FAQ about Audio Mixer
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FAQ about Audio Mixer

FAQ about Audio Mixer

What problems should be paid attention to when connecting audio system equipment

What problems should be paid attention to when connecting audio system equipment 1. Pay attention to the power supply: It is very important to connect the power supply of all audio equipment correctly and securely. The audio equipment should have a dedicated power supply, which should be separated from the light power supply. Lighting likes a lower voltage, but audio needs a standard voltage. With a dedicated power supply, there must be a stable and reliable power socket. You can use the "power sequencer" as much as possible. Although the cost increases, the stability and ease of use are improved. One more thing to note: some equipment power supplies have 110V and 220V selector switches, you must confirm that you select the voltage in your country before you can connect to power. 2. Pay attention to the ground wire of the equipment: A good ground connection can reduce the interference of equipment signal transmission and improve the stability of the equipment. It should be noted that the grounding wire should be made in accordance with the grounding standard of the lightning protection wire: The conductors buried in the ground should be rust-proof, have good contact, and be buried deep. Do not share it with the grounding wire configured with the three-phase power cord, which will not only reduce the noise in the audio system, but also easily damage the equipment. 3. Pay attention to choosing the appropriate connection signal line: Signal cable type selection: For an audio device, if we can use XLR balanced cable to connect, don't use TRS balanced cable to connect. XLR XLR balanced cableTRS balanced cableTS mono unbalanced cable.Signal line length selection: When connecting equipment, try to use shorter signal lines, first to save costs, and second to reduce line resistance and interference. Under normal circumstances, the signal line using balanced transmission can be up to about 300 meters long, while the unbalanced line cannot be used for long-distance transmission.Signal inversion and short circuit: The signal wire short circuit often causes silent faults, but it is very troublesome to check. Unless one signal line is removed and tested with a multimeter. So be especially careful when soldering wires. Because there are many devices and buttons, misoperations are often prone to occur. So you need to pay special attention to the functions of some buttons to avoid wrong operations. At the same time, the connection process and the connection must be checked. Contact usEmail: info@sinbosen.comWhatsapp: https://api.whatsapp.com/send?phone=8613790017576Facebook: https://www.facebook.com/sinbosenamplifier/https://www.facebook.com/Dan.SinbosenAudio/

What is a power sequencer? Is a power sequencer necessary?

Without Power sequencer , equipment may be damaged when starting up! What is the use of the power sequencer in the cabinet? Without it, the audio equipment may be damaged when starting up! Among the many audio equipment placed in the cabinet, many people do not know the audio power sequencer.Some people who don't know the power sequencer even think that this is a worthless device, it doesn't matter whether it has it or not.But is that the case? Of course not.In fact, the audio power sequencer is used to control the on or off of audio equipment. The power is turned on one by one from the front to the back. When the power supply is turned off, the various audio devices are turned off in the order from the back to the front. It is one of the indispensable equipment for sound engineering.When the audio equipment system is normally turned on and off, the power-on sequence is to turn on the front-end audio devices such as microphones, mixers, and effects first, and finally turn on the power amplifier of the back-end equipment. The shutdown sequence is reversed, first turn off the power amplifier of the subsequent audio equipment (note: this can prevent the current from noise impact on the previous equipment and damage the speakers and amplifier), and then turn off the previous audio equipment.If you use a power sequencer and connect to the switch interfaces of different audio devices, you can turn on or off the power from the front-end device to the back-end device one by one, effectively manage and control all kinds of audio devices, and avoid human error operation causing audio The equipment is damaged.The sound system used in large-scale events, because of the existence of a professional tuning team, can use audio equipment proficiently, and the power sequencer is dispensable for them.However, in the audio system used in conference training rooms, KTV entertainment venues, home entertainment living rooms, public broadcasting, etc., due to the lack of professional tuner operations, most of the on-site users have irregular debugging operations, which requires the configuration of power sequencers. So that users can easily manage and control the opening and closing of audio equipment.

What is a mixer group / bus?

