Basics of mixing

Basics of Mixing
A Beginner's Guide
to the Art of Mixing
®

Basics of Mixing
A BeginnerÕs Guide
to the Art of Mixing
Written and illustrated by Robby Berman
Copyright © 1999 Roland Corporation
All rights reserved. No part of this publication may be reproduced in any form without the written
permission of Roland Corporation. All trademarks are the property of their respective owners.

1ÑIntroduction
Basics of Mixing 1
1ÑIntroduction
Why Does This Book Exist?
As a musician, producer or sound person, you can't get too far in this world without bumping
into a central tool of the studio and stage: the mixer. To someone who's unfamiliar with how
such a thing works, a mixer can seem impossibly complex. In fact, it's not. Any mixer is actually
fairly simple to use, and is packed with helpful tools and creative possibilities.
The difference between bluffing your way around and really mastering a mixer is an
understanding of the mixerÕs basic underlying principles. This book is full of simple explanations
of how a typical mixer works. ItÕs a companion to your mixerÕs documentation, which describes
your mixerÕs own unique way of doing things. Using the two books together, youÕll have your
mixer mastered in no time.
About this Book
Special Symbols
Throughout ÒBasics of Mixing,Ó you'll encounter a few special symbols in the right-hand margins.
These are intended to draw your attention to something important. You'll see:
¥ bricks whenever youÕre presented a basic concept that helps build the
foundation of your understanding.
¥ a light bulb whenever thereÕs a good idea, a tip.
¥ a push pin that signifies something you should note.
¥ an exclamation point that means youÕre being told something you really need to
know to avoid hurting your mix, your equipment or your ears.
Discussions
YouÕll encounter some sections in the book that are offset by lines above and below, like this
one. These are self-contained discussions about something that relates to the main text.
YouÕll find a glossary of common mixer terms in the back of ÒBasics of Mixing.Ó You can
use the glossary to refresh your memory as you mix.

1ÑIntroduction
2 Basics of Mixing
How to Read this Book
ÒBasics of MixingÓ should be read in order, since it builds your understanding of a mixer step-by-
step. If you skip around, you may not have the basic knowledge required to comprehend what
you're reading. Since the book is fairly short, reading it from top to bottom shouldn't be too hard
to do.
Success in mixing depends on your thinking and doing things in a consistent, logical
order, even if it takes a little extra time to do so. This will help you avoid confusion,
and will save you time in the end.
Some Comforting Thoughts Before We Start
Here are two comforting thoughts for you if youÕre at all concerned that youÕll have trouble
understanding your mixer:
1. No matter how big a mixer is, or how complex it looks, itÕs basically made up of just a few
things repeated over and over. This means that thereÕs a lot less to learn than you might
think. Consider this: if you have a 24-channel mixer (weÕll explain what channels are later
on), all you have to do is learn how one channel works. Your understanding of the one
channel will apply to every one that the board has. Learn only one channel and youÕll
immediately know how to operate most of the mixerÕs controls.
2. ThereÕs the normal way of using a mixer, and then thereÕs your way. As you come to
understand how a mixer works, youÕll see itÕs an amazingly flexible tool that makes
recording and performing easier and more fun. No matter how you like to workÑor the
demands of the music youÕre working on, or the people youÕre working withÑyour mixerÕs
likely to be able to keep up with every creative whim. Digital mixers, especially, allow you to
connect, or Òpatch,Ó anything to anything else, and to do as many things to your sounds as
you can dream up.
If you understand one channelÉ Éyou understand them all.

2ÑOverview: Can Does a Mixer Do?
Basics of Mixing 3
2ÑOverview: What Can a Mixer Do?
A Mixer is a Tool for Shaping Audio
A mixer is a tool for shaping sound, or, more specifically, audio. By Òaudio,Ó we mean a stream of
sound, such as a musicianÕs live or recorded performance, a rapperÕs rap, or music played by a
turntable or CD. A mixer does three basic things:
¥ It receives audio from some external source.
¥ It allows you to change the audio by adjusting its
volume and a variety of other characteristics, and lets
you run it through internal or external effects
processors.
¥ It sends the audio to some other device.
Remember our first comforting thought: a mixer consists the same thing over and over. This
means that it can actually receive and change many audio streams before sending them out as
separate audio streams, or mixed together.
When you combine two or more audio streams together, youÕre creating a Òmix.Ó
A Most Basic Definition: Mix
LetÕs make sure weÕre really clear about what the word ÒmixÓ means. When working with sound,
it can be used as either a noun or a verb:
¥ As a noun, a mix is a mono or stereo stream of audio thatÕs actually a combination of two or
more other audio streams. This combination is created by directing these streams down
pathways called Òbusses,Ó which weÕll describe fully in Chapter 3. When recording or doing
live sound, a mix is the ultimate destination for all of the audio with which youÕre
workingÑin recording, the mix goes to your mixdown recorder; in live sound, it goes to
your stage speaker system.
¥ As a verb, to mix is the act of managing and shaping audio andÑfinallyÑthe creating of a
mix (the noun).
Audio Comes In to a MixerÉ
Audio comes in to a mixer through its inputÑas in Òputting inÓÑjacks. On many mixers, these
jacks are located on the mixerÕs rear panel. They may also be located on a separate stand-alone
boxÑa mixing processorÑthatÕs connected to the mixing control surface.
A typical mixer can accept audio from a variety of sources. You can connect:
¥ a microphone, or Òmic.Ó
¥ the outputs of a synthesizer, sampler or beat box.
¥ anything with a pickup, such as an electric guitar or bass.
Audio goes in Audio goes out
You shape it

