MIXERS & MIXING

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Author: admin
Date: 07-Jan-99

Welcome to the MIXER section....Check out the page links, or just go for a scroll......

If you do not understand the terms, or how a mixer works, then check out the MIXER button in the Toolbar on the Left.... for a lesson

(page links)

CHOOSING A MIXER
RECORDING ON A MIXER WITHOUT SUBGROUPS
RECORDING ON A MIXER WITH SUBGROUPS
ADDING A SUB-MIXER
MIXING TIPS

CHOOSING A MIXER

There are many mixer configurations, but for dance music we can use a basic mixer..... We're gonna need a mixer whenever we need to blend any combination of outboard synths, samplers, fx mic's and maybe a DJ mixer, direct to a soundcard input to multi-track....There are various mixer configs... and we can get a certain amount of task from each....

MIXER WITH SUBGROUPS
This will be easier to work with & makes all forms of recording simple, because you have a bank of dedicated outputs, thru which you can route audio to inputs whilst not disturbing your monitoring or mastering chain......If you are working with any 8 input device....Adat, Layla, Fostex etc, an 8 Buss/subgroup mixer will make life alot easier, but will cost more money. Note, that stereo recording is not really necessary for vocals, as we can add stereo FX on playback.

MIXER WITHOUT SUBGROUPS & WITH 2 AUX SENDS
This will be cheapest sorta mixer you can get.... 6, 8 or whatever inputs blending to a stereo-master-out... there will be a stereo-monitor-out (a mirror of the Master-Out).... to send to your amp & speakers..... and 2 Auxilliary Sends.... (possibly returns if lucky)...,These mixers give more input channels for the money, and maybe cheaper.....it's the most basic you can get worth selling by a company really..... and there are a few ways to use it....

We will be able to pick out sounds from a mix of used mixer input channels, and set up STEREO recordings into our PC for recording things like stereo synths or a mono synth with a Stereo FX on it..... If you're working with a PC Virtual System with built-in FX combined with outboard midi-kit ..... this sorta mixer will do you ok....

MIXER WITHOUT SUBGROUPS & WITH 3 AUX SENDS
With 3 Aux Sends, we can record all our stereo stuff to the soundcard using 2 of the aux-sends ..... We can also set up a Vocal on the mixer with the 3rd Aux sending an output to a reverb input so the vocalist or whatever can listen to the stereo mix, and the mic, with at least one fx on it as he/she sings.....

You might think... "Hey.. I can just send the L/R Out from the mixer to the soundcard !"....
There is a downside to having the mixer master L/R sending to the soundcard inputs in this kind of set-up..... and that is this....
The mixer master out always presents to the soundcard input, the ENTIRE mix of ALL the outboard...... if you want to ONLY record a single synth in the mix, or a vocal whilst the midi outboard backing is playing.... you'll have to mute anything OTHER than the sounds you want to record... NOT practicle for multi-tracking at all..... That is why it's best to learn how to compromise if you're on a broke budget with the Aux-Sends...... or get a mixer with a minimum of sub-groups....

RECORDING ON A MIXER WITH NO SUBGROUPS

OK....This kind of mixer will have between 4 & 16 mono input channels, all routing into a main stereo output fader. This kind of mixer will sometimes be described in the Ad's as a "Live" mixer. Slightly more expensive versions will have a monitor output which feeds the amp + speakers, and a L/R button on every channel to select whether the signal goes to the main stereo out.

Basic mono recording (any non subgroup mixer)

Mix all the sounds from the Input Channels into a final Stereo Mix.
To record, send a signal out from one of the channel AUX SENDS, to the Soundcard.
The Aux Send is MONO, & the Soundcard Input is Stereo.
Therefore you need to make up a Mono (mixer Aux Out) to Stereo (S'card In) lead if you want to record all stereo tracks.
Mono recordings for Vocals etc will be fine.

To record a synth part/loop, with a stereo FX on it (with 2 Aux Sends)

Set up the synth so it's playing the midi sequence, and add the FX by sending a signal from the Aux Send, to the FX unit.
Bring the L & R from the FX unit in to 2 of the mixer input channels or 2 Aux returns, & pan Left & right..
Balance the Synth with the FX until the desired FX is set.
Mute everything except the Synth & FX channels, & route the ST Master out from the mixer to the Soundcard input.
Once you have the stereo Synth loop recorded, open up the other channels and move on.
This is a bit fiddly, but we are on a budget !