What is a mixer grouping? Grouping is to group several similar input signals together, and then send each group of channels to the main output.  Why we need to group signal ? When you input a lot of signals, if you want to adjust each channel during the performance, this is a very big job, and it is impossible to do it at the same time(Unless you are Squidward Tentacles). But if you can group them into a bus, you can adjust the volume directly by one bus faders. The bus can usually be controlled like a single input channel, allowing engineers to control the entire signal group at once.The grouping of output channels can be used to make up sound boxes or external recording, or return speakers, as well as branch venue signal output, etc., very flexible. For example: In a large-scale performance party, you use a 32-channel mixer with 6 groups, the instrument microphone has 16 inputs; the vocal microphone has 8 inputs; other lavalier microphones and headset microphones have 8 inputs ;In a live performance, if you want to adjust the output of the instrument microphone, it is very difficult to adjust the individual channels. At this time, it can be solved by the grouping function. You can divide the 16-channel instrument microphone input signal into 1-2 buses, and then you can control the instrument microphone part through 1-2 bus faders, saving at least 80% of the workload. The vocal microphone signal can also be based on demand1 -2 buses, the lavalier microphone and the headset microphone are the same.In this way, engineers can easily control the signal output of the entire performance.

Things to Look for When Shopping for a Mixer

If you’ve explored Musician’s Friend’s huge selection of mixing gear, you know there are a lot of possibilities out there. Beside the obvious question of your budget, here is a checklist of things to consider as you narrow down that selection of mixers to a short list of those best suited to your situation. Application: Will you be using your mixer to record, play live, or both? If you want to use it exclusively for recording, mic preamp quality, and the ability to connect external processors are important factors.For live-sound use, you’ll want to be sure the mixer is compatible with your existing sound system and offers enough connectivity and sound processing to handle your entire band. Ruggedness is important too—flimsily built mixers won’t handle the rigors of the road for long.I/O and Channels: Consider how many mics you need to connect. (A miked drum kit can use up five or more inputs all by itself.) If you plan to use condenser mics, you’ll need mic inputs that supply phantom power for them. Also, if your band includes stereo keyboards and other such instruments, you’ll want enough stereo channels to accommodate them. If you plan to connect guitars or basses directly to the mixer, you’ll need sufficient direct inputs for them too. It’s always best to allow headroom by getting more I/O and channels than you currently need. Bands have a habit of growing in terms of both players and gear over time.Buses and Signal Routing: These functions may be more important where recording is concerned. If you use a lot special-purpose mixes such as feeds to recording gear, monitors, headphones, and external effects mixes, you will need more routing flexibility and signal paths.EQ Capabilities:How sophisticated are your EQ needs? Generally, studio recording requires finer tweaking of sound to sweeten your mix. Multiband parametric equalizers may be needed to achieve the level of sound quality you want. On the other hand, for simpler live-sound mixing, simple control over bass, mid, and high frequencies is all that’s needed.Effects and Other Sound Processors: Do you rely on external mic preamps, effects pedals, and other tone tweaking gear to produce the sound you want ahead of the mixer? If so, internal mixer effects and sound processors are less critical. On the other hand, a mixer with onboard effects and sound processing makes for a very portable setup when playing live.