4 Basics of Mixing
¥ a CD player, turntable, reel-to-reel tape or cassette deck.
¥ the output of an external effects processor to which youÕve sent audio from the mixer.
¥ the outputs of a multi-track recorder so you can listen to its tracks as you record, and
during playback.
¥ a mixdown deck so that you can hear your final mix as you record it, and so you can play it
back as well.
In Chapter 5, weÕll discuss the types of connectors youÕll be using.
An Important Word: Signal
Audio travels through cables in the form of electrical voltages. TraditionalÑthat is, analogÑmics
and instruments send out voltages that imitate the peaks and valleys of the audio. In digital gear,
the voltages represent the 1s and 0s that make up digital data. In either case, audio traveling
through cables and within a mixer is generally referred to as Òsignal.Ó
When Audio is Inside a MixerÉ
The following descriptions will introduce you to some of the things you can do to a signal within
a mixer. WeÕll discuss these activities in more detail later on.
Some mixers can memorize the changes you make throughout a song, and play them
backÑthis is referred to as Òautomation,Ó as weÕll discuss in Chapter 4.
You can change a signalÕs:
¥ VOLUMEÑor Òlevel,Ó so that itÕs at the optimal volume for recording on a track, or fits well
within a mix. During a song or project, you can make minor level adjustments to bring out
too-quiet phrases in a performance; you can also hide mistakes by turning them down.
¥ DYNAMICSÑEven with its basic loudness set to a desirable level, a signalÕs volume
constantly changes during a performance. These changes are referred to as Òdynamics,Ó and
theyÕre generally a good thing, since they make the performance more expressive. Digital
mixers often contain dynamics processorsÑsuch as compressor/limiters, gates and
expandersÑthat allow you to alter the dynamic level changes in a performance to make
them more manageable, discard unwanted noise or add some dynamic variation to dull
performances.
¥ EQÑshort for Òequalization,Ó lets you change the tonal quality of a signal by adjusting the
volume of the various frequencies it contains. For example, when you turn up the treble on
your home stereo, youÕre increasing the volume of the high-frequency content in whatever
it is youÕre listening to. When you increase the bass, youÕre turning up its low frequencies.
Both of these are examples of using EQ. In a mixer, you can select and change the loudness
of any part of a signal, not just its highest- and lowest-frequency components.
¥ PANNINGÑA stereo mix is divided into two signals: one that plays through a left-hand
speaker, and one that plays through a right-hand speaker. When youÕre creating a stereo
mix, you can place a signal at any stereo position from the far left to the far right by setting
it to play more from one speaker than the other. When audio plays equally from both
speakers, itÕs heard in the center. Positioning a signal in the stereo field is called Òpanning.Ó

2ÑOverview: Can Does a Mixer Do?
Basics of Mixing 5
Panning is not really an issue when youÕre creating a mono mixÑsuch as when youÕre
feeding a mono PAÑsince the same sound comes out of all of your speakers.
You can also add effects to a signal. Effects are digital processes that take an original, or Òdry,Ó
signal and turn it into something else. This new thing can then be mixed in with the dry signal, or
replace it altogether. WeÕll describe when to use which technique in the next chapter.
Some digital mixers provide a set of built-in, internal effects processors that you can use. You can
also connect an external processor to a mixer and route signals to and from that device. This can
be handy when an external device offers an effect not available in the mixer itself.
Audio Leaves a MixerÉ
Audio leaves a mixer through its output jacks. As with input jacks, a mixerÕs output jacks are often
located on its rear panel or on an attached mixing processor.
A mixerÕs outputs can send audio to:
¥ a track or tracks of a multi-track recorder.
¥ external effect-processing boxes.
¥ a headphone or monitor amplifier for performing musicians.
¥ a mixdown recorder, such as a DAT (Digital Audio Tape) or minidisc machine.
¥ an amplifier driving a stage speaker system.
¥ a private listening system such as control room or studio speakers.
In Chapter 5, weÕll get into the types of output connectors youÕll be using.
Some beginners think of mixer outputs as being useful only for sending tracks to a multi-track
recorder or when creating a finished mix. In fact, they can be used at any time for sending audio
to musiciansÕ headphones in the studio or to their monitors onstage, and for directing signal to
any external processors or speaker systems.
Some people like to dirty-up a clean sound by sending it from the mixer into a speaker or
guitar/keyboard amp, micÕing the speaker or amp, and then using the micÕd version in
the mix or on a track, mixed in with the original signal or alone.
An Important Pair of Words: Send and Return
In a mixer, signals are frequently sent from one place to another and then back to their starting
point or some other place. This round-trip routing is such a common technique that special terms
have been coined to describe either end of signalÕs journey: ÒsendÓ and Òreturn.Ó These words are
used as both verbs and nouns.
¥ As a verb, ÒsendÓ describes the action of directing a signal from one place to another at the
beginning of its journey. As a noun, itÕs used to describe the mechanism on a mixerÑa
button, knob or parameterÑused for this purpose. The place from which it leavesÑa
connection point within a mixer or an output jackÑmay also be referred to as a send.

6 Basics of Mixing
¥ As a verb, ÒreturnÓ describes the action of bringing the signal back from wherever you sent
it. As a noun, it describes the mechanism for controlling the way the returned signal is
handled, such as a level or panning control. The place to which it comes backÑa
connection point or channel within a mixer, or an input jackÑmay also be referred to as a
return.
Here are some examples of how ÒsendÓ and ÒreturnÓ are used:
¥ As a verb: ÒIÕll send this vocal from Channel 1 to a reverb and return it to Channel 2.Ó
¥ As a noun describing a mechanism: ÒIÕm going to adjust the send from Channel 1 so that
the vocal isnÕt too loud when it goes into the reverb. Then, IÕm going to lower the volume of
the reverb return and pan it to the center of the mix.Ó
¥ As a noun describing locations: ÒIÕm going to connect the send to my favorite foot pedal
delay, and bring its output back to one of my auxiliary returns.Ó
The Benefits of a Digital Mixer
Superior Sound
Digital mixers can capture and preserve the sound of signals more accurately than analog mixers.
This is due to the fundamental way in which the two types of mixers handle audio. As we said
earlier, audio from a conventional, non-digital mic or instrument arrives at a mixerÕs input in the
form of an electrical voltage that imitates the shape of the mic or instrumentÕs sound waves:
¥ In an analog mixer, as the signal passes through various components within the mixer, its
resemblance to the original sound degrades. This is because each component creates its
own imitation of the signal and passes that imitation on to the next component. This
produces a result similar toÑthough far more subtle thanÑa round of the game Telephone,
in which a phrase totally changes as itÕs passed among a group of people.
¥ In a digital mixer, the original voltage is converted into a series of numbers, and itÕs these
numbers that get passed from component to component. Since, for example, Ò1234Ó will
still remain Ò1234Ó no matter how many times itÕs handed from one component to another,
thereÕs no degradation of the signal as it flows through the mixer. The only changes made
to the soundÑand the numbers that represent itÑare those that you deliberately make.
Greater Control
Since digital audio signals are comprised of binary dataÑthe language of computersÑthey can be
subjected to any process that can be dreamed up by software programmers. As a result, digital
mixersÑwhich are actually computersÑcan provide a host of features that an analog mixer just
canÕt match, including:
¥ unheard-of of sound-altering possibilities.
¥ customizable input, output, and internal routing options.
¥ the memorization of routings and settings.
¥ the recording and playing back of changes you make to the mixerÕs settings.