To record a mono vocal with a stereo FX (reverb) on the vocal as the singer performs, but without recording the stereo FX (with 2 Aux Sends)

Set up the midi backing.
Set up the vocal channel.
Send some vocal to the FX reverb unit via Aux 1. Most reverbs have mono IN, stereo OUT.
Bring the FX L/R returns back into the mixer via the FX Returns or 2 Input channels.
Start the backing, & as the singer performs, send some vocal out of AUX 2 to the Soundcard, & set the Record Level.
Record the dry (no fx) vocal.
Once you have some good takes, re-set the channels, and carry on.

To record a STEREO vocal with a stereo FX (reverb) on the vocal as the singer performs, and ALSO recording the stereo FX (with 3 Aux Sends)

Set up the midi backing.
Set up the vocal channel.
Send some Vocal from the vocal channel to the Reverb via AUX 1. Most reverbs have mono IN, stereo OUT.
Return the Reverb L/R Returns into 2 Input Channels.
Designate AUX 2 to go to the Soundcard Left Input.
Designate AUX 3 to go to the Soundcard Right Input.
Send some vocal signal out to the Soundcard AN EQUAL AMOUNT from Aux 2 & 3.
Send some L Reverb return out from its channel ONLY on Aux 2.
Send some R Reverb signal out from its channel ONLY on Aux 3.
This in effect sends the L reverb to the L soundcard, & the R reverb to the R Soundcard
Do a little test recording to balance the recorded Vocal with the recorded Reverb.
Once you've got the levels right, grab some takes !
You can obviously use this technique on a live non-midi monosynth or anything else.

RECORDING ON A MIXER WITH SUBGROUPS

Ok....This type of mixer is exactly the same as the basic model, but it has SUBGROUPS. The cheapest kind will have 4 Subgroups, such as some of the earlier cheap Fostex mixers which were designed to compliment the early Fostex 8 tracks which could only record on 4 tracks simultaneously. This ones very obvious but for you total beginners.....

Basic recording mono or stereo :

Set up your midi backing playing into the mixer.
Set up a vocal mic' on a channel.
All Soundcards have a stereo input jack, so designate 2 Subgroups on the mixer to feed the Soundcard.
You will need to make a Mixer to Soundcard lead. (NO...Really ?!!)
Select whichever channel/s you want to record and route them to the Subgroups.
Set the Pan position, & the Stereo/Mono record on the Software (If it has it)
Record your takes.

To record a sound (lets say a Synth), 'MONITORING OFF TAPE' with stereo FX added,

Set up your synth part.
Route the Synth channel to the assigned Subgroups.
Route the L/R FX output into 2 Input Channels.
Route those FX channels to the Subgroups with the Synth signal.
Pan one FX return channel Left & the other Right.
Bring the Soundcard output into 2 new mixer channels.
REMOVE the Synth & FX signals from the L/R mix, by lifting the L/R button on their Input channels.
Put the Record Software into Record/Pause/Monitor....The state for getting a level without recording.
Open the Soundcard return channels into the desk.
The Synth & FX signals going IN to the card from the Subgroups should be passing THRU to the desk via the Soundcard OUT.
Balance the Soundcard Return L/R channels to be the same, & pan L and R.
You now should be hearing the Midi backing coming direct from the mixer Input channels, with the Synth & FX in Stereo, coming from the Soundcard.
Adjust the balance between the Synth signal, & the Stereo FX by adjusting the fader levels on their INPUT Channels (NOT the Soundcard return channels)
Any changes you make to the relative levels between the two, will appear at the Soundcard Return L/R Channels.
This allows you to hear how the signal mix between the Synth & FX will sound once it is recorded.
This is known as MONITORING OFF TAPE, (Or in this case off Hard Disk)
Once you have a cool balance, record as usual.