Analog vs Digital vs Software Mixers

Analog mixers have been around for nearly as long as there have been audio recordings and PA systems. Beginning in the 1990s, digital mixers began entering the pro audio world. Since then, their capabilities have grown as has their affordability. Beginning in the early part of the 21st century, software-based mixing became a reality as computers grew more powerful and related hardware was developed. We'll take a brief look at each type's capabilities, strengths, and weaknesses. Analog Mixers Despite the greater versatility of their digital brethren, analog mixers remain popular due to their generally lower cost and ease of use. Since their functions are controlled by physical knobs, faders, and switches, their operation can be somewhat more intuitive than digital soundboards. The downside of their reliance on physical controls is the analog mixer's generally larger footprint—a disadvantage in crowded home studios and on cramped stages. Many people find the analog mixer's signal and hardware routing easier to grasp at a glance since everything's physically present rather than being hidden in the menus of a digital soundboard's many status screens.Both analog and digital mixers are capable of transmitting very high quality sound. The quality and design of their electronic circuits—especially the mic preamps—and in the case of the digital mixer, its analog to digital converter (ADC), have the biggest influence on sound quality. Most sound engineers agree that mics and speakers with their inherently greater degree of coloration and distortion are the biggest barriers to absolute sound fidelity. That said, well-designed mic preamps that boost the microphone’s output without adding coloration or distortion are critical to good sound. High-quality circuitry and components in the mixer's gain stages and signal routing will minimize the hiss that inevitably occurs with analog mixers.Product:16 Channel Professional Audio Built In DSP Digital Effects EFX 16 Mixer Console Digital Mixers For instant changes to signal routing, flexible and extensive signal dynamics, and an amazing array of effects possibilities, a digital mixer is hard to beat. With the touch of a button, preprogrammed routing and effects can be triggered that would be impossible for even a talented octopus to accomplish on an analog audio mixer! Some digital boards are compatible with software plug-ins that extend their tone-shaping capabilities even further. They also can ride herd on dreaded feedback, preventing the howls and squeals before they even start. Another nice feature is automatic gating that silences channels with little or no signal passing through them. One of the huge advantages of digital mixers is their ability to save and recall mixes. Many use USB flash drives or internal memory to store settings from past performances. This makes the set up in a venue that’s been saved dead easy. Even in a new venue, recalling mixes from similar venues can be a big time saver during sound checks. Some digital mixers let you pre-program mixes using a laptop computer, so when you get to the gig only fine-tuning tweaks to the sound are needed. Some advanced digital mixers have motorized faders that respond to saved configurations.One potential downside of digital mixers grows out of their versatility. Their enormous flexibility comes with a price: The learning curve for mastering all the possibilities your mixer offers can be steep. That said, like any complex digital device, it’s usually not essential to learn every function—the ability to save the settings and configure the interface to your needs can help you cut through its complexity.How well the user interface is designed will make a big difference in how quickly you can master the functions you need to know. Talking to fellow mixer users, hanging out on pro audio forums, reading reviews, and checking out demos and tutorials will help you find the mixers that offer a gentler learning curve.Product: Built In Mode Wifi Router 16 Input Channel Digital X AIR XR16 APP Mixer For IPad/Android Software Mixers A suitably configured laptop, mixing software, and a compact control surface can get you into the mixing game without the larger space and budget concerns of standard analog and digital mixers. Music production software is available to accomplish just about everything by way of signal processing and routing that you can achieve with a physical mixer. Today there are simple audio mixing apps that allow you to do basic audio mixing using your IOS or Android smartphone or tablet.Used for recording, software mixers let you easily integrate virtual instruments, samples, drum loops, and much more into your productions. Most mixer applications support advanced MIDI functions, and using a computer-based digital audio workstation (DAW) opens up an enormous world of possibilities including the use of a MIDI controller keyboard to create and record your music.As with physical digital mixers, learning curves can be steep when your first dive into software mixing, and the same advice applies: Talk to fellow musicians who use mixing applications, read the expert reviews, and check out the many customer reviews you’ll find online at MusiciansFriend.com. Powered Mixers If you're looking for a mixer to handle your live performances and your main and monitor speakers are unpowered, a powered mixer eliminates the need to transport and set up separate power amplifiers to drive them. Powered audio mixers are available in a wide range of sizes and configurations. They can handle everything from a solo acoustic singer-guitarist using one or two mics, an acoustic-electric guitar, and modestly sized speakers, to a full-blown band with a full array of mics, electric instruments, and hefty main and monitor speakers. Powered mixers offer most of the bells and whistles you’ll find on unpowered mixers in terms of routing options, effects processing, EQing, and much more. As with any mixer purchase, you’ll need to calculate the total inputs and outputs you need as well as the necessary power to drive your PA speaker cabinets and stage monitors.

