighting up more LEDs; and clipping, which may be indicated using a different colored LED. In one popular color-coding system, green LEDs indicate signal presence and the audio level; one or more amber LEDs indicate that the channel is approaching clipping; and one or more red LEDs indicate clipping. As the human ear experiences audio level in

2100-400: Is typically the on-air live feed, or what those listening to the broadcast will hear. Other program channels may feed one or more computers used for editing or sound playback. Another program channel may be used to send audio to the talent's headset if they are broadcasting from a remote area. Further channel controls affect the equalization of the signal by separately attenuating or boosting

2175-424: Is usually referenced to a nominal level of −10  dBV . For convenience, some mixing consoles include inserts or a patch bay or patch panel. Patch bays are more common in recording mixers than live sound mixers. In live sound, the cables from the onstage microphones and instrument outputs are not typically plugged directly into the mixer, because this would require a large number of individual cables to go from

2250-474: The signal-to-noise ratio . Most mixers have at least one additional output besides the main mix. These are either individual bus outputs or auxiliary outputs , used, for instance, to output a different mix to onstage monitors. The meters may be above the input and master sections or they may be integrated into the input and master sections themselves. Meters may have needles or LEDs . On meters using LEDs, there may be different colored LEDs to indicate when there

2325-473: The 10 or more mic signals on the drum kit individually. There may also be insert points for a certain bus or even the entire mix. Some higher-end consoles use voltage-controlled amplifier (VCA) VCAs function somewhat like a submix but let the operator control the level of multiple input channels with a single fader. Unlike subgroups, no sub-mix is created. The audio signals from the assigned channels remain routed independently of VCA assignments. Since no sub-mix

Sonic Ranch - Misplaced Pages Continue

2400-1036: The 1990s. Yamaha sold more than 1000 PM5D mixers by July 2005, and other manufacturers are seeing increasing sales of their digital products. Digital mixers are more versatile than analog ones and offer many new features, such as reconfiguration of all signal routing at the touch of a button. In addition, digital consoles often include processing capabilities such as compression , gating , reverb , automatic feedback suppression and delay . Some products are expandable via third-party audio plug-ins that add further reverb, compression, delay and tone-shaping tools. Several digital mixers include spectrograph and real-time analyzer functions. A few incorporate loudspeaker management tools such as crossover filtering and limiting . Digital signal processing can perform automatic mixing for some simple applications, such as courtrooms, conferences and panel discussions. Digital mixers have an unavoidable amount of latency , ranging from less than 1  ms to as much as 10 ms, depending on

2475-433: The 33609JD stereo compressor. Mixing console A mixing console or mixing desk is an electronic device for mixing audio signals, used in sound recording and reproduction and sound reinforcement systems . Inputs to the console include microphones , signals from electric or electronic instruments, or recorded sounds. Mixers may control analog or digital signals . The modified signals are summed to produce

2550-409: The 80 series Neve console. It was never intended for use as a stand alone module. It is now regarded as a "desert island" preamp by many recording engineers, and has been used on a countless number of hit records over the past 30 years from Rock, Rap, Hip-hop, to Classical. The sound is described as very big, fat, and colored. The factor contributing to the larger than life sound is greatly attributed to

2625-479: The BBC. Before the introduction of Necam, all fader mixing had to be done as live, a considerably skilled and stressful task for any dubbing mixer. Necam allowed for fader movements to be stored and recalled at a later point, allowing the dubbing mixer to build a mix in stages and focus on the creative and artistic elements of a mix, rather than on managing the technology. For those working in television post production, this

2700-515: The Big Tracking Room and two isolation booths in the large 36-by-31-foot (11.0 m × 9.4 m) Control Room. The A Studio , which was the first studio to be established at Sonic Ranch, is partially subterranean and features a 40-channel E/G SSL console with vintage Neve outboard mic pre/EQs and has four tracking rooms with differing acoustics and dimensions. The Stone Room is a five-sided room made of travertine stone, with

2775-468: The European version of U67s, 3 Neumann U87s, 3 Telefunken ELAM 251s, 2 Telefunken ELAM 250s, 2 AKG C12s, and 2 Coles 4038s. Following is a list of some of the artists who have recorded songs at Sonic Ranch: Following is a list of some of the producers and/or engineers who have recorded and/or mixed songs at Sonic Ranch: Neve Electronics Neve Electronics ( / ˈ n iː v / NEEV )