ADDING A SUB - MIXER

You can always add a few more input channels by getting a cheap 6, 8 or 12 into 2 mixer. This is pretty easy, & does not involve modifying either mixer.....The good thing is, you can get a basic mixer with 4 subgroups for recording stuff easily to tape or hard disk via the subgroups....but you can add a cheap Line mixer to give you all the Inputs you need.....This will probably work out much cheaper than buying a newer mixer with lots of inputs & a few subgroups, a design that only appears on newer more expensive boards.

OK....First, you're going to need some 1/4 inch jack to jack cables... Lets say the Original mixer has :

Stereo Master Out.
3 Aux Sends.
2 Aux Returns
4 subgroups
8 input channels

And the Sub Mixer has :

Stereo Master Out.
2 Aux Sends.
No Aux Returns
No subgroups
12 or 16 input channels.

EXCELLENT......Now we have 2 choices.........

If we want to record stuff from the sub-mixer to tape or hard disk via the subgroups on the MAIN mixer, then we need to take the Master L & R OUTS of the submixer..... IN to the main mixer....via 2 seperate Input channels on the main mixer.....

To record from the sub-mixer, simply mute all the sounds on the Sub-mixer except the one you want to record.......That sound only will now appear at the two MAIN-Mixer Input Channels.......Simply route the 2 input channels to the tape or Hard disk via the subgroups, & record.

If we DO NOT want to record stuff from the sub-mixer to tape or hard disk via the subgroups on the MAIN mixer, then we need to take the Master L & R OUTS of the submixer..... IN to the main mixer....via 2 AUX RETURN INPUTS on the main mixer.....

This method allows us to record stuff only if it is plugged into the Main-Mixer....not a big deal really to just plug whatever you want to record into the Main-Mixer...and you dont waste two input channels on the Main-Mixer.....

But....I hear you say....I only have one Reverb unit, & one Delay unit......How do I get it so that the AUX SENDS on BOTH mixers feed the same Delay & reverb ???.... Well, you do it like this......

Take the AUX 1 & 2 MASTER SENDS....from the SUB-MIXER...........IN to two INPUT channels on the MAIN-MIXER....
SWITCH OUT all the routing buttons on those two Input channels...so as they are NOT routed to the subgroups or the main L & R outputs.....What we have now is the two AUX SENDS from the Sub-mixer....feeding two Main-mixer INPUTS....
Take the Main-mixer Input channel carrying AUX 1 sends....and turn UP the AUX 1 Send on that Input channel......Now all signals being sent from AUX 1 Sends on the Sub-mixer....go to the Main-mixer Input....and OUT from there via AUX 1 send on the MAIN-mixer.....
Take the Main-mixer Input channel carrying AUX 2 sends from the Sub....and turn UP the AUX 2 Send on that Input channel......Now all signals being sent from AUX 2 Sends on the Sub-mixer....go to the Main-mixer Input....and OUT from there via AUX 2 send on the MAIN-mixer.....

Now the Aux 1 & 2 sends on both mixers feed the AUX 1 & 2 master out sockets on the main-Mixer........Simply assign your Delay & reverb units to these sends.......Simple huh ?.....

MIXING TIPS

Mixing is the make 'n' break for a track (unless it's just a pile 'o' crap anyway !!!) But especialy in Dance stuff, it is pretty thin air stuff...... Any how, here's a few tips.....

1.
Once you've got a good groove goin', GET OUT OF THE ROOM !!......I mean it....Just piss-off out, and go into the kitchen or something with the door open.....Make some coffee or tea, or grab a beer, and try not to pay too much attention to the track thats looping around.

You will find that if you just have the thing playin' in the background, you start to notice stuff.....Hmmmmm...That hi-hat's a bit too loud really....Or that synth needs bringing out a touch.....

So just go in, and tweak it then GET OUT AGAIN....don't stay pratting around with stuff 'til you'ved fucked it up. This REALLY WORKS....

2.
"OK...But I can't hear the......." ....This is a deadly mistake, and always made worse when your mixing a band, an they all want to hear their bits....Y'know...." I can't hear that hi-hat slice at bar 39"...!! (fuck off 'n' die !!...bloody drummers...Well actually, bloody musicians PERIOD !!),...Anyhow.....Trying to get everything so it can be heard clearly is a classic fuck-up, and will make the track sound like crap.

