8. FAQs

The term "2-track recorder" refers to recording devices capable of recording on at least two tracks (cassette recorders, MD recorders, DAT recorders, CD recorders, etc.). The machine's outputs are connected to the so-called tape inputs, while the tape output jacks are connected to the inputs of the machine. Of course, you can also use these connections for other purposes. You can easily connect a CD player or a synthesizer to the tape input as well.

Aux-Return refers to the controls and connections that carry a signal from the effects unit back to the mixer. The Aux-Return control determines how much of the effect returns from the effects unit. The Aux-Return goes directly to the main mix and, depending on the mixer, can also be sent to those Aux-Sends that handle monitor signals, allowing the effects to be heard on stage monitors as well. To connect, you'd use the Aux-Return connections with the outputs of an effects unit. If you don't need all the Aux-Returns, you can use them as simple stereo inputs. Similarly, you can route the return signals of an effects unit to the normal inputs of a mixer. This gives you the option to further adjust the sound or combine, for instance, delay from one effects unit with the reverb from another. Also, you can send it to the monitors through the Aux-Sends.

Aux-Send refers to the controls and connections that carry a signal from the mixer to the effects unit. It's also used to describe the auxiliary paths. The Aux-Send Master control affects the sum of all channel send controls, allowing for quick adjustments of the effect level for all channels. To connect, you'd use the Aux-Send connections with the inputs of an effects unit.

Auxiliary path allows you to take a pre-amplified signal out of the mixer to, say, add an effect. You can access the aux paths from each channel via Aux-Send, letting you work on multiple channels simultaneously with an effect. Typically, you can use a knob to determine how much of the signal should go through the aux path to control the strength of the effect. This kind of effect integration is usually used for reverb, delay, or chorus. Additionally, an aux path can also divert a signal for a stage monitor. Aux paths are often labeled differently, like Effect, FLB, Foldback, or Monitor.

Control Room refers to the connections for control speakers or studio monitors where you can listen to signals alternatively to using headphones. These connections are often wired in parallel to the headphone output, allowing the Solo and PFL functions to also work on them. In live settings, these connections can also be used to feed the summed signal to other rooms for sound reinforcement.

Direct Out is used to send individual channels to a multitrack machine. The Direct Outs are taken after the preamps, but depending on the manufacturer's philosophy, they can be tapped before or after the equalizers. Sometimes, users are given the option to switch the tapping point.

Also known as an equalizer, tone control, or simply EQ. Initially, equalizers were used to compensate for the weaknesses of microphones by boosting or cutting frequencies that were not linearly transmitted. Over time, they began to be used more frequently to intentionally alter sounds. Depending on the model, equalizers have various controls for different frequencies (also referred to as parametric). There are two main types of equalizers: graphic and parametric. Graphic EQs have a slider for each frequency; the more sliders, the more finely you can adjust the signal. Their arrangement allows you to easily see the corrections made. Graphic equalizers are mainly used to correct room acoustics and sound systems, balancing out weak or overly pronounced frequencies. In studios, they're often used to calibrate studio monitors and/or room acoustics.

Parametric equalizers can be found in both mixing consoles and as external effect units. Depending on the model, they can have various numbers of frequency bands. They allow for more precise adjustment of frequency ranges, but they require some time to get used to, as they don't offer the straightforward visual display of a graphic equalizer.

Gain, also referred to as "Trim" or "Pre," is a control knob responsible for preamplification in the microphone or line preamplifier. It allows you to adjust signals of varying volumes to ensure that the subsequent electronics receive a sufficiently strong signal.

High-pass filter allows frequencies above a certain point to "pass through." It's often referred to as a low-cut or rumble filter. In mixers, its purpose is to eliminate unwanted background noise in the low-frequency range.

Insert refers to a connection point that routes a pre-amplified signal into an effects unit and then back to the original channel. Unlike an aux send, the processing occurs only for the channel utilizing the insert. Typically, this connection is used for devices that take the entire channel's signal for processing, such as a compressor, external equalizer, or noise gate.

The master section refers to the area of a mixer where all signals converge. It's where the signals from individual channels, external effects units, and playback devices come together and can be distributed to various outputs or groups. In addition to a visual level display, this section typically houses settings for headphones/control room, along with other adjustment options for the entire mixer.

In a mono channel, signals aren’t just processed in mono; it’s simply a single signal, like a microphone or a guitar, that's being handled. You can adjust this signal using the equalization and route it externally through the aux paths. The pan knob determines whether the channel is more heard on the left or right in the mix.

Refers to silencing a channel using a switch. The position of the volume fader doesn’t need to be changed, preserving its desired setting. Sometimes you might see labels like "On" or "Off". The mute function is simply an on/off switch that ideally operates without any noise.

