Question:
Hi everyone, I have a general question that could take allot to explain...
I'm very interested in learning how to work a mixer (mixing board) because the church band I play in doesn't have a standard soundguy....however we do have a good sound system.
I dont know the make of our mixer but I know we have "mains" in the church and onstage monitors that we feed signals through and stuff...
my question is...in general, if you were a sound guy...how would you work a sound board? we have inputs for 1. acoustic, 1. electric guitar, 1. bass guitar and 3 volcal mics...although we usualy mic the bass amp...
any help on this? I know its a very broad topic but anything would be greatly appricated. Thanks!
In Him,
-Deren
Answer:
Most soundboards are similar, but they all have some individuality as well (for the most part). Learning how to work one is best done hands-on, one-on-one with an experienced technician. Beyond that, maybe a "Pro-Audio for Dummies" book...
The biggest thing to understand is the signal path. You have to know how the signal flows through the various "parts" of the board and what each control does at those points. When you combine that knowledge with the experience of what it actually sounds like when you change ______ parameter, then you've got a budding soundboard tech.
Nate
Answer:
Here's the general concept of a sound system
Input (eg. mic, instrument, etc...) -> Processing (eg. mixer, compressors, EQ, mxier, amplifier, etc..) -> Output (Speakers)
Most mixers work this way...
Input Jack
There are usually two types of jacks that mixers will take for input.
The first one is XLR (better known as the 3 pronged mic jack), this input receives low impedance, balanced audio signal.
The second one is the TS (Tip-Sleave) or TRS (Tip-Ring-Sleave) 1/4" Jack. TS jacks only has one conductor for the audio signal while the TRS jack has 2. This means the TRS jack can carry balanced signals.
Gain
If you can picture your audio signal as water travelling down a pipe, you can think of the Gain as the water pump.
This is usually the first part where the audio signal goes to when it enters into the mixer. Without the the pump, your water would just trickle. In the same way, a gain boost the signal to 'line level' (around 1volt).
Direct Out
Some mixers will have a direct out jack. This either placed before or after the gain (depending on the mixer). Some mixers (particularly the $10k plus ones for touring) will have switches that allow you to switch between the two.
EQ (Equilizer)
There are several types of EQs but the most common ones on mixers are the shelf and semi-parametric EQs.
First the shelf. The Shelf EQ changes the frequency in 'blocks' so if you turn up the Low EQ, this will cause all the audio signal that has a frequency lower than the set frequency (Q) to be boosted.
In general, pretty much all Low and Hi EQs on the channel strips of the mixers are shelving EQs.
A semi-parametric EQ works very similarly to the shelving EQ. The difference is that you can now sweep the center frequency (Q) along the audio spectrum. This function is usually on the Mid EQ on mixers above the $1000 price range. Lower end mixers will have 1 Mid semi-parametric EQ. Higher end ones will have 2, one high-mid and the other low-mid.
Really nice mixers will have a full parametric EQ which means you can change the width of the (center frequencyy) Q range.
Inserts
Most mixers above $1000 will have inserts. This function may vary depending on the mixer. On Mackie mixers, the inserts will send out a signal through the Tip of the TRS jack and 'insert' a signal through the Ring of the TRS jack. If you use a Y-cable that splits the TRS cable into 2, (TS and TR) you can use one as an output to send a post gain signal into a peice of gear outside the mixer and then take the output from the outboard gear and send it back into the mixer. This basically makes a loop in the signal chain.
Auxilary Bus
Auxilary busses takes a the signal after the gain and splits it into multiple paths. Some mixers with take the signal after the EQ while others will take it before the EQ. And some of the more sophysticated mixer will allow you to flip between the two.
Also, there are two types of Aux bus. The first is Pre-fader
This means it takes the signal before it goes through the channel fader. This type is useful for sending out a monitor mix so when you adjust the faders to get a better balance in the FOH (Front of House) mix, it won't affect the monitor mix. The second type is Post-Fader Aux. This is usually used to feed effects where you want the effects (eg. reverb) to be proportional to your signal coming out of the channel strip.
Group Select Buttons
Group Select Buttons allow you to select which group bus you want to send the signal to. Channel Select buttons are usually set as Ch.1-2, 3-4, 5-6 etc.. It is used in combination with the PAN knob to allow you to send the signal to two groups at a time or only one group by panning hard left or hard right.
The benefit of having group select button is that you can send several channels that are related (eg. drum tracks, back ground vocals, etc...) into one group and so when you have a good balance between the tracks and all you want to do is change the volume of the group, you can move one group fader instead of a whole bunch of channel faders.
PFL - Pre-fade listen
PFL allows you to monitor a particular track(s) before it gets to the fader via headphones. This is helpful if you want to listen to only one track at a time to see what needs to be tweaked.
AFL - After-fade listen
This is the same idea as PFL except you're listening to the selected track after the fader.
