Stimmen - 4, Durchschnittliche Bewertung: 3.5
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Anleitung Zusammenfassung
Also make sure that no EQ is applied (no boost or cut), and that all effects and dynamic processors included in the system are defeated or bypassed. 2 2 Apply the source signal to each channel one at a time: have singers sing, players play, and playback devices play back at the loudest expected level. Gradually turn up the input gain control while the signal is being applied to the corresponding channel until the peak indicator begins to flash, then back off a little so that the peak indicator flashes only occasionally. Repeat for each active channel. 3 3 Raise your master fader(s) to their nominal levels (this will be the “Ў” markings on the fader scale). 4 4 Now, with all sources playing, you can raise the channel faders and set up an initial rough mix. That’s basically all there is to it. But do keep your eyes on the main output level meters while setting up the mix to be sure you don’t stay in the “peak zone” all the time. If the output level meters are peaking constantly you will need to lower the channel faders until the overall program falls within a good range—and this will depend on the “dynamic range” of your program material. MG8/2FX Making the Most Of Your Mixer Making the Most Of Your Mixer Internal and External Effect Mixes 4-1. Effect Bus For Convenient Effect Control There are a number of reasons why you might want to “tap” the signal flowing through your mixer at some point before the main outputs: the two most common being to create a monitor mix and to process the signal via one or more effect units and then bring it back into the mix. Monitor mixing is not always required in small consoles, but effect processing is important in a wide range of applications. Your mixer has an effect bus that lets you send the channel signals to the internal effect processor as well as to external effect gear connected to the EFFECT SEND output. Larger mixing consoles might have 6, 8, or even more auxiliary and effect buses to handle a variety of signal routing and processing needs. Using the effect buses and controls on your mixer is pretty straightforward. The more you rotate the EFFECT control on any channel clockwise, the more signal is sent from that channel to both the internal effect processor and the EFFECT SEND jack. The effect send is “post-fader,” which means that the signal is taken from a point after the channel fader, so its level will be affected by both the effect send level control and the channel fader. This is important because it means that once you set the amount of reverb that you want to add to the channel by using the EFFECT control, for example, you can use the channel fader to raise or lower the overall channel level while maintaining the balance between the main channel signal and the reverb effect. 4-2. Channel Inserts for Channel-specific Processing Another way to get the mixer’s signal outside the box is to use the channel inserts. The channel inserts are almost always located before the channel fader and, when used, actually “break” the mixer’s internal signal path. Unlike the EFFECT send and return, the channel insert only applies to the corresponding channel. Channel inserts are most commonly used for applying a dynamics processor such as a compressor or limiter to a specific channel—although they can be used with just about any type of in/out processor. Channel Fader When a plug is inserted into the channel insert jack, the internal signal path is interrupted and sent outside the mixer for external processing. Channel insert jacks must be used with a special insert cable that has a TRS phone jack on one end and mono phone jacks on the split “Y” end. One of the mono phone jacks carries the “send” signal to be fed to the input of the external processor, and the other carries the “return” signal from the output of the processor. Tip Ring Sleeve To the INSERT I/O jack To the input jack of the external processor To the output jack of the external processor TipSleeve MG8/2FX Making the Most Of Your Mixer Making the Most Of Your Mixer Making Better Mixes 5-1. Approaching the Mix—Where Do You Start? Mixing is easy, right? Just twiddle the faders around until it sounds right? Well, you can do it that way, but a more systematic approach that is suited to the material you’re mixing will produce much better results, and faster. There are no rules, and you’ll probably end up developing a system that works best for you. But the key is to develop a system rather than working haphazardly. Here are a few ideas to get you started: ¦ Faders Down It might sound overly simple, but it is usually a good idea to start with all channel faders off—all the way down. It’s also possible to start with all faders at their nominal settings, but it’s too easy to lose perspective with this approach. Start with all faders down, then bring them up one by one to fill out the mix. But which channel should you start with? Example1: Vocal Ballad Backed by Piano Trio What are you mixing? Is it a song in which the...