2850-562: The United States. The Mix Room was designed by Vincent Van Haaff and is in the left wing of the original Spanish hacienda. It is 20 feet (6 m) wide and 40 feet (12 m) deep and contains a 64-channel SSL G/G+ console. It resides next to the swimming pool in the hacienda patio. The Mastering Room is in the center section of the Spanish hacienda and is 18 ft (5.5 m) wide and 27 ft (8.2 m) deep. It features

2925-687: The audience. A DJ mixer may have only two channels, for mixing two record players . A coffeehouse 's tiny stage might only have a six-channel mixer, enough for two singer-guitarists and a percussionist. A nightclub stage's mixer for rock music shows may have 24 channels for mixing the signals from a rhythm section , lead guitar and several vocalists. A mixing console in a professional recording studio may have as many as 96 channels. Consoles used for live sound can go even higher, with some having up to 384 input channels. In practice, mixers do more than simply mix signals. They can provide phantom power for condenser microphones ; pan control , which changes

3000-404: The audio engineer can identify the different channels. For each channel input, a mixer provides one or more input jacks. On mid- to- large-sized live venue and sound recording consoles, these input jacks are numbered as well and consolidated in a patch bay . On smaller mixers, the input jacks may be mounted on the top panel of the mixer to facilitate the connection and disconnection of inputs during

3075-465: The audio engineer to reroute the signal to a different output for monitoring purposes, turn on an attenuator pad (often reducing the signal by 15 or 20 dB to prevent audio clipping ), or activate other features, such as a high-pass filter . Some higher-priced mixers have a parametric equalizer or a semi-parametric equalizer for one or more of the equalizer frequency bands, often the middle range . The channel strips are typically numbered so that

Sonic Ranch - Misplaced Pages Continue

3150-423: The audio signal before the output amplifier, meaning the output level can be raised after compression of the signal. The controls include compression attack and recovery times. There is also a bypass control to switch the effect in or out of the circuit. Other configurations were available at the time of the product's release. The Neve 33609 compressor limiter was re-designed around 2009 by AMS Neve and labelled as

3225-433: The combined output signals, which can then be broadcast, amplified through a sound reinforcement system or recorded. Mixing consoles are used for applications including recording studios , public address systems , sound reinforcement systems, nightclubs , broadcasting , and post-production . A typical, simple application combines signals from microphones on stage into an amplifier that drives one set of loudspeakers for

3300-688: The company moved to Cambridgeshire . That year Neve Electronics built one of the first transistor-based mixing consoles for Philips Records Studios in London. The company moved to a purpose-built factory in Melbourn , near Cambridge where in 1968 they designed the 2254 compressor limiter for ABC Weekend TV in the UK. It was also in 1968 that Neve Electronics began to distribute their products in North America. Vanguard Records , of New York City ,

3375-493: The console and had it in her studio Brooklyn in Hollywood in the early 1990s, where Yoshiki Hayashi purchased and put it together with another 8078 into its present form by Pat Schnider and Wess Dolly. Sonic Ranch acquired this console in 2006. The Big Tracking Room that is connected to this control room is 36 by 47 feet (11.0 m × 14.3 m) and has 22-foot-high (6.7 m) ceilings. There are two isolation booths in

3450-409: The controls associated with them, are available in the input section of most mixing consoles. Audio engineers typically aim at achieving a good gain structure for each channel. To obtain a good gain structure, engineers usually raise the gain as high as they can before audio clipping results; this helps to provide the best signal-to-noise ratio . A mixing console may provide insert points after

3525-445: The design of the transformer which seems to add subharmonics to the signal. The Equalizer section of the 1073 is regarded as very "musical" and practical and has become the favorite choice of many engineers for recording and mixing. The 33609 is a 19” rack mounted compressor limiter produced by Neve Electronics for broadcast and recording purposes. The unit can be linked for stereo and multi-channel operation. The compressor processes

3600-418: The fader bank, a feature that can be disorienting for persons having to make a hardware patch change. On the other hand, many digital mixers allow for extremely easy building of a mix from saved data. USB flash drives and other storage methods are employed to bring past performance data to a new venue in a highly portable manner. At the new venue, the traveling mix engineer simply plugs the collected data into

3675-400: The global "analog mixer vs. digital mixer" question difficult to answer. Experienced live sound professionals agree that the selection and quality of the microphones and loudspeakers (with their innate higher potential for creating distortion) are a much greater source of coloration of sound than the choice of mixer. The mixing style and experience of the person mixing may be more important than