In the context of mixers and equalizers, parametric refers to the ability to select various frequencies for adjustment with the equalizer. In a full-parametric setup, you can not only determine how much you want to boost or cut a particular frequency but also adjust the bandwidth (also called the "Q factor") of the filter. The Q factor determines how "narrow" or "broad" the adjustment will be in the frequency spectrum. With a semi-parametric setup, the option to adjust the Q factor is not available.

Also known as a "patch field." On its rear side, you can connect various inputs and outputs from mixers, effect units, and synthesizers, and then these are interconnected on the front using short "patch cables." This allows for quick and easy wiring or routing of signal paths without the hassle of crawling around behind racks and under tables.

(Pre Fader Listening) With this function, you can listen to the activated channels through headphones without their volume being affected by the channel fader position. Since the PFL function doesn’t alter the other channels (unlike the Solo function), it's used to monitor a channel's signal during a concert or recording session.

Condenser microphones need power to operate. This power can come from a battery, a power supply, or via phantom power, which is delivered through a balanced microphone cable. It's not a problem to use dynamic microphones with activated phantom power on microphone inputs as long as they follow the "correct" pin configuration (Pin 1 = Ground, Pin 2 = Positive, Pin 3 = Negative). Never use adapters or cable bridges from balanced to unbalanced, as they can cause a short circuit. Phantom power typically ranges between 48V and 52V. You might see these two numbers labeled as alternative switch options on a mixer.

Used in the context of Aux sends, this term describes the different points where the send controls within a channel are tapped. When an Aux send is tapped at the Pre point (pre = before), you get a signal that's independent of the channel fader position because it's taken before (pre) the fader. Usually, stage monitors and headphones are connected to Pre-Aux sends since their volume shouldn't change when adjustments are made to the channel faders. Conversely, Aux sends switched to "Post" (after in English) work the opposite way. Their signals are tapped after the channel fader, so their volume changes along with the channel fader. Post-Aux sends are typically used for effect devices. For example, when you lower a channel's volume, its effects should also be correspondingly quieter.

This term is used as a synonym for wiring or interconnecting. Another commonly used term is "patching" (see Patchbay).

Mutes all channels except the one where this function is activated. This function is commonly used during soundchecks for live sound as well as in studio settings.

These channels combine two mono channels into one stereo channel. Usually, you'd connect stereo devices like synthesizers here, as they require simultaneous processing of both the left and right channels. In stereo channels, all controls are designed so that a knob, switch, or fader adjusts both signal parts identically. Stereo channels are often a bit simpler in features compared to mono channels. In these channels, the Pan pot is usually called the Balance pot, adjusting the balance between the left and right signal components.

It's like a summed fader before the master fader. Through assignment switches in the individual channels, you can direct signals to different subgroups and adjust their collective volume before they reach the master mix. Subgroups are excellent for summing things like a drum set. You set all the channels to your desired balance and assign them to a subgroup. Now, if you want to adjust the entire drum set's volume without messing up the balance you've set, you only need to adjust the subgroup fader, instead of each channel fader separately.

They're also great for keyboards, background vocals, or brass sections. If subgroups have their own outputs, you can send these to a multi-track recorder in the studio, directly assigning individual channels to recording tracks. When subgroups have their insert jacks, you can process various signals with an effect that doesn't work via the Aux channels (like a compressor). Since most mixers don't have individual assignment switches for each subgroup channel, they are often labeled in pairs (1-2, 3-4, 5-6, 7-8). Pressing one of these switches distributes the signal evenly across both paired subgroup channels. Then, by adjusting the Pan pot, you can address each subgroup separately. Usually, the odd subgroup is activated when the Pan pot is turned fully left, and the even subgroup when turned fully right.

This is usually a smaller and/or simpler mixer that combines various signals into a premix, sending it as a stereo or mono sum to the main mixer. In live setups, it's often used as a keyboard mixer. It's also handy in the studio for expanding the capacity of your main mixer.

This refers to a method of routing signals through electrical conductors. In this setup, the actual signal is carried through two conductors, with the phase of one of them being shifted by 180 degrees. This wiring technique allows for the elimination of interference and unwanted external influences to a large extent, enabling the use of relatively long cables. It works because any interference affects both the original and the phase-inverted signal, canceling each other out, while the useful signal can be reconstructed without loss. A balanced signal routing always requires three conductors: one for the ground, one for the original signal, and one for the phase-inverted signal. XLR connectors are widely used in connection with this wiring technique, which consist of at least three poles. Besides various multi-pin connectors and other exotic solutions, there are also stereo jack plugs that feature three poles.

In an unbalanced signal routing, only two conductors are used. As a result, disturbances - especially over long cables - tend to occur more frequently compared to balanced signal routing. Common connector types used in this setup include RCA (Cinch) and mono jack plugs.