Handbook for Sound Engineers

Sound System Design 1281

live theater can use this to set up console settings for
each scene during rehersal and call them up quickly
during a performance. A church with traditional and
modern services can set up the console for each service
and switch between them quickly. This can be a great
help when operators are inexperienced. Multifunction
outputs can work as group, main, matrix, or monitor
outputs depending on configuration. There are many
other useful features on digital mixing consoles.
However, some digital mixing consoles are so
feature-rich that they are confusing to an inexperienced
operator. Control functions may change when memory
scenes are changed and, unlike an analog mixing
console, it’s generally not possible to understand the
configuration and settings of the console by simply
looking at its controls. Thus, digital mixing consoles are
best suited to facilities with experienced operators,
Fig. 34-38.

34.4.2.1 Mix Groups, Auxiliary Groups and Matrix

Mixing

Most mid- to large-mixing consoles have mix groups

and auxiliary groups. Larger mixing consoles often have

an output matrix mixing section. Experienced operators

develop a mixing style that uses all of these features

effectively. Here is one common approach, Fig. 34-39.

Start by connecting sources (microphones, musical

instruments, etc.) to the inputs in a way that makes it

easy to reach the most-used controls. Set up the input

gains and losses for minimum noise and maximum head

room (see Chapter 28). Then assign similar sources to

the various mix groups in a logical manner. In a reli-

gious facility, for example, the operator could assign

spoken voices to group 1, singing voices to group 2,

choir to group 3, instruments to group 4, percussion to

group 5, electronic organ to group 6, and so on. This

allows the operator to raise or lower the volume of each

Figure 34-36. Simple rack mixer. Courtesy Ashley Audio.

Figure 34-37. A sound reinforcement mixing console. Courtesy Allen and Heath.