3ÑCrucial Concepts
Basics of Mixing 7
3ÑCrucial Concepts
WhatÕs a Channel?
The main action in a mixer occurs in its channel strips. Channel strips, or simply
ÒchannelsÓ for short, provide a set of tools that allow you to shape the sound of a single
audio signal. This can be any kind of audio signal: a microphone, instrument, track from a
multi-track recorder, a turntable. Most of the sound shaping that occurs in a mixer is
accomplished using the tools provided in its channel strips.
A mixer can have any number of channels. Mixers typically have 4, 8, 12, 16, 24 or 48
channels, which would allow you to work with 4, 8, 16, 24 or 48 audio signals,
respectively. Most of the time, a channel controls a single mono signal, though some
mixers offer special stereo channels that treat two mono signals as a single stereo entity.
It can be helpful to picture a channelÕs signal flowing through the strip from top to
bottom, with the top representing the channelÕs input jack and the bottom representing
the channelÕs final output. This actually mimics the flow of audio, or Òsignal flow,Ó from
one channel tool to the next. Chapter 6 will describe in detail, and in order (an
important topic), all of the things a signal encounters as it makes its way down to the
bottom of a channel, adding more detail to the picture on the right.
In addition to shaping a signal as it makes its way through a channel strip, you can:
¥ direct it to an internal effect or to an external effect processor and then back into
the channel for further shaping.
¥ send a copy of it to an internal or external effect processor. The processorÕs output can then
be routed to a desired destination of its own, such as a track or into a mix.
¥ send a copy of it to a headphone or stage amplifier so that performers can hear whatÕs
going on.
At the bottom of the channel strip, youÕll find switches, and sometimes level controls, that allow
you to send a copy of the channelÕs signalÑhaving passed through all of the channelÕs toolsÑto
the desired destination. You might send it, for example, to a track on a multi-track recorder, or
into a mix. (On some mixers, these controls may be located elsewhere in the strip.)
Input Patching
Each channel on a traditional mixer is directly connected to an input jack so that the
mic/instrument/whatever plugged into a jack is controlled by its like-numbered channel. An
instrument connected to the first input jack would be controlled by Channel 1, the signal at the
second jack would be controlled by Channel 2, and so on. This scheme is nice and simple, but it
can mean that you have to re-plug cables if you want to change the channel controlling a
particular signal for some reason.

3ÑCrucial Concepts
8 Basics of Mixing
Destination
In a modern digital mixer with patching capabilities, any input jack can be routed to, and
controlled by, any channel strip or set of auxiliary controls (weÕll get to auxiliary controls later in
this chapter). The signal from a single jack can even be routed to more than one channel in
situations where youÕd like to wind up with two different-sounding versions.
WhatÕs a Bus?
There are basically two methods for sending a signal from one part of a mixer to another or to an
output jack connected to an external device. You can:
¥ route, or assign, it to a ÒbusÓ thatÕs connected to the desired destination.
¥ send it directly to an output jack.
Understanding busses is absolutely critical in understanding a mixer. While some mixers label
their busses for particular purposesÑrecord busses, mix busses, auxiliary busses and so onÑall
busses are really the same. Fortunately, a bus is a pretty simple thing.
A bus is a pathway down which one or more signals can travel to reach a
destination.
Some traditional mixers refer to a bus as a Òsubgroup.Ó
Busses are one of the most helpful tools youÕll find in a mixer. For example, you can add an
internal or external effect to a signal by assigning it to a bus thatÕs connected to the effectÕs
input. And there are a number of circumstances in which you might want to send more than one
signal to a single common destination:
¥ You might want to combine the sound from two or more microphones or instruments on a
single track in a multi-track recorder.
¥ You might want to send several signals to the same reverb so that they share a common
ambience.
¥ You might want to send a group of signals to a mono headphone or monitor amplifier.
Working with a pair of busses at the same time is even more useful:
¥ You can route a pair of busses to two tracks on a multi-track recorder and assign the
desired channels to both of the busses. The resulting tracks contain a stereo image that
incorporates all of the signals. This is a great way, for example, to reduce an array of mics
used on a drum kit to a single stereo imageÑa pair of tracksÑon a multi-track recorder. You
can also position signals at specific places within the stereo image youÕve created.
¥ You can use this same technique to reduce a group of recorded tracks to a single stereo
image by copyingÑor ÒbouncingÓÑthem together into a pair of new tracks.
¥ If you send your pair of busses to a stereo headphone or monitor amplifier, you can provide
your musicians a stereo mix to listen to.

3ÑCrucial Concepts
Basics of Mixing 9
¥ When you create a mix, what youÕre actually doing is assigning all of your channels to a pair
of busses and routing them to your mixdown recorder or stage speaker amplifier.
Once you understand that all busses are the same, youÕll find all kinds of uses for them. In any
mixer that allows you to change its internal patching, you can use any busÑregardless of its
name and supposed purposeÑwhen you want to send multiple signals to the same destination.
(You may be able to route a busÕs signal to an output jack of your choice instead of being forced
to use a jack thatÕs permanently connected to the bus.)
Pre and Post
If you recall, we mentioned on Page 7 that a signal typically flows through a channel strip in a
very particular order (which weÕll describe in detail Chapter 6). When you want to send a
channelÕs signal to a bus, a mixer will usually provide a set of points within the stripÕs signal flow
from which its signal can be copied and sent to the bus.
The point you select can make a big difference in the sound of what goes into a bus, since it
determines whether the signal will have already been affected by some or all of the stripÕs sound-
shaping components before going there. Though mixers offer different locations within the
channelÕs signal flow from which you can send a signal to a bus, the available choices are always
referred to as Òpre-some-particular-channel-componentÓ when youÕre copying the signal before it
gets to a particular component, or Òpost- some-particular-channel-componentÓ when youÕre
copying the signal after itÕs passed through a particular component. A digital mixer may allow
you, for example, to send a channelÕs signal to a bus pre-delay, post-EQ or post-fader. WeÕll
discuss this further in Chapter 6.
Standard Busses
A traditional mixer divides its busses into two types: standard and Aux busses. Standard, general-
purpose busses are most frequently used for the sending of one or more signals to a track on a
multi-track recorderÑsome mixers label them, in fact, as ÒrecordingÓ busses. Typically, each bus
will be connected to its own physical output jack that can be connected to a track input on a
multi-track recorder. As with any bus, of course, a standard bus can be used to send one or more
signals to any destination connected to its output jack.
How a Signal is Sent to a Standard Bus
Each channel strip will provide a set of on/off switchesÑoften buttons located at the bottom of
the strip and numbered in pairs such as Ò1-2,Ó Ò3-4,Ó etc.Ñthat allow you to assign the channelÕs
signal to a pair of busses. When any of these switches is engaged, a copy of the signal is sent to
both of its busses. The level of the signal to be sent is determined by the channelÕs final level
control (weÕll discuss channel strip pan and level controls in detail later).
The stripÕs pan control sets whether the signal is sent to both busses equally, or more to one
than the other. When a signal is panned to the left, more of it goes to the odd-numbered bus;
when itÕs panned to the right, more of it goes to the even-numbered bus.