At some point when you bring up the KIK or Snare or synth or whatever, the track will groove....THAT'S WHERE YOU LEAVE IT !

3.
TAKE BREAKS.......Very very regularly...especially if it's loud ! (which it shouldn't be for more than 1/2 a minute at a time...... The ears can play ALL kinds of tricks if you don't take breaks.

4.
Get your cassette machine set up !!......You can mix stuff onto cassette, and take it round your mates' yards to check it out on different systems. The more you do this, the more you will get to understand the effect the room you work in has on the sound. But there's no point takin a cassette if the EQ of your cassette machine is totally different from the actual mix before taping.

Get it set up !!......You can get the BIAS & Head AZIMUTH set for about 20 quid or dollars. Get it set to one brand and model of cassette, then stick to it. The machine will be optimised to that tape, and what you stick on cassette should be a fair representation of the Eq curve of the actual mix.

Obviously, your mates' machines will have different eq, but if you listen to it on enuff systems, you start to get a good picture. F'rinstance.....If it sounds too Toppy everywhere you play it, then it's you adding to much top. One thing tho'.....when you do play it at someones yard, make sure you take OFF any eq on the amp, especially the Bass/Loudness switch....

5.
And while we're on the subject........Y'know the Bass/Loudness switch, & the Treble 'n' Bass controls on yer amp......DON'T F***IN' USE 'EM WHEN YOU'RE MIXIN'....That's all I'm goin' t' say on that subject.....

6.
Adding.....Adding....ADDING.......Y'see, when people mix, they seem to only think about adding Eq, or FX to a sound......So lets say the guitar is not bright enuff......People always just ADD more treble to the guitar......HEY...How about removing some top end from the other stuff instead.......This goes for all the frequencies......Sometimes all a sound needs to bring it out, is to Eq some space out from the other sounds.....

The same goes for FX....especially reverb.........The classic beginers tape is always drowning in a swamp of reverb......Well if you want that Little synth line to be deeper in the reverb, how about takin' some reverb OFF the other sounds.......In other words....when mixing, thing SUBTRACTIVE....Not just ADDITIVE....!!!!!

8.
Contrary to public opinion, Eggboxes stuck on the wall don't do alot,...Also don't try to pad the room where you work out with loads of soft wall stuff, cos all it's goin to do is absorb the high frequencies, causing you to add MORE top end to your mix.

9.
Get your Gain setting right at the beginning...,The gain controls at the head of each mixer channel are amplifiers used to bring the incoming signal level up to a strength that the circuitry of the mixer can usefully employ. Some mixers will have a SOLO button or PFL (Pre Fade Listen) button, or a peak LED light indicator to tell you the signal level at the gain control.......If you do have these, then AFTER you have set some basic EQ on a channel, solo the channel, and, adjust the GAIN control to get as high an input level as possible without distortion....either by checking the levels with the PFL or SOLO facility, or if you do not have these switches or indicators on the mixer, then by LISTENING !!.....
Of course, with an analog mixer, it can be ok to overdrive the channels a bit, as long as distortion does not become too heavy.....but remember.....Some sounds CAN be made better by a bit of overdrive, such as kik drums etc...so go with the indicators AND your ears......
Using this technique, helps you to get the best possible signal to noise ratio from your mixer.....Think of it like this: when you are recording onto a cassette; if the record level is too LOW, then you get a higher proportionate level of tape hiss because the music is recorded low in relation to the background noise. Just as with the gain on a mixer, increasing the incoming signal gain on a cassette machine, will make the background electrical hiss & noise seem proportionately quieter !!

COMMENTS FOR:

'MIXERS & MIXING'

There are a total: 24 comments posted to this page.

Name: Phase reverse crew
Email:
Activity: part-timer
Date: 17-Apr-99

ellow!
my compliments to your mixing tips! Especially the quote :substractive not only additiv. Maby add in that parapraph that it can also be applied with fader/volume levels.
My tip. Wenn starting to set a channel, set the fader to nominal (0 dB) and do not open it fully. Then set the gain till your pfl-meter hits the 0 dB led(not more!!). The rest you've already explained.
Keep up doin' the good work!!!

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