Handbook for Sound Engineers

Consoles 833

systems had come to fitful fruition. The in-line console

includes all of a recording channel’s processing and all

of a machine return’s monitoring controls within one

channel strip; it allows efficient sharing of controls,

processing, and mixes between those paths, maxi-

mizing their full utilization through the tracking, over-

dubbing, and mixing phases of a production. It also

does away with the separate multitrack monitoring

section, the mixer within the mixer that nearly doubled

the physical width of conventional consoles.

We all have to be thankful for the cranks and vision-

aries along the way (often the same) who have manipu-

lated or shocked the industry into grudgingly lurching

back into step with technology’s capabilities. These

developmental milestones represent significant plateaus

of thinking that form the basis of today’s console

concepts. In-line is a classic example.

25.5.1 Subgrouping and Output Matrices

Particularly in live applications (e.g., sound reinforce-
ment or broadcasting) the ability to make a subgroup of
related sources—say drum mics, bass, guitar, keys,
backing vocals, lead vocal (each of which can have
many sources themselves)—and then rebalance them
together is a valuable addition. (This means that instead
of having to gingerly pull down the 10 mics on a kit
without destroying the previously hard-won balance, a
single fader on that subgroup can be moved instead.)
These are real subgroups, so called because a real mix
of real audio sources is created, rather than a similar
overall result happening by way of a VCA subgroup
(described fully later) in which only the fader move-
ments are tied. An output is available just containing the
subgroup member sources, useful if processing (EQ,
dynamics, etc.) is required over them exclusive to other
sources such as auxiliary sends for the addition of
effects solely to the subgroup and remixing. This latter
is a particularly powerful use for these subgroups;
feeding them as sources into a downstream mixer, often
called a matrix mixer, from which an often large number
of matrix output mixes are created.
Again using sound reinforcement as an operational
example, the many performers on stage all need to hear
both themselves and the rest of the performers either in
monitor speakers or in personal earpieces; the trouble is,
the balance that each of these people needs is typically
entirely different! Using the individual remix capability
on each matrix output fed by the earlier-created
subgroups, many different mixes of the same few

subgroups are possible, hopefully resulting in a calm

stage.

25.6 Console Design Developments

Two distinct considerations interplay in determining the

ability of a console to fulfill a given application. These

two—the system and the electronics—have entirely

differing parameters that need to be defined but are,

nevertheless, completely indivisible.

The electronics, as much as being designed to

perform required functions, must be very carefully

designed not to be a major influence on the sound of the

console. Most causes of sonic disturbance can be attrib-

uted or predicted, and still dubious circuit configura-

tions can be avoided altogether. There seems to be a

groundswell of designing sonic character back into

studio electronics; this after generations of striving for

accuracy and neutrality is a touch alarming. The good

news is that consoles (unless otherwise eccentrically

contrived) are still expected to be neutral, the color

being acquired by the gallon in external rack boxes. To

that end, unless specifically stated, the electronics

described here are intended to be neutral sounding. To

the shock of some purists, commonly available inte-

grated circuit operational amplifiers are generally used

throughout the designs in this chapter. The reasons why

(other than the obvious convenience), together with the

reasons why they acquired a bad reputation, are treated

in depth in Section 25.7.

Operational amplifiers (op-amps) have, in recent

years, revolutionized the concepts and systems capa-

bility of full-performance audio consoles. Their use

allows system elements to be thought of, designed, and

implemented as building blocks. This simplifies matters

considerably, but it also entertains the valid criticism

that console design can be relegated to a

do-it-by-numbers routine. Fortunately, device idiosyn-

crasies, subtleties, and the entirely separate science of

getting heaps of individual system elements to behave

successfully as a total console prevent this.

Fortunately for the console industry, the large

proportion of the current console manufacturers started

off in life as small groups of musicians and studio engi-

neers furtively constructing mixers for their own ends,

resulting in grass-roots system design owing everything

to immediate operational needs. Continuing in this vein

in production, the manufacturers are listening to and,

most importantly, relating to customer needs because

they’ve played this game for themselves.

Not too long ago, systems and mixers as such didn’t

exist. All the bits of electronics used in the control room