3ÑCrucial Concepts
10 Basics of Mixing
ItÕs worth noting that when a channel is assigned to a bus, a copy of its signal is fed into
the bus without interrupting the flow of the signal through the channel strip.
ÒAuxÓ Stands for ÒAuxiliaryÓ
Traditional mixers also provide a collection of Aux busses and returns.
In common usage, an Aux busÑyour mixer might label it as an ÒAux sendÓÑis used as a way to
send a group of signals to an effect. An Aux return will control the volume and panning of the
effectÕs output, and will allow you to send it to a track (or tracks) on a multi-track recorder or
into a mix. Some even label the Aux returns ÒEffect returns.Ó This may make Aux busses simpler
to understand, but it misses the wonderful flexibility that Aux busses and returns really provide
when youÕre in need of extra busses and channels.
HereÕs the truth:
¥ Your mixerÕs Aux, or Auxiliary busses, as their name implies, are merely an additional set of
busses. You can use them for anything you might use any bus for, such as sending a group
of signals to a track, an effect, an external device of some sort, or to a headphone or
monitor amp. A mixer will typically provide an output jack for each Aux bus so that you can
send its signal to an external device if you wish.
¥ Aux returns are likewise just an additional set of spare channels. With the proper adapters,
you can connect anything youÕd connect to a channel strip to an Aux return by plugging it
into an Aux return input jack. Though Aux returns typically offer fewer tools than your
mixerÕs channel stripsÑperhaps only volume and panning controls and some mechanism for
routing their signal to a track or into a mixÑthey can be mighty handy when you need to
plug in just a few more instruments or microphones, and all of your full channel strips are
already in use. By the way, an Aux return may be a single, mono channel or a pair of
channels linked together as a single stereo entity.
¥ Though they share ÒAuxÓ labels and numbers, Aux busses and returns are not really
connected to each other. TheyÕre separate auxiliary tools that you can use as your needs
dictate. Just because you send some signals to an external device using Aux Bus 1, for
example, doesnÕt mean that you have to return the deviceÕs outputs to the mixer using Aux
Return 1. You could return it to a channel, for instance, or to another Aux return altogether.
How a Signal is Sent to an Aux Bus
More control is typically provided for sending a channelÕs signal to an Aux bus than to a standard
bus. Somewhere high up on the channel strip, you may find some sort of mechanism for
enabling or disabling the sending of the channelÕs signal to each of the mixerÕs Aux busses. YouÕll
also find a level control for each Aux bus that allows you to set how much of the channelÕs signal
will be sent to the bus.

3ÑCrucial Concepts
Basics of Mixing 11
The Roland FlexBusª
RolandÕs digital mixers provide a third type of bus that recognizes and makes the most of the
wide-open way in which a bus canÑand shouldÑbe used: the ÒFlexBus.Ó Any FlexBus can be
used for any purpose, and the means by which a signal is assigned to a FlexBus reflects this. On a
Roland mixer with FlexBusses, each channel strip provides:
¥ An on/off switch for assigning the channelÕs signal to each FlexBus or not.
¥ Level controls that allow you to set the amount of the channelÕs signal to be sent to each
FlexBus.
With this expanded amount of control available for every FlexBus, thereÕs no need in such a
mixer for Aux busses at all. You wonÕt need Aux returns, either, since a Roland mixer with
FlexBusses provides so many channel strips. By routing each effect output to a channel strip,
youÕll gain far more control over its signal than youÕd have with a conventional Aux return.
What are Effects and How Can They Be Used?
As mentioned earlier, effects are digital processes that take a dry signal and turn it into
something else. Effects can make a tremendous difference to the sound of your tracks and mixes.
Some of the most common effects are:
¥ REVERBÑReverb is an imitation of the sound of an acoustic space. This can be a real-world
space, such as a concert hall or a particular room, or something completely unlike anything
the physical world has to offer. When added to a signal, reverb makes the signal sound like
it actually occurred in the space the reverb implies.
¥ DYNAMICS-altering effectsÑThe compressor/limiters, gates and expanders first mentioned
on Page 4 are effects that allow you to control and enhance the volume changes within a
performance.
¥ DELAYÑA delay is a copy of the dry signal thatÕs played back late. Delays are measured in
time, that is, the amount of time by which the copyÕs playback is postponed. Delays can be
used in a great number of ways. Short delays can sound like artificial-sounding ambiences,
or can make a performance sound like two nearly identical performances (this is called
Òartificial doublingÓ). Longer delays are more audible and act as a special effects. You can
delay the delay itselfÑthis is called ÒfeedbackÓÑto create multiple copies of the dry signal;
this familiar sound was used often on early rock Ôn roll vocals.
¥ CHORUS, PHASING and FLANGINGÑThese three slightly different effects all make a dry
signal shimmer and swirl by creating close-together, multiple delays whose delay times vary.
¥ DISTORTIONÑDistortion makes the dry signal sound like itÕs being run through a guitar
amplifier at too high a volume.
¥ MODELINGÑModeling applies the key characteristics of one sound to another. Using
RolandÕs exclusive COSMª modeling technology, for example, you can make your signals
sound as if they were captured using a variety of classic mics. You can also use COSM to
transform one guitar into another, or make it sound as if itÕs going through a vintage guitar
amp.

