772 Chapter 27
it is important to understand the way in which these blocks fi t together. This is usually
termed system architecture.
27.5.1 System Architecture
There is no simple description of audio console system architecture. That’s because there
exist different types of consoles for different duties and because every manufacturer
(and there are very many of them) each has their own ideas about how best to confi gure
the necessary features in a manner that is operationally versatile, ergonomic, and
maintains the “ cleanest ” signal path from input to output. However, just as houses all
come in different shapes and sizes and yet all are built relying upon the same underlying
assumptions and principles, most audio mixers share certain system topologies.
27.5.2 Input Strip
The most conspicuous “ building block ” in an audio console, and the most obviously
striking at fi rst glance, is the channel input strip. Each mixer channel has one of these
and they tend to account for the majority of the panel space in a large console. A typical
input strip for a small recording console is illustrated in Figure 27.9. When you consider
that a large console may have 24, 32, or perhaps 48 channels—each a copy of the strip
illustrated in Figure 27.9 —it is not surprising that large commercial studio consoles look
so imposing. But always remember, however “ frightening ” a console looks, it is usually
only the sheer bulk that gives this impression. Most of the panel is repetition and once
one channel strip is understood, so are all the others!
Much harder to fathom, when faced with an unfamiliar console, are the bus and routing
arrangements that feed the group modules, the monitor, and master modules. These
“ hidden ” features relate to the manner in which each input module may be assigned to the
various summing amplifi ers within the console. And herein lies the most important thing
to realize about a professional audio console; that it is many mixers within one console.
First let’s look at the groups.
27.5.3 Groups
Consider mixing a live rock band. Assume that it is a quintet: a singing bass player, one
guitarist, a keyboard player, a saxophonist, and a drummer. The inputs to the mixer might
look something like this: