MIXER+VIDEO+NOTES

Mixer (Mixing board, console, desk)

Analog (around first) Digital - use multi-functional controls (save space)

Master control section + channels (strips)

Pad (allows additional cut in signal strength, preventing input overload) "Gain Staging" allows a clear, clean signal to be created Overload causes distortion, too low leads to a weak, noisy signal
 * Trim** ("gain") (possibly "mic" and "line" individual knobs) - must be properly adjusted, then usually stays (unless necessary to change)
 * Aux Sends** can have as many as 8 or more, or as few as one. Used primarily for monitor mixes, effects controls, and alternate mixes. Made to be pre fader (takes channel signal before it goes through volume fader and sends it through aux - often used as monitor sends - unaffected by main house mix) or post fader (often used to go to effects, follows fader movements)
 * Equalization Controls (EQ)** can consist of high and low or high, mid, and low.
 * Sweeping MID control** (one knob selects the affected frequency and the other knob adjusts the amount of cut or boost to that frequency)
 * High Pass or Low Cut button** reduces certain frequencies
 * Pan** (sends signal to left or right side of stereo mix, or to send a signal to an odd or even numbered group or submix - commonly used to allow multiple mics to be combined into one fader)

1) set master and group levels all of the way down, set aux controls down, set channel EQ at halfway (flat), THEN change input strength (gain/trim) ("zeroing console") 2) solo/PFL button - as you loudly mic check, slowly bring up the trim until the meters show a peak level of around 0 dB. check for clipping. 3) mix with faders (have them close to the 0 dB mark - if you need help doing so, you could adjust the trim a bit)

XLR mic connectors. (low impedance - balanced) Line (1/4 inch) Go through direct box to get to XLR, if possible Insert jack - to connect signal processors (tip-ring-sleeve (TRS - balanced) quarter inch) Insert points for groups to put effects on entire group Stereo main output (or L/R output) (some use XLR, some use 1/4 inch that may be balanced or unbalanced) AUX sends/outputs in master section (for other components) (often 6+) AND returns (used for connecting effects devices back to mixer) Group/submix outputs to send assigned signals to an individual mix

active requires power (electric violin has battery - is an active pickup; cello was without battery so it was inactive)
 * Active vs. Inactive Microphones**

makes signal louder
 * Amplifier**

if all the way open, not attenuating at all. cuts the sound.
 * Attenuator ("pot")**

signal gets multiplied and partly out of phase with each other so it sounds like multiple people
 * Chorus effect**

compresses, which can make the sound more even. squishes loudest units so that we can then bring up the whole sound.
 * Audio Compressor**

sends highs/lows to different places (the appropriate type of speaker) 2 types - active and passive (passive located in speaker) (active digitally splits it)
 * Crossover**

delays the sound.
 * Delay**

changes impedance. from line level to mic level.
 * Direct box**

happens when the gain is too high. chopped sound.
 * Distortion**

no reverb/effects
 * Dry**

Parametric - can grab frequencies and can move them. Graphic
 * Parametric vs. Graphic EQ**

good thing. even frequencies.
 * Flat frequency response**

horn - on the speaker. folded horn - inside speaker, the sound goes back inside the speaker THEN out. adds distance. gives lower frequencies a better chance of getting out.
 * Folded horn**

front of house. speakers. or mixing board.
 * FOH**

opposite of folded horn. all sound just pops out the front.
 * Front loaded speaker**

"impedance"
 * Z**

usually problem in mid-range. too much gunk.
 * Muddy**

can switch polarity of sounds. way to simulate stereo.
 * Polarity**

too much effect. (opposite of dry)
 * Wet**