3ÑCrucial Concepts
12 Basics of Mixing
Effect
Effect
If your mixerÕs digital, it may contain its own internal effect processors: computer chips that
create effects. Consult your mixerÕs documentation to learn more about the effects it offers.
In either event, there are two ways to apply effects to a signal:
¥ In-line, or insertÑThis method allows you to replace the dry signal with its effected version,
an approach that makes sense in any situation in which you no longer want any of the
original, dry signal to remain. This would be the case, for example, when youÕre running the
signal through a compressor, a distortion effect, or Roland microphone modelingÑall youÕll
want to wind up with is the final processed signal. This would be the case with any other
dynamics-based effect such as a gate or expander as well.
To process a signal with an in-line effect, you can use one of its channelÕs
Òinserts.Ó An insert is a point within a channel stripÕs signal flow thatÕs
connected to a special internal connectionÑand/or a physical jackÑthat
provides both output and input capabilities (special cables are available
for this purpose). When you route a signal to an effect using an insert,
you interrupt the flow of signal through the channel, re-direct it to an
internal or external effect, and then return the effected signal back into
the channel to complete its journey to the bottom of the strip.
¥ Using an Aux bus or Roland FlexBusÑWhen you want to add an effect
such as a reverb or delay to a signal, and wind up hearing both the
original signal and the added effect, you can do so using a bus. Each
channel strip will allow you to send a copy of the channelÕs signal to an
Aux bus or FlexBus without interrupting the flow of audio through the
channel strip. Typically, youÕll be able to select the place within the
channel stripÕs signal flow from which the copy will be sent. You can
then direct the selected bus to the desired effect and patch the effectÕs
output (or outputs, if itÕs a stereo effect) to the desired Aux return or
channel strip. You can route the effectÕs output to the same track to which youÕre sending
the channel stripÕs final output, or into your mix. An effect you add to a signal this way may
be referred to as a Òloop effect.Ó
Often, singers like to hear reverb on their voice as they sing. You can do this by
using a bus to send a copy of the vocal to an effect processor, returning the output
of the processor to a channel, and assigning the channel to the bus youÕre sending
to the singerÕs headphone amp.
One More Type of Bus: The Cue Bus
ThereÕs one more type of bus you may encounter: a Cue bus. Again, thereÕs nothing unique about
this kind of bus except its normal use. A Cue bus, which is typically a pair of mono busses
grouped together as a single stereo entity, feeds signal to the musicians with whom youÕre
working, either through headphonesÑas when youÕre recordingÑor through stage monitors in
performance. A Cue busÕs output must be connected to the appropriate headphone or speaker
amplifier.

4ÑMixer Geography
Basics of Mixing 13
Into the rear-panel inputs... ...out of the rear-panel outputs.
...through the channel strips...
...through the mixer-
wide controls...
4ÑMixer Geography
WhatÕs Where and Why
Mixers are designed to be as convenient as they are flexible. Physically, youÕll find that a mixerÕs
inputs and outputs, channel controls and so on are arranged in distinct sections. Within each
section youÕll find all of the tools you need for a particular activity. The placement of these
components generally reflects the flow of signal into, through and out of your mixer, going from
left to right. The following illustration shows what we mean, starting with rear-panel input jacks,
passing through the individual channel strips, on into controls that affect the mixer as a whole,
and ending with rear panel output jacks.
Your mixerÕs sections may be arranged somewhat differently than this oneÕs. For example, if
youÕve got a component-based mixer with a separate mixing processor, the inputs and outputs
will be on the processor, not the mixing control surface itself.
The Rear Panel of Your Mixer
Typically, a mixerÕs rear panel is where youÕll find its input and output jacks. On many mixers, you
can plug microphones, instruments, multi-track recorders, mixdown recorders, external devices
connected to Aux returns and so on directly into the input jacks. Likewise, you can connect its
output jacks directly to a multi-track recorder, mixdown device, speaker amplifier, external device
fed by an Aux bus and so on. On some digital mixers, the rear-panel jacks provide a way to link
the mixer to an external mixing processor that contains the standard input and output jacks. In
either case, the concept is the same: all audio coming into the board comes into a rear-panel
connector, and all audio coming out of the board comes out of a rear-panel connector.
Chapter 5 will describe the types of connectors youÕll encounter.

4ÑMixer Geography
14 Basics of Mixing
Some mixers also provide small rear-panel knobs and/or switches that may:
¥ aid in setting the proper level for a signal coming into the mixer.
¥ activate phantom power for condenser mics that require an electrical current to operate.
The Front Panel of a Typical Mixer
When youÕve connected everything you need to connect to a mixer, the main action moves to its
front-panel. HereÕs an introduction to the sections of a typical mixer.
Monitor Controls
A monitor is a speaker you listen to as you work. Monitor
controls let you manage what you hear in this speaker, or
speakers when youÕre listening in stereo. You can also listen to
your mixer using headphones. In general, listening is referred to
as Òmonitoring.Ó
Onstage, each of the speakers performers listen to is also called a Òmonitor.Ó
Some mixers provide separate monitor controls for the person operating the mixer in a control
room, and for musicians listening to another set of monitors out in a studio. A mixer may also
provide separate digital and analog monitor outputs and controls so that you can use either
digital or traditional analog speakers.
There are basically two aspects to a typical mixerÕs monitor controls. These controls may be
buttons on the mixerÕs front panel, or may appear as parameters in a digital mixerÕs display:
¥ The monitor selector lets you choose what youÕd like to listen to. Most mixers allow you to
listen to their main stereo outputs, any Aux bus or your mixdown recorder (listening to the
tracks of a multi-track recorder is a special case weÕll discuss on Page 16). Your mixer may
also provide a switch that allows you to listen to your mixer in mono. Being able to select
what youÕre listening to is important since it lets you, for example:
¥ listen to your mixerÕs main stereo outputs to hear what youÕre doing as you work.
¥ listen to what youÕre sending to an effect or external device on an Aux bus. This can
help you figure out exactly which signals are being sent and at what volume when
youÕre using your Aux busses.
¥ lets you listen to the inputs of your mixdown recorder as you mix so that you know
what itÕs receiving from the mixer and what it will record. You can also listen to your
mix being played back when youÕre done.
The monitoring volume control lets you set your listening volume. Some mixers also provide a
ÒdimÓ switch that instantly cuts the listening volume, and/or a ÒmuteÓ switch that silences your
speakers completely. Your mixer may have separate volume controls for control-room, studio and
headphone listening.
ItÕs important to realize that the monitor controls affect only your mixerÕs monitor
outputsÑthey have no effect on its other outputs, such as those connected to busses.
This means that you can change what youÕre listening to, and at what volume, without
fearing that youÕre affecting what youÕre sending out of the mixerÕs other output jacks.