3750-403: The high gains involved (around +50 dB , for a microphone), this stage is where most noise and interference is picked up. Balanced inputs and connectors, such as XLR or phone connectors that have been specifically wired as balanced lines, reduce interference problems. A microphone plugged directly into a power amplifier would not produce an adequate signal level to drive loudspeakers, because

3825-407: The input gain stage. These provide send and return connections for external processors that only affect an individual channel's signal. Effects that operate on multiple channels connect to auxiliary sends (below). The auxiliary send routes a split of the incoming signal to an auxiliary bus, which can then be routed to external devices. Auxiliary sends can either be pre-fader or post-fader, in that

SECTION 50

#1732791498100

3900-401: The level of a pre-fader send is set by the auxiliary send control, whereas post-fade sends depend on the position of the channel fader as well. Auxiliary sends can send the signal to an external processor such as a reverb, with the return signal routed through another channel or designated auxiliary return. Post-fader sends are normally used in this case. Pre-fade auxiliary sends can provide

3975-496: The make and model of audio console. Analog and digital mixers both have been associated with high-quality concert performances and studio recordings. Since the option first appeared associated with analog mixing the 1990s as wired remote controls for certain digital processes such as monitor wedge equalization and parameter changes in outboard reverb devices, the concept has expanded until wired and wireless remote controls are being seen in relation to entire digital mixing platforms. It

4050-522: The master control is a fader. However, on some small mixers, rotary knobs are used instead to save space (and cost). In a typical live sound mixing context, with a band playing at a venue, consisting of a rhythm section, solo instrumentalists and singers, the master control section allows the audio engineer to control the volume of the entire group with just one fader (for monaural mixers) or a pair of left and right faders (for stereo mixers). Subgroup and main output fader controls are often found together on

4125-399: The master section. There are usually one or more VU or peak meters to indicate the levels for each channel, for the master outputs and to indicate whether the console levels are clipping the signal. The sound engineer typically adjusts the gain of the input signals to get the strongest signal that can be obtained without causing clipping. Having the gain set as high as possible improves

4200-452: The microphone preamplifier and as well as avoiding overloading of mix buses. Noise is present at all stages of an analog mixer, though good gain stage management and turning unused channels down to zero minimizes its audibility. Digital circuitry is generally more resistant to outside interference from radio transmitters such as walkie-talkies and cell phones. Many electronic design elements combine to affect perceived sound quality, making

4275-427: The microphone's signal is too weak; the microphone signal needs a preamplifier to strengthen the signal so that it is strong enough for the power amplifier. For some very strong line level signals, the signal that is plugged into the mixer may be too strong, and cause audio clipping . For signals that are too strong, a 15 dB or 20 dB pad can be used to attenuate the signal. Both preamplifiers and pads, and

4350-435: The mixer. A mixer intended for a live venue or a recording studio typically has a range of input jacks, such as XLR connectors for microphones and the outputs from DI boxes , and 1/4" jacks for line level sources. A DJ mixer typically has RCA connector inputs for pre-recorded music being played back on turntables or CD players , and a single mic input. Depending on the mixer, a channel may have buttons which enable

4425-430: The mixing process can be performed on screen, using computer software and associated input, output and recording hardware. The traditional large control surface of the mixing console is not necessarily utilized. In a software studio, there is either no physical mixer fader bank at all or there is a compact group of motorized faders designed to fit into a small space and connected to the computer. Many project studios use such

4500-504: The model of digital mixer and what functions are engaged. This small amount of latency is not a problem for loudspeakers aimed at the audience and not necessarily a problem for monitor wedges aimed at the artist, but can be disorienting and unpleasant for in-ear monitors where the artist hears their voice acoustically in their head and electronically amplified in their ears but delayed by a couple of milliseconds. Every analog to digital conversion and digital to analog conversion within

4575-640: The newer 1081 microphone/line preamplifier and equaliser. In the same year Rupert Neve sold Neve Electronics to the Bonochord Group . He continued working alongside Neve Electronics until 1975 when he left altogether. In 1977, Neve Electronics began using digital technology with the introduction of their Necam system. Necam stood for Neve Computer Assisted Mixdown. The first Necam system was installed at AIR Studios in London . Necam also gained popularity in television post production facilities, including

SECTION 60

#1732791498100

4650-405: The other inputs being line inputs. These can be used by a singer-guitarist or other small acts. The first knob at the top of an input strip is typically a trim or gain control. The input/preamp conditions the signal from the external device and this controls the amount of amplification or attenuation that is applied to the input signal to bring it to a nominal level for processing. Due to