Mixer Terminology—The Basics

As you shop for a mixer, you’ll run across terms that may be unfamiliar. To help you decipher the specs and features you’ll be reading about, we offer the following glossary that’ll help you navigate through all that information. Channels A channel is essentially a signal path. A mixer with a large channel count allows more things to be connected and routed through it. Channels are usually designed to accept microphones and/or line-level devices such as amplifiers, preamps, or signal processors. (Microphones and instruments such as guitars and basses output electronic signals that have a much lower level than line-level devices.) Channel Strip A channel strip is a group of circuits and controls that function together on a given mixer channel to affect the audio signals that pass through it. These usually include:- an input jack where an external instrument, microphone etc. connects to the mixer. XLR inputs are balanced to minimize noise and interference. Other inputs accept RCA or quarter-inch TRS connectors.-  a microphone preamp that prepares the relatively weak mic signal for processing by raising it to line-level strength- equalization, abbreviated as EQ, adjusts the signal’s frequency response- dynamics processing that may include compression or gating (discussed below)- routing that directs the signal to other mixer circuitry and external devices- a fader, which slides along a track to control the input or output of a channel- a meter that visually displays the output of each channel I/O This abbreviation refers to the inputs/outputs on a mixer. The number and types of inputs and outputs you’ll need is dictated by how you plan to use the mixer.In a live sound mixing situation for example, you will need a mixer with enough inputs to handle the combination of microphones and other devices connected to it plus outputs to connect your main and monitor speakers. Depending on the types of speakers being used, the mixer may need to provide power to drive the main and monitor speakers. For mixing recordings on the other hand, you’ll want to consider how many performers and instruments you’ll need to capture simultaneously. The I/O calculation for studio mixers should also include other devices that will be part of the signal chain and recording process. These would include signal and effects processors, microphone preamps, headphones, monitor speakers, and instruments that connect directly to the mixer using DI (direct injection) boxes. GROUP BUSES Buses can be visualized as circuit intersections where the output from several channels meet. Each mixer channel routes its signals to a specific bus or group of buses. The master mix bus, which is fed by the channel faders, sends the main output of the mixer to speakers and/or or a recorder. Auxiliary buses (also called aux sends or aux buses) may be fed by the volume controls of the channels to which they’re connected, and send those signals via their own output jacks. These are referred to as post-fader sends. Aux buses may also operate independently of the channel’s volume, and are then called pre-fader sends. These outputs are useful for sending a specific mix of signals to headphones, effects processors, or monitor speakers. Groups Mixers with numerous channels often have a group function that allows you to control and process several channels collectively. A group works like a sub-mixer, sharing the same signal processing and routing, and since all channels are controlled with a single fader, the output to the master bus is more easily controlled. For example, all the mics used on a drum kit can be assigned to a single group, allowing easy control of the overall drum sound and volume. Some mixers that allow channel grouping also have a mute function. This is handy when you want to silence a group of inputs or open mics, such as when making onstage announcements. Some more advanced mixers also offer a “scene” function that allows you store various group configurations of muted and non-muted channels. Inserts A channel insert allows you to connect external sound processors like compressors and equalizers to specific channels, usually after the preamp stage of the channel. On larger mixers there may be a patch bay that allows connection of numerous external devices. Direct Output These allow feeding the mixer's preamplifier output to external audio interfaces and recording systems. Cue System Using the cue system you can listen in on selected channels without affecting the mixer’s output. Usually the signal is fed to a headphone amplifier or monitor speakers. Cue systems usually allow listening to the signal either before or after the fader has affected it. Pre-fader listening, abbreviated as PFL, lets you hear the original signal without sending it to a signal mix. After-fader listening (AFL) allows you to isolate the fader-affected signal, which is handy for troubleshooting signals. Some larger mixers have a Solo In Place (SIP) function that silences every channel other than the one being sampled, a useful feature when doing sound checks.