4ÑMixer Geography
Basics of Mixing 15
Metering
Your mixerÕs meters allow you literally to see what youÕre doing. On a modern mixer, a
meter is typically a vertical row of LEDs or set of bars on your display that shows the
loudness of a signal: the taller the column of lit LEDs or bars, the louder your signal is.
(On older mixers, a meter was a needle moving left-to-right over a printed background
scale.) Your mixerÕs display can provide you with meters for all sorts of things. It can
show you a pair of meters when youÕre working with a stereo image. It may also be able
to show you the levels of any busses youÕre using and show you the level of your Aux returns.
You may be able to purchase an optional attachment that provides an array of larger meters that
let you to view many signalsÕ levels at once. Such a device is called a Òmeter bridge.Ó
You can adjust a signalÕs appearance in a meter by adjusting the appropriate level control.
Clipping: How Loud is Too Loud?
ThereÕs an art to understanding what youÕre seeing when looking at a meter, and, in digital
devices, itÕs an important one to master since the best sound is achieved when a signal is as
absolutely loud as it can be without being too loud.
ÒToo loudÓ means that the signal has reached a volume at which distortion, or Òclipping,Ó is
heard. Unlike distortion in a guitar amp, or even in an old-fashioned analog mixer, clipping is
never a good thing and should always be avoided.
Clipping occurs when the level of a signal exceeds the capabilities of some component in the
mixer. If the input of a channel is pushed beyond its limit, clipping will occur (weÕll talk about this
in Chapter 6). If a channelÕs output, a busÕs output or mixerÕs output capacity is exceeded,
clipping will also occur. Fortunately, you can hear clippingÑitÕs usually a nasty click or thumping
soundÑso you can tell when itÕs occurring.
Levels are measured in decibels, or ÒdB.Ó In digital devices, the precise level at which clipping
occurs is assigned a numerical value of Ò0 dB.Ó Levels below 0 are assigned negative numbers.
Each digital deviceÑmixer, recorder or effect processor, for exampleÑwarns you about clipping
in its own way. Some mixers display a clipping indicator when your signalÕs level reaches 0 dB.
Some will do so when a signal comes near 0 dBÑfor example, when a signal reaches -6 dBÑas a
warning that youÕre approaching trouble but not quite there yet. Consult your mixerÕs manual to
find out what its clipping indicator looks like and what it really means.
Meters on mixers can show a signalÕs level in either of two ways:
¥ Averaging, as its name implies, averages out the changes in a signalÕs level, giving you the
best overall sense of the signalÕs volume. However, averaging responds to level changes too
slowly to show sudden extreme jumps in volume called Òtransients.Ó This can pose a
problem with sounds that contain transients since these instantaneous bursts of volume can
cause clipping even though you canÕt even see them on a meter.
¥ Peak metering, on the other hand, shows the transients in the signal, allowing you to get an
accurate view of any sudden volume spikes that may cause clipping. The downside to peak
metering is that it can frighten you into setting a signalÕs level too low once you see all the

4ÑMixer Geography
16 Basics of Mixing
transients it contains. Not all transients cause clippingÑonly those that are loud enough and
last long enough do soÑtherefore, setting a signal so that none of its transients are over 0
is probably setting it at too low a level. Snare drums, for example, are notorious for their
many fast Ñand harmlessÑtransients. If you record a snare drum at a level that leaves you
with no transients above 0 dB, you may be recording it at an unnecessarily low volume.
When recording or mixing live sound, itÕs a good idea to meter and set your levels using
the averaging method, and to switch to peak metering only if you hear clipping, and
occasionally just to make sure that youÕre not missing something.
In the Red
An LED-based meter may have a group of green LEDs at the bottom, amber LEDs in the middle
and red LEDs at the top. As a meterÕs signal gets louder, it travels up the ladder, lighting more
and more of its LEDs. If it reaches the point where it becomes too loud, the meterÕs red LEDs
light. On older mixers, the needles in VU meters moved over a red background when a signal
was too loud. In either case, when a signal is too loud, itÕs viewed as being Òin the red.Ó Even if
your mixerÕs meters are not in color, the principle is the same, and you can still think of being too
loud as being Òin the redÓ when your clipping indicator lights.
Mode-Switching Controls
Channel strips can often function in different operating modes. While the strips may indeed be
channel strips in one mode, they may function as tape returns in another mode, or as fader
group masters in anotherÑweÕll discuss tape returns and fader groups on the next page. In such
cases, your mixer will provide a set of controls for switching between these modes.
Channel Strips
WeÕve already learned a bit about what your mixerÕs channel strips do, back on Page 7. Chapter 6
will get into the details.
Multi-Track Tape Returns
ItÕs likely that your mixer provides a set of input jacks to which you can connect the track outputs
from your multi-track recorderÑsome mixers refer to these as ÒTapeÓ or ÒMULTIÓ inputs. YouÕll
need to make these connections to hear your tracks through your mixer. Your digital mixer may
provide special jacks for connecting the mixer to digital recorders and other digital devices.
These multi-track tape returns are usually connected directly to your monitors, allowing you to
listen to your multi-track recorderÕs tracks. YouÕll obviously want to do this when playing back
any tracks youÕve recordedÑthe number of tracks youÕll be able to listen to depends on your
mixer.
ItÕs a smart idea to listen to the tracks of your multi-track recorder even as you record.
Most recorders will allow you to listen to the signal each track is receiving before itÕs
actually been recorded. Listening to the recorderÑas opposed to listening to the mixerÕs
outputsÑwill let you be absolutely sure that you know what itÕs getting from your mixer,

4ÑMixer Geography
Basics of Mixing 17
Three channel strips...
...controlled by single
group strip.
and therefore what it will actually record. This will help prevent monitoring mistakesÑwhere
what youÕre listening to isnÕt actually what you think youÕre listening toÑthat can result in your
tracks not sounding as you intended.
YouÕll be able to monitor tracks in one of two ways, depending on your mixer.
¥ Some mixers offer Òin-lineÓ track monitoring, where each strip actually controls two signals:
an input signal and a signal coming from a track on a multi-track recorder. The strip will
usually provide separate controls for each purpose: a full set of channel tools for the input
signal and a reduced set of controls for listening to the track. YouÕll typically be able to
switch, or Òflip,Ó these controls, allowing you to assign the more comprehensive channel
tools to the input signal or the track, as your needs dictate.
¥ Some mixers split the controls for monitoring tracks out into their own separate section of
the mixerÕs front panelÑthese are, in fact, called Òsplit mixers.Ó
Fader Group Controls
Some mixers allow you to combine the control of two or more channel
strips into Ò fader groups.Ó This type of control can be handy when the
strips are handling related signals assigned to different busses, or going
to separate tracks. For example, fader groups can be useful when dealing
with larger numbers of channels, such as those that encompass the many
microphones used on a drum kit. By assigning the channels to a fader
group, you can raise or lower all of their levels at once using a single level
control, making the process simpler, and also assuring that the levels are
changed by exactly the same amount.
Your mixer may provide separate group-control strips. In a mixer with
multiple operating modes, you may be able to switch the function of your
channel strips so that they can be used for the controlling of groups.
Some digital mixers also provide channel linking, a mechanism that allows you to
manage the volume of a pair of channel strips using a single level control. This can be
handy when youÕre using two channel strips for the controlling of a single stereo
imageÑperhaps from a stereo keyboard or group of singers, for example.
Aux Controls
Your mixer may provide separate Aux controls that allow you to manage your Aux busses
(remember, these are sometimes referred to as ÒAux sendsÓ) and returns. If so:
¥ your mixer will typically supply an Aux bus master level control that lets you raise or lower
the volume of the corresponding Aux bus. While each channel strip allows you to set the
amount of its signal to be sent to an Aux bus (as weÕll see in Chapter 6), youÕll want a way
to set the overall volume of the bus so that itÕs at its optimal level as itÕs routed to an
internal effect, headphone amp or other external device. ThatÕs what the Aux bus master
level control does.