4725-401: The output, for controlling the tone of the overall mix. The cue system allows the operator to listen to one or more selected signals without affecting the console's main outputs. A sound engineer can use the cue feature to, for instance, get a sound recording they wish to play soon cued up to the start point of a song, without the listeners hearing these actions. The signal from the cue system

4800-494: The right-hand side of the mixer or, on larger consoles, in a center section flanked by banks of input channels. Matrix routing is often contained in this master section, as are headphone and local loudspeaker monitoring controls. Talkback controls allow conversation with the artist through their monitors , headphones or in-ear monitor . A test tone generator might be located in the master output section. Aux returns such as those signals returning from external processors are often in

4875-403: The same functionality may be referred to as a DCA or control group (CG), depending on the brand of mixer. For example, if an engineer wishes to control microphones for three background vocalists at one time, muting them or changing their volume relative to a lead singer, he might create a VCA rather than adjusting all three volumes separately. A sub-mix would be useful if he wanted to process all

4950-404: The same inputs and outputs, the same settings, and the same audio mix. There are two primary reasons for doing this; one, in the event of a hardware failure, a second redundant console is already in place and can be switched to (an important feature for live broadcasts); second, it allows the operators to set up two identical mix positions, one at front of house — where the audio will be mixed during

5025-428: The signal being adjusted. For example, if an audio engineer is having problems with clipping on an input, they may use SIP to solely hear that channel, so that the problem can be diagnosed and addressed. SIP is potentially disastrous if engaged accidentally during a performance, as it will mute all the channels except one, so most consoles require the operator to take very deliberate actions to engage SIP. Each channel on

5100-547: The singers together, adding the same amount of reverb or compression to each; but the VCA allows each channel to retain its distinctive processing while giving the engineer the ability to quickly adjust the group's volume or mute them. The master control section is used to adjust the levels of the overall output of the mixer. The master control section on a large live venue or sound recording mixer typically has sub-group faders, master faders, master auxiliary mixing bus level controls and auxiliary return level controls. On most mixers,

5175-452: The stage to the mixer. Instead, the onstage mic and instrument cables are typically plugged into the stage box of a snake cable which runs from the stage to the mixer. The snake is then plugged into the mixer. Most, but not all, audio mixers can Some mixers can Some mixing consoles, particularly those designed for broadcast and live sound, include facilities for mirroring two consoles, making both consoles exact copies of each other with

5250-577: The use of the mixer. The input strip is usually separated into sections: On many consoles, these sections are color-coded for quick identification by the operator. Each signal (e.g., a singer's vocal mic, the signal from an electric bass amp's DI box , etc.) that is plugged into the mixer has its own channel . Depending on the specific mixer, each channel is stereo or monaural. On most mixers, each channel has an XLR input, and many have RCA or quarter-inch TRS phone connector line inputs. The smallest, least expensive mixers may only have one XLR input with

5325-461: The venue's digital mixer and quickly makes small adjustments to the local input and output patch layout, allowing for full show readiness in very short order. Some digital mixers allow offline editing of the mix, a feature that lets the traveling technician use a laptop to make anticipated changes to the show, shortening the time it takes to prepare the sound system for the artist. Both digital and analog mixers rely on analog microphone preamplifiers ,

5400-409: Was a manufacturer of music recording and broadcast mixing consoles and hardware. It was founded in 1961 by Rupert Neve , the man credited with creating the modern mixing console. Rupert Neve formed Neve Electronics in 1961. The company specialised in producing professional audio equipment and mixing consoles. The products used high-quality components and utilized Class-A circuit designs. In 1964

5475-588: Was included in the company's research and development programme was a digitally controlled routing system; very few of these were sold. In 1985, Neve Electronics was acquired by the Siemens group; then in 1992 the Siemens group combined Neve Electronics with another newly acquired company, Advanced Music Systems to form AMS Neve which continues to produce products under both the Neve and AMS Neve brands. The 1073

5550-520: Was seen as a major breakthrough. In 1979, the 8108 console was produced using both analog and digital technology. The console had assignable controls and memory mixing faders. In the 1980s, there were concerns about Neve Electronics' financial situation. This was partly due to their ambitious investment into research and development of projects such as the DSP console and the Necam system. Another product that

5625-459: Was the first American recording studio to take possession of the Neve console in October, 1968. In 1970, Rupert Neve designed the 1073 module for the new A88 mixing console; this console was designed for Wessex Studios . During the seventies Neve Electronics produced a whole series of mixing consoles for both broadcast and recording studios. In 1973, the 8048 console was produced; this included

#99900