Soundcraft Guide to Mixing - Music

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SECTION 4: PA MixingB. Larger PerformancesAlthough the example shown in the ‘Mixing Live’ diagramshown at the beginning of this section is of a small band,the principles are the same no matter the size of the liveperformance or venue. However, for larger PAs additionalspeakers, monitors, effects and processors may be requiredas well as slightly different positioning for each of thesepieces of equipment. These additional requirements areoutlined below:Medium Sized VenuesThe console used will require more input channels. Forexample it is likely you will want to mic up all of thedrums, and there are also likely to be more instruments,backing singers and sound sources in general.More monitor sends will also be required - a singlemonitor will not be enough for larger bands. The bass anddrums will require a monitor between them. The vocalistswill want a monitor each so they can hear themselves abovethe band.More speaker outputs may be needed in larger venues sothat all the audience can be reached, without there being“holes” in the amplified audio signal. It may be necessary torecord the event. This will require additional levelcontrolled stereo outputs or direct outs if a multitrack isbeing used.NB: For simplicity, these diagrams do NOT show any outboardequipment.Large Sized VenuesLarge venues will require a separate “Front of House”(FOH) console for the audience mix and a Monitor consolefor the band, as with a larger stage area each band memberwill require at least one monitor wedge. The auxiliary sendsystem of the FOH console will not be able to cope withthese demands alone as it will have to deal with severaleffects units.The FOH console will have a large number of mic/lineinputs, plus a large number of matrix outputs so that acomplex range of speaker clusters can be placed around theauditorium.SMALL VENUESFIG. 4.2LEFT SPEAKERRIGHT SPEAKERWEDGE MONITORSWEDGE MONITORSAMPAMPAUDIENCEAUX PREOUTPUTSMIXERMIXOUTAUDIENCE20
MEDIUM SIZED VENUESDRUMMER'SMONITORFIG. 4.3LEFT SPEAKERMID/HISPEAKERSUB SPEAKERWEDGE MONITORSACTIVECROSSOVERAUDIENCEMIXMID/HIAMPSUBAMPMIXERAMPSAUX PRE OUTSWEDGE MONITORSAUDIENCERIGHT SPEAKERMID/HISPEAKERSUB SPEAKERSECTION 4: PA MixingLARGER VENUESDRUMMER'SMONITORLEFTSPEAKERSMID/HISUBAMPX-OVERRxWEDGE MONITORSIN-EARMONITORSTxAMPSMONITORDESKRIGHTSPEAKERSMID/HISUBCENTRE VOCALSPEAKER(suspended)INSTRUMENTS& MICSSPLITTERAUDIENCEFIG. 4.4MULTICOREOUTPUTSFOH CONSOLEMULTICOREINPUTS21
Page 1 and 2: THE SOUNDCRAFTGUIDE TO MIXINGSoundc
Page 3 and 4: STARTING OUTC. The Controls -A Desc
Page 6 and 7: SECTION 1: Starting OutTHE MASTER S
Page 8 and 9: SECTION 2: Connecting Equipment to
Page 10: SECTION 3: Mixing TechniquesMIXING
Page 13 and 14: Bearing the above points in mind, t
Page 15 and 16: E. Using Signal ProcessorsThe Diffe
Page 17 and 18: To Stereo InputPA MIXINGA. A Typica
Page 19: Setting the Mix• Turn down the am
Page 23 and 24: OTHER APPLICATIONSA. Monitor Mixing
Page 25 and 26: IN THE STUDIOA. Essentials & Ergono
Page 27 and 28: mixer’s block diagram and use out
Page 29 and 30: ELECTRIC GUITAR• Some players pre
Page 31 and 32: WIRING & CONNECTORSFaulty connector
Page 33 and 34: CROSSOVERA passive circuit, normall
Page 35 and 36: MUTE GROUPSA method of combining th
Page 37 and 38: +48VMIC/LINEGAINMICINPUT1 2LINEINPU
Page 39: NotesE&OE. All contents © 2001 Sou

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