4ÑMixer Geography
18 Basics of Mixing
¥ your mixer will also typically provide controls for managing each Aux return. You can select
exactly where you want the signal coming into the Aux return to be sentÑyou may want it
to go directly into the overall mix, to a recorder track or to a pair of tracks. YouÕll also be
able to set the level of the return, and set its pan position if itÕs going into a stereo mix or
pair of tracks. If the return is actually a pair of returns presented as a single stereo entity,
youÕll be able to adjust the stereo balance between its two sides.
A Roland console with FlexBusses and a sufficient number of input channels will not
need, or have, separate Aux sends and returns.
Bus Control
Your mixer will probably provide a means by which you can control the overall loudness of each
of its standard busses or FlexBusses.
Master Strip
Every mixer has a master strip that contains the mixerÕs main volume control. This control raises
or lowers the level of the mixerÕs main mono or stereo mix, and thus the volume of what comes
out of its mix outputs. You can use the master stripÕs level control to set the overall loudness of a
mix, and to create fade-outs at the ends of songs (or fade-ins at their fronts, if you so desire).
When recording a mix while monitoring your mixerÕs main stereo outputs, itÕs best to
adjust your listening level using your monitor level controls, not the master stripÕs level
control. Adjusting the monitor level has no effect on what comes out of the mixerÕs main
outputs, but adjusting the master stripÕs volume control does, and may result in sending
your mix to your mixdown recorder at inappropriate levels.
Display
On the front panel of a digital mixer, youÕll find an LCD display thatÕs central to every mixer
activity. As you do different things, the contents of the display will change. For example, in some
operating modes, the display may show you the modeÕs available settingsÑyour manual probably
calls these Òparameters.Ó In other cases, it will provide information that helps you accomplish
whatever it is youÕre trying to achieve, such as showing you your signalsÕ levels when youÕre
trying to set their volumes. Your manual will tell you how to switch between operating modes.
ItÕs likely that youÕll find a set of buttons or knobs beneath your digital mixerÕs display. These are
sometimes called Òsoft buttonsÓ or Òsoft knobsÓ because their function is not a hard, fixed
thingÑit changes. What each soft button or knob does depends on what you see above it on the
display at any given time.

4ÑMixer Geography
Basics of Mixing 19
Automation Controls
Many digital mixers can automatically play back changes youÕve made while mixing, using a
feature called Òautomation.Ó Your mixer may be automatable in either of two ways:
¥ A mixer may contain its own recorder that keeps track of what you do, and can play back
your actions. Your mixer may allow you to refine an automation recording by doing things
over until you get them right, or by allowing you to edit directly whatÕs been recorded.
¥ A mixer may also transmit MIDI data representing your mixer settings. This can be recorded
and played back by an external MIDI sequencer, a recorder that captures MIDI data.
If your mixer supports automation, you may find a set of automation controls on its front panel.
What a Mixer Can Remember
One of the great advantages of a digital mixer is that it has a memory that can contain all sorts of
useful things. Your Roland mixer may be able to save, store and recall any or all of the following:
¥ an EZ RoutingªÑA Roland EZ Routing is a template that contains a favorite routing setup,
and, in some mixers, other settings as well. You can use an EZ Routing over and over again
in as many songs or projects as you like. When you recall an EZ Routing on some Roland
mixers, the mixerÕs display will present a series of questions to assist you in the
construction of the desired setup.
¥ a sceneÑA scene captures all of your mixerÕs current settings. You can save a scene for
each song or project you work on. When you wish to resume work on the song or project,
you can recall its scene, and immediately re-establish its settings. A separate physical button
on your mixer is assigned to each scene, making each one fast and easy to recall.
¥ a snapshotÑA snapshot is a picture of your mixerÕs settings, or a particular group of
settings, at a specific moment during a song or project. Your mixer can remember the
moment at which the snapshot was taken and recall the snapshot at the proper time.
And, as we said earlier, your mixer may also be able to continuously record and play back all of
your changes as a song is mixed, performing them as you sit, arms folded, watching all of your
moves occur.
Utility Controls
Mixers offer a wide array of special functions that help make mixing easier and more accurate.
Your mixer may provide any of the following conveniences and tools:
¥ Talkback microphoneÑSome mixers contain a built-in microphone that allows
the mixer operator to talk to musicians in a studio or onstage, either through
their headphones or a speaker. It will also allow you to ÒslateÓ each recording
attempt by assigning it a take number that youÕll announce into the mic as
recording begins; this will help you keep track of which take is which. A talkback
system will typically include the mic, a button for activating and de-activating the
mic, and a volume control for the mic.

