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Principles Block diagrams Signal level Effects Monitors

Topic 2 of 5
 
Flow charts and Block diagrams
Flow Charts / Block diagram.   Mixing desks have basic features in common but each feature can vary
in complexity.   The inputs may   or may not   have phantom power available for microphones with
internal pre-amps.   The EQ may be a simple (bass and treble) control similar to domestic sound
systems   or   a complex parametric system that allows for any band of frequencies to be selected and
adjusted.   The auxiliary sends may   or may not   be switched pre or post EQ,   and or   pre or post fader
etc.   Some mixers have 1 or 2 independent stereo input channels whereas other designs require 2
separate channels to be used with an external locking bar for grouping 2 faders.   Mixing consoles in
recording, film and TV studios may be modified after purchase to enable a greater range of flexibility.

All mixers are supplied with a block diagram sometimes described as flow charts.   A flow chart or
block diagram is not an electronic circuit, but a representation of the circuit layout.   It is essential to
understand flow charts to be able to know what functions the mixer has and the order in which the
functions are arranged.   Flow charts also show what parts of the mixer can be externally accessed or
separated, and which parts are not accessible.
(a) Balanced Inputs   The example flow chart below, of a single channel shows that the
input can be selected for a balanced XLR mic or a line level jack plug.   Balanced means
that the mic signal is between XLR pins (2 and 3) and are not referenced or common to
earth.   This is done to stop electrical noise interference between earth and signal pins from
being amplified.   The balanced input circuit only responds to the signal between pins 2 and
3, and does not respond to interference noise which is common to the signal pins and 
earth.

The line input (jack) signal is attenuated (reduced) to a lower level similar to the mic level.  
In more complex mixer designs the line input has a separate pre-amp.   A separate line level
pre-amp is the best option.

A balanced isolation input transformer (TX) stops cable noise and other electronic
interference from getting to the first pre-amp.   Many mixers use a electronic circuit to
achieve a similar result.   The transformer is best option.

The first pre-amp also changes the input signal from balanced to un-balanced to be
processed within the mixer.   The signal is only made balanced again when re-sent from the
mixer.

(b) Phantom power 48V   is a technical trick to switch a supply voltage for powered mics to
the XLR signal pins (2 and 3).   This saves using extra wires or an external power supply
and the reason for describing it as phantom power.   This will be explained in more detail on
the mic and cable pages.

(c) Phase switch   The phase invert (Inv) switch is essential to manage different mics to insure they are
in-phase when used collectively, eg. a drum kit.   However there are interesting techniques of 2 mics
that are used out of phase to create acoustic comb filter effects.   Another technique is for live
application where 2 mics are placed on top or beside each other and the vocalist only sings into one
mic at close range.   If the mics are out of phase the common background spill will be minimised.
(d) Gain   Each channel has an input gain control.   The pre-amp gain (volume) control
increases the small mic signal (approx 10mV) up to line level (approx 1V).   Fully
clockwise increases the mic input signal X 100 (+40dB).   This allows the input signal
to be adjusted for the main fader to be put into the correct operating position.

(e) -20dB Pad   Mic level is approx 10 - 100mV (1/100 - 1/10 Volt)   Mixers have a
-20dB Pad attenuation switch which reduces the incoming signal level to 1/10 (-20dB).
  This is required to avoid the first pre-amp from being overloaded (clipping) especially
for dynamic mics with very loud singers at close range and mics placed close to drum
kits.

Some loud pop singers only perform with the mic at or in their mouth.   Screaming at
close range and can cause a dynamic mic to produce 1V which can easily overload
and distort the input stage.   A simple recording trick is to allow the singer a mic to scream into at close
range that is fed back to their headphones.   The separate recording mic is placed at a correct distance,
sometimes without the pop singer being aware.

(f) Hi-Pass Filter HPF   limits low frequencies below 100Hz, to stop vocal popping and bass rumble.  
Some mixers allow the hi-pass frequency to be adjusted; this also is the best option.

(g) Insert jack   The signal from the HPF is made available at an insert jack.   This allows the signal to
be processed through an external effect unit and then returned to the mixer EQ.   Some mixers have
extra inset jacks pre and post EQ and main fader.

(h) EQ   equalization can be a simple bass treble or complex parametric, which allows frequency bands
to be selected and adjusted.

(i) Aux   The auxiliary outputs are independent and can be switched pre or post main fader.   Some
mixers have many Aux sends.   Some auxiliary sends are dedicated to pre or post fader including pre or
post EQ, and some mixers allow the Aux sends to be switched from the different locations.   The latter
is essential for foldback which does not require the EQ that is selected for the assign recording output
from the main fader.

(j) PFL   The pre fade listen, or solo switch is beside the main fader.   Some mixers enable the PFL
function to be switched pre or post EQ.   Some professional mixers have an independent VU or peak
meter for each channel.   But most basic mixers only have meters for the outputs.   The PFL switch will
connect that channel directly to one of the output meters for monitoring its level.   As the EQ can
change the channel level it is essential to check that the PFL is reading the post EQ position for the
meter reading to be correct.

(k) Main fader and assign   The fader pre-amp returns the signal to line level at the pan control, then to
the 8 output selector switches (left 1,3,5,7)   (right 2,4,6,8).   All bus lines are sent to the output stages of
the mixer and are also simple to follow.

Assign management and layout differs on each mixer.   The above channel allows the operator to
decide which of the output bus each channel is assigned to and for which purpose it is used.   Some
mixer designs assign the pan output to a separate A B or stereo bus.

www.soundcraft.com/mixing/basics
www.sound.whsites.net/articles/audio-mixing.htm

End of Topic 2 Written by John Burnett Follow

Created: 11-Dec-2008
 

Mixing
Principles Block diagrams Signal level Effects Monitors

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