Print

Please login or register.
1 Hour 1 Day 1 Week 1 Month Forever
Login with username, password and session length

[Nick Aghababian]

I like to eat up the pre's on my analog desk on certain channels, and others I like the way it sounds using little gain, and then I'll ram the fader, or double buss.

With digital it is different though. I don't think you'd really want to eat up the pre's on a digital desk anyways.  

[Steven Jackson]

Michael Strickland wrote on Tue, 31 March 2009 01:19

The biggest advantage to this is when there's a solo, I can boost the player, and I'll know right where to bring the fader back down to.

I don't buy the whole keeping it at unity so you know where to put it back to.  Do your ears not work?

[Tim McCulloch]

Nick Aghababian wrote on Mon, 30 March 2009 19:41

With digital it is different though. I don't think you'd really want to eat up the pre's on a digital desk anyways.

Do what you want with the analog preamp, but the AD converter doesn't like to run out of 1's...

Hmmmmm.  I think that's my next business:  "Rent Some 1's Digital."  For those times when you just don't have enough.

Tim Mc

[Tom Bourke]

I do it both ways depending on instrument and gig.  If we are talking loud or out doors where I am using all the system can give then Vox and some of the drums get mixed where the preamp is hot and the rest are at/near unity.  The rest of the channels get mixed as I see fit.  Some get lower gain at the preamp (OH and some other drums) others get mixed with the preamp hot and the faders down a touch (GTR or backing vox)  It really depends on the situation.  I reserve the right to mix each CH as I see fit for the given input and situation.

Then there is dual PA, that changes things a little too.  I love having a separate vocal PA.  Kind of like sub off aux, I miss it when its not there.

All in all this article was lame and uninformative.  Come back next year after you have some screen dumps from some measurement programs showing what you claim to hear.

[Dave Dermont]

Not a horrible article as editorial stuff goes, but this has no place in The Study Hall.

I have commented as such on the article page.

Anyone with similar thoughts should contact Mr. Clark at the link posted above.

[Al Limberg]

Oh alright, I'll say something.
Point 1.  His claim of running the gain up until the channel flashes red and then backing off a touch is assinine and in no way is an appropriate description of proper gain adjustment.  On a decent analog mixer, proper gain adjustment leaves 20 to 24 db of available headroom when the gain is set to meter the channel at 0.
Point 2.  The "author's" comment about the studio and running all faders at unity.  Duh  - If the tracks have been properly recorded, they should all display very nearly equal signal level at their peaks.  Setting all faders at unity should present a "pre - mix" of approximately equal levels on all tracks - a pretty decent starting point which has damn little relation to live mixing, unless of course your recording engineer likes to record his tracks to emulate all the problems presented by variances in stage volumes between various instruments.

'nuf said,
?;o)
Al

[Andy Peters]

Steven Jackson wrote on Mon, 30 March 2009 18:32

Michael Strickland wrote on Tue, 31 March 2009 01:19  The biggest advantage to this is when there's a solo, I can boost the player, and I'll know right where to bring the fader back down to. I don't buy the whole keeping it at unity so you know where to put it back to.  Do your ears not work?

Neither do I. Do you eyes not work, either?

-a

[Andy Peters]

Tony "T" Tissot wrote on Mon, 30 March 2009 09:40

From a Study Hall article - March 20, 2009. Keep all faders at zero? - Mixing with your eyes - and other myths that won't die. How And Why Unity Mixing Can Make All The Difference In The World Of course there are kernels of truth in just about everything,  but this article, in PSW study hall no less, makes assertions, long proven incorrect. System B sounds better than system A - because the faders are lined up! Excerpt: "It has been my observation that when the system is properly set up and aligned, and the sound ain’t so great, the console faders tend to look like Picture A (Top).   Conversely, when it sounds good, the faders look like Picture B (Bottom). Where the faders are positioned has everything to do with the channel preamp gain setting."

Sounds like someone's lowered the bar for acceptable Study Hall articles.

What a bunch of baloney.

Funny how the writer has never posted in this forum.

-a

[Brad Harris]

So when you have 3 labeled channels, you need to have all but 8 or so faders down at -inf when mixing at "0" .... but when your not the last 3 faders before the master section stay the same????????

That and all live gigs should be like the jr engineer gigs at the studio???

hmmmmm, thats why my wedges are so stupid loud! After reading the article, I NOW know how to mix ... wonder if I can get them to sound as good again .... hmmmmmmmm

[John Chiara]

Al Limberg wrote on Mon, 30 March 2009 23:59

Oh alright, I'll say something. Point 1.  His claim of running the gain up until the channel flashes red and then backing off a touch is assinine and in no way is an appropriate description of proper gain adjustment. 'nuf said, ?;o) Al

I had a BE in last week that insisted on pushing each channel fader to "0"..and with the mains up full..adjusting the preamp like this...I shut that down fast!!