AE130 Power Points

STUDIO AUDIO ENGINEERING 1

WEEK 7 DAY 14
Channel Input Section
 Channel Input Section

1) Choose between different types of inputs (Mic/Line)

2) Preamp – microphone outputs are usually very low (-45 to

-55 dB) the mic gain on a preamp allows us to boost the signal
(+20 to +70dB) to a line level signal (standard operating signal)

3) Line Trim – Receives a signal that is at line level but can
attenuate or boost the incoming signal

4) Boosting a level too much will cause the preamps output to
be overdriven (LED overload light)
 Channel Input Section

5) Input attenuation pad – Used to reduce a signal

by a specific amount (-10 or -20dB)

6) Phase Reverse (Polarity Invert) – Invert polarity

of the output of the preamp section 180 degrees

7) 48V Phantom Power – Some microphones require

power to operate, Phantom power works by sending
a positive DC voltage of +48V through both audio
conductors (pin 2 and 3)
Equalization
 Equalization

1) Abbreviated as just EQ

2) Controls the amplitude of various frequencies

within the audible bandwidth

3) Correct specific problems in a instrument

4) Overcome deficiencies in the frequency response

of a mic or in the sound of a instrument
 Equalization

5) Allow contrast between sounds to better blend

them within a mix

6) Alter a sound for a musical or creative reason

 Insertion Point

1) A break in the signal path (send and return point)

can be pre or post equalizer depending on the
system.

2) Allows external processors to be placed with in the

signal path

Used for outboard equalization and dynamics

 Auxiliary Sends
te and mix signals from one or more
the various effects, output sends, and
phone cue sends of a console

o have multiple sends (2, 4, 8, up to 16)

sed for headphones/monitors and

zed mix functions

used for FX
 Aux Masters

Each individual aux send gets summed though its

own master
Channel Fader
 Channel Fader

Controls the output level of that channel

Contains solo, mute and pan controls

Some consoles allow the faders to be flipped with the

monitor fader

Could be motorized and allow you to write

automation (record movements of the fader) or
control an automated VCA
Routing Matrix
 Routing Matrix

1) After the channel faders output, the signal is sent

to the routing matrix

2) Similar terms are Multi-track Buss, Routing

Matrix, Bussing Matrix, Summing Matrix, Busses,
Groups, Outputs.

3) On some consoles, each buss or group is sent to its

own master (buss master or group master)
 Routing Matrix

4) Allows signal to be sent to the multi-track

recorder, the main stereo output of the console (L-R
Mix, Master Fader or Mix Buss) or sub-grouping

5) Sub-Grouping is when multiple signals are sent to

the same bus or pair of busses
Bus Masters/Group Masters/Sub Masters
 Monitor Path

1) Listen back to the multi-track recorder during the

recording process, additional console returns during
the mixing process. Can be accessed via the patch
bay on most consoles.

2) The multi-track recorders outputs are normalled

to the input of the monitor path in record mode, but
in mix mode, the MTR normals to the channel faders
freeing the monitor section for additional mix
returns via the patch bay.
 Monitor Path

- Some monitor paths will incorporate their own EQ

and Aux sends as well as extra routing possibilities

- Some consoles will allow you to switch processing

and aux sends between the channel path and
monitor path

- Mackie refers to their monitor path as the “Mix B”

Path (monitor fader/small fader)
 Monitor Level (Mix B)

- On the Mackie Console, instead of a fader it is a

potentiometer (a rotary gain, pan, or other type of
continuously variable signal control)
Mix B Master
 Mix B Master

- The Mackie console incorporates a master for the

monitor section of the console

- The output of all the Mix B monitor paths will sum

through their own master
Aux Returns
 Aux Returns

- Really just a extra smaller monitor path located in

the master section

- Typically used to monitor back to time based effects

(delay, reverb, chorus etc.)

-Usually route the output of the aux returns to sum

through the main output of the console (L-R Mix)
Master Fader (L-R Mix)
 Master Fader (L-R Mix)

- All outputs of the faders assigned to the L/R Mix

(also called the Stereo Bus) will sum through this
main output control

- Overall control for everything being sent two the

two track recorder for the final mix down format

- Typically set to unity, very rare to adjust unless you

want to drive the output of the console harder or the
output of the console is being driven too hard.
Master Section
 Master Section

1) Monitor different sources and formats (output of

console/cd player/headphone mix, mono, stereo, and
surround)

2) Control of global console modes

3) Speaker level control (control room level)

4) Select between different speakers

5) Talkback / headphone controls

Protools Channel Path
I/O (Input to signal path)
Inserts
Aux Sends
Fader
Pan
I/O (Output of signal path)
Master Fader
READ MODERN RECORDING TECHNIQUES
CHAPTER 7
Signal Flow Diagram
Signal Flow Diagram