SOLO
another name for PFL and AFL
Mute
This mutes the particular track you selected. This not only mutes what's coming out of the faders, but also the auxilary busses (and depending on the mixer, sometimes the direct outs as well as inserts)
Mute Groups
This works similarily to the Channel select groups except you select which mute group a track should be in and when you want to mute a specific group of tracks (eg. all instruments) you can activate a mute group and mute all the channels that are in that particular mute group.
Matrix
This is pretty much the same as an auxilery bus
Talk Back
Talk Back allows you to plug a mic into the mixer and communicate with people on stage via their monitor channels. This means that only the people on stage will hear what you're saying and the audience won't hear anything in the FOH mix.
Some very highend mixers will also come with compressors and noise gates but that's a whole other ball game...
The best way to findout how YOUR mixer works is by readin the manual. You can usually download the manual from the manufacturer's website.
Answer:
Hey doc, all that really helped!
Thanks so much!
(thanks to nate as well)
Keep it comming.
In Him,
-Deren
Answer:
I always thought working the sound board was about making everyones volume level sorta equal and vocals a bit louder?
Answer:
the way i mix is i start with the key outstanding elements (usually the lead vocals)
then add layers of other supporting elements to the mix (background vocals, rhythm instruments, bass, guitars etc...)
Answer:
The way I mix is to establish a median level, which I usually give to the drums/percussion. Then I mix around that, most usually in the method that d0c_99 uses - find what you want to shine through (vocals and solo instruments - flute, sax, trumpet in my case), help make it crisp and intelligible (EQ), and then start filling in gaps with the rhythm section (bass, guitars, keys).
Nate
Answer:
I have a problem, my church's main sound technician just went to colledge. I have been appointed the new sound guy. I have a problem with getting the vocals clearer. The lead vocals always sound muffled. I turn up the highs and get rid of some of the lows, but it still sounds the same. can you help me?
Answer:
What sort of mics are you using?
Answer:
we have tried 3 diffrent mics. is there any thing else/diffrent that i can do?
Answer:
Originally Posted by Soundman1131 we have tried 3 diffrent mics. is there any thing else/diffrent that i can do?
Er...I mean what brand / model of mics are you using?
Condensor or dynamic?
It also helps for the singers to be somewhat experianced in projecting their voice and singing clearly, but I doubt that is the problem here.
Answer:
Your background vocals are supporting the lead vocal(s) who is (are) rightly, the center(s) of attention. The background vocals sound doesnt need to be as full as the lead vocal(s). Therefore, cut the low end from the background vocals even more than 125-150 hz. Sometimes it's good to cut as high as 250-400hz. This will clear up a lot of rumble and mic handling noise as well. It will also make background vocals sparkle. Wet it down with a little reverb and you've got a sound!
Answer:
Some people think it's cool to mix from the Gain knob at the far back of the console. It's not cool at all. When you change the gain channel back and forth as if to mix, when you change the gain on a channel, you change every volume level everywhere else you are sending that channel. What this means for the singer, guitarist on the platform, is that their monitor mix completely changes when the gain changes. I wonder why we spend so much time getting a sound check if the sound person is going to change everything by mixing from the gain knob! now that you know, NEVER do it!
Answer:
Originally Posted by RecordingGuy Some people think it's cool to mix from the Gain knob at the far back of the console. It's not cool at all. When you change the gain channel back and forth as if to mix, when you change the gain on a channel, you change every volume level everywhere else you are sending that channel. What this means for the singer, guitarist on the platform, is that their monitor mix completely changes when the gain changes. I wonder why we spend so much time getting a sound check if the sound person is going to change everything by mixing from the gain knob! now that you know, NEVER do it!
there are appropriate times to adjust the gain knobs, but you really need to know your stuff before you start playing with that.
My problem is that i like 128 channel eq's for all my monitor/main channels, and a completely silent room for EQ'ing. Musicians are a pain in the neck about it though. Have you ever run a show for punk bands who were complaining that they couldn't get feedback? "i can't get feedback from the monitors" "great, you're not going to blow my system, get it from your fullstack, you moron"

Running sound is something best taught in person, and you really need to have an ear for it yourself, or develop one quickly. If you can't, it'll never sound *right*. To this day i go to shows, even some that i pay money for and think "how can they have such an ignorant doofus running sound". Some people simply aren't cut out for it. Find your niche.
oh, and beware of phantom power when amps are turned on. That's all i'm sayin on that subject.
Seriously though, find someone local who knows their stuff, and let them teach you how to drive. It's similar to learning how to drive a car. You need someone to show you some basics, and then guide you as you start doing them. Then it comes down to tweaking, learning how to run a proper live board... etc. Live boards are always best. Don't be the guy who gets the soundboard for church set up once, and then just sits up there, turns the equipment on and off and flips over the cassettes and hits "record". That's always a bummer.

Answer:
Well........There you go. Don't forget to eat your cheerios.