Soundcraft Guide to Mixing - Music

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SECTION 8: GlossaryGLOSSARYACOUSTIC FEEDBACK (HOWLROUND)A whistling or howling noise caused by an amplified signal ‘feedingback’ into the amplification chain via a microphone or guitar pickup.ACTIVE DI BOXA device which permits Direct Injection of signals from guitars, etc,into the console. Incorporates circuitry to adjust gain and provideimpedance matching. Requires power and may be battery driven orsometimes ‘phantom powered’ from a console.AFL (AFTER FADE LISTEN)A function that allows the operator to monitor a post-fade signal.Used with Aux Masters.AMPLIFIERDevice that increases the level of an electrical signal.AMPLITUDESignal level, usually in volts.ANALOGUEAnalogy (n.): correspondence or partial similarity, using physicalvariables. For example; an analogue tape recorder stores sound ontape in the form of a magnetic pattern which is a replica of theoriginal musical waveform.ASSIGNOn a mixing console, to switch or route a signal to a particularsignal path or combination of signal paths.ATTENUATETo decrease the level of a signal.AUXILIARY SENDLevel control feeding a dedicated bus for driving external effects ora foldback monitoring system. An output from the consolecomprising a mix of signals from channels derived independently ofthe main stereo/group mixes. Typically the feeds to the mix areimplemented on rotary level controls.BACK-LINEStage parlance for the row of instrument amplifiers and loudspeakercabinets behind the performers, e.g. guitar amps.BALANCERelative level of the left and right channels of a stereo signal.BALANCEDA method of audio connection which ‘balances’ the signal betweentwo wires and a screen which carries no signal. Any interference ispicked up equally by the two wires, through common moderejection at the destination differential balanced input resulting incancellation of the interference signal. For balancing to be effective,both the sending and receiving device must have balanced outputand input stages respectively.BANDWIDTHA means of specifying the range of frequencies passed by anelectronic device such as an amplifier, mixer or filter.BARGRAPHA row of LEDs calibrated to indicate signal level.BOOST/CUT CONTROLA single EQ control which allows the range of frequencies passingthrough its filter to be either amplified or attenuated. The centreposition is usually the ‘flat’ or ‘neutral’ position.BUS or BUSSA defined set of conductors along which signals may travel. A mixerhas several busses carrying the stereo mix, the groups, the PFLsignal, the aux sends, etc.CAPACITORSee CondenserCARDIOID PATTERNThe ‘heart-shaped’ polar response of a microphone meaning thatmost of the sound is picked up from the front. Mainly used forstage vocals or in any situation were sound has to be picked upfrom a concentrated area, i.e. drums.CHANNELA strip of controls in a mixing console relating to a single monoinput or a stereo input.CHIPIntegrated circuit; a multi-pinned device consisting of many circuitsencapsulated in plastic.CHORUSEffect created by doubling a signal and adding delay and pitchmodulation.CLIPPINGSevere form of audio distortion which is the result of signal peaksexceeding the amplifier capacity. Normally caused by a limitation ofthe unit’s power supply.CLONEExact duplicate. Often refers to digital copies of digital tapes.CONDENSERElectrical component exhibiting capacitance (the ability totemporarily store electric current) and block direct current.CONDENSER MICROPHONEA type of microphone which picks up sound via a thin, flexiblediaphragm placed in proximity to a metal plate - as opposed to therigid diaphragm-and-coil system used by dynamic microphones.Condenser mics are very sensitive, especially to distant sounds andhigh frequencies. They have to be powered, which can be achievedby batteries, but for professional use a 48v DC PHANTOMPOWER supply is provided from the console via the balanced miccable.CONDUCTORA thing that conducts or transmits heat or electricity.COMPRESSORA device designed to control or reduce the dynamic range of anaudio signal.32
CROSSOVERA passive circuit, normally built into a speaker system whichdivides the full-range audio signal from an amplifier in order tofeed the individual drive units, ie: bass, midrange and treble.CUEINGTo put a piece of equipment in readiness to play a particular part ofthe recording material. Assisted on a mixing console by use of thePFL (Pre-Fade LIsten) facility.CUT-OFF FREQUENCYThe frequency at which the gain of an amplifier or filter has fallenby 3dB.DAT (DIGITAL AUDIO TAPE)High quality cassette based recording format which stores signalsdigitally and therefore provides very high quality sound. Originallytouted for consumer use, but now firmly ensconced as aprofessional tool.dB (DECIBEL)A ratio of two signal levels. Can be in Voltage, Watts or Currentunits.dBmVariation on dB referenced to 0dB = 1mW into 600 ohms.dBuVariation on dB referenced to 0dB = 0.775 volts.dBVVariation on dB referenced to 0dB = 1 Volt.DETENTIn audio terms a click-stop in the travel of a rotary or slide control,normally used to indicate ‘centre stereo’ on pan-pots or ‘zeroboost/cut’ on EQ controls.DI BOXA device allowing connections as explained below.DI (DIRECT INJECTION)The practice of connecting an electric musical instrument directlyto the input of the mixing console, rather than to an amplifier andloudspeaker which is covered by a microphone feeding the console.DIGITAL DELAYThe creation of delay and echo effects in the digital domain.Thepremise being that, as digital signals are resistant to corruption, theprocess will not introduce additional noise or distortion.DIGITAL REVERBReverberation effects created as above.DIGITALThe processing and storage of signals with sound- informationrepresented in a series of ‘1s’ and ‘0s’, or binary digits.DIRECT OUTPUTA pre-/post-fade, post-EQ line level output from the input channel,bypassing the summing amplifiers, typically for sending toindividual tape tracks during recording.DRYSlang term for an original audio signal that has had no addedeffects.DYNAMIC RANGEThe ratio in decibels between the quietest and loudest sounds inthe audible range that the audio equipment will reproduce.DYNAMIC MICROPHONEA type which uses a thin diaphragm attached to a coil of wirearranged about a permanent magnet. Any variation in air pressureon the diaphragm will cause the coil to generate a minute electriccurrent which then requires amplification.EARTHSee GROUND.EFFECTSThe use of devices to alter or process the sound to add specialeffects eg; reverb, normally as a mix of the original (‘dry’) soundand the treated (‘wet’) version.EFFECTS RETURNAdditional mixer input designed to accommodate the output froman effects unit.EFFECTS LOOPConnection system that allows an external signal processor to beconnected into the audio chain.EFFECTS SENDA post-fade auxiliary output used to add effects to a mix.ELECTRET MICROPHONEType of condenser microphone using a permanently chargedcapsule.ELECTRONIC CROSSOVERAn active device which divides the full range audio signal intoseveral narrower frequency bands (eg:low, mid and high), which arethen amplified and fed to the appropriate speaker drive units.ENCLOSED HEADPHONESTypes that completely enclose the ears and therefore provide goodexclusion of outside noise. Of particular use when monitor mixingor recording live on stage.EQAbbreviation for equaliser or equalisation.EQUALISERA device that allows the boosting or cutting of selected bands offrequencies in the signal path.EXPANDERThe opposite of a compressor, an expander increases the dynamicrange of signals falling below a pre-determined threshold.FADERA linear control providing level adjustment. Favoured byprofessionals due to smoothness of activation and the ability to givean instant visual indication of status.SECTION 8: Glossary33
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 and 20: Setting the Mix• Turn down the am
Page 21 and 22: MEDIUM SIZED VENUESDRUMMER'SMONITOR
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: WIRING & CONNECTORSFaulty connector
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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