4ÑMixer Geography
20 Basics of Mixing
?
¥ Speaker calibration toolsÑYour mixer may provide white- and pink-noise
generators that you can use for optimizing your monitorsÕ performance,
or your stage speakers when doing live sound. These generators produce
a static-like noise containing a broad range of frequencies that can be
played through your speakers into a microphone. The micÕs signal can be
analyzed to learn how accurately your speakers are performing in the
room in which youÕre working. You can then apply EQ to the appropriate outputs to make
any necessary corrections to the speakerÕs frequency reproduction.
¥ One of the most powerful utilities in a Roland digital mixer actually resides in its effects
area, but since it relates to altering the sound of your monitors, weÕll mention it here. When
itÕs connected to the appropriate Roland digital speakers, your Roland digital mixer may
allow you to use RolandÕs exclusive COSM speaker modeling to change the sound of your
speakers so that they emulate the characteristics of a variety of popular studio reference
monitors. You can thus try out your mixes on different speakers systems by simply
switching between different COSM speaker models.
¥ OscillatorÑAn oscillator is a device that generates a pure audio tone
called a Òsine waveÓ at a specified pitch, or frequency, and at a steady
level that you can set. This tone can be handy for all sorts of things: it
can help you set multi-track tape input levels so that they equal the output levels shown in
your mixerÕs meters, making life much simpler. It can help you pan signals within a stereo
field with greater accuracy. You can also record oscillator tones on a tape for reference
purposes when youÕll be sending a tape to another studio or mastering facility.
What Else?
Your mixer may provide:
¥ an area above or below each channel strip on which you can write what youÕre using the
strip for. This will free you from having to memorize whatÕs where. Be sure to use only
erasable ink!
¥ Digital mixers may allow you to name each channel, so that its name appears in your display
when you adjust its settings.
¥ MTC (for ÒMIDI Time CodeÓ) or MMC (ÒMIDI Machine ControlÓ) transport controls that
allow you to control any connected recorders or MIDI sequencers that support MTC or
MMC. These controls may let you control your recorderÕs transport directly from the mixer;
you may even be able to arm recorder tracks for recording.
¥ Macro controls. When you repeatedly do the same thing over and over again on a digital
mixer, you can memorize your actions as a Òmacro,Ó a shortcut that can play back the entire
series of actions. A macro can be a great time saver; it frees you from repeating a whole
group of steps by performing one single actionÑselecting the macro.

5ÑConnections
Basics of Mixing 21
5ÑConnections
This chapter describes the various physical connections youÕll be making as you send signals into
and out of your mixer. As we discussed in Chapter 2, the mixer will provide input jacks for
bringing audio (and perhaps MIDI) into the mixer, and output jacks for sending it out of the
mixer. Your mixerÕs documentation will explain the labeling of its jacks.
A connector is the device, or plug, on either end of a cable that can be inserted into a jack (a
bare cable without connectors should not be plugged into a mixer).
Making Connections
ItÕs very important that you plug a connector only into its appropriate jack. All sorts of
problems can occur if you insert a connector where it doesnÕt belong. Fortunately, itÕs
easy to tell what goes where by simply looking at the connector and the jack. When a
connector is inserted into the correct jack, youÕll feel it fit snugly as it goes in. In some
cases, youÕll feel a little click when the connector makes its connection. If you have to
force a connector into a jack, double-check to make sure itÕs the right kind of jack.
When removing a connector from a jack, avoid pulling on its cable so that you donÕt
tear it from its connector. Grab the connector itself and pull it out of the jack.
Adapters
When youÕve got one type of connector and another type of jack, it may be that you can still
connect the two by purchasing a special adapter. Check with your local electronics store to see if
they have what you need. An adapter can make a connection physically possible, and can remedy
any incompatibilities between the connector and jack.
AC Power
Mixers typically utilize grounded AC power. The power cable on your mixer will depend on the
country in which you live. ItÕs a good idea to connect your digital mixer to a voltage-regulated,
surge-protected, grounded socketÑjust as with any other digital device, sudden surges or dips in
voltage can damage the mixer or cause behavior problems.
Connector Types You Need to Know
ThereÕs a range of connector types youÕll encounter as you start to plug things into your mixerÕs
input and output jacks. Your mixer may have some or all of the possible connector types,
depending on its size and intended use. The nature of an audio signal passing through a cable
isnÕt actually determined by the cableÕs connector typeÑmanufacturers of audio equipment use
the various types of audio connectors in different ways, depending on what makes sense for their
users.

5ÑConnections
22 Basics of Mixing
Side Front Jack
Side Front Jack
From
external
device
To
external
device
Connected to insert point
The connectors shown in this book are typical examples of each type of connector,
along with its corresponding jack. The ones you have may differ slightly in appearance.
1/4-Inch Phone Connectors
1/4-inch phone connectors are found on cables that come out of electric instruments, such as
guitars and basses, many synthesizers, samplers and drum machines, and speakers. You may also
encounter phone connectors on cables connected to mics. Other studio gear may also provide
phone connectors.
This connector has a single band, or Òring,Ó around its shaft. Two of the wires within its cable are
connected to the plugÕs tip and ring.
TRS Phone Connectors
An TRS phone connector utilizes all three wires in its cable, attached to its tip, ring and additional
ring, called the Òsleeve.Ó TRS stands for Òtip, ring, sleeve.Ó Cables with TRS connectors may be
capable of handling stereo audio, or may be balanced mono cables (weÕll explain balanced cables
a bit later). Insert cables also utilize TRS connectors.
Phone Connectors and Inserts
Many mixers allow you to use a ÒYÓ cable for
sending a channel signal to an external effect and
for returning it to an insert jack, a special
combination input/output jack. A ÒYÓ cable is
named for its (upside-down) shape: itÕs a single
cable on one end, and two cables at its other
end. An insert cable has an TRS phone plug on
one endÑthe end that plugs into the mixerÑand
1/4-inch phone connectors at its two other ends,
one of which goes into the external deviceÕs
input, and one of which is connected to its
output.

5ÑConnections
Basics of Mixing 23
Side Front Jack
XLR Connectors
Many analog audio devices use cables that have XLR connectors, sometimes called ÒCannon
connectors.Ó Studio-quality, low impedance microphones almost always use XLR connections, as
do many other mic-level devices (weÕll get to mic-level devices later). AES/EBU-format digital
connections are also made using XLR cables.
XLR connectors come in two flavors, male and female. If an XLR connector has prongs inside it,
itÕs male; if it has holes, itÕs female. A male XLR connector can only be plugged into a female jack,
and vice versa.
If your board can supply phantom power to mics, that power will be transmitted to the mic
through its XLR cable.
Some female XLR jacks provide a release tab on top, as shown in the male XLR illustration above.
When you want to remove an XLR connector from such a jack, press the tab and pull the
connector to release it. If thereÕs no tab, just pull the connector.
Phono/RCA Connectors
CD players and turntables typically use phono, or RCA, connectors for their outputs. Digital
S/PDIF-format connections are also made using phono connectors.
Male XLR connector
Female XLR connector
Side Front Jack
Side Front Jack

5ÑConnections
24 Basics of Mixing
Side Front Jack
Side Front Jack
Side Front Jack
Optical Connectors
Optical connectors transmit digital audio data through cables as light, using fiber-optic
technology, an extremely reliable form of data transmission. Each optical cable can carry stereo
S/PDIF-format digital audio, or up to eight streams of audio using AlesisÕ Lightpipe data format.
MIDI Connectors
Some digital mixers can transmit and receive MIDI data. This allows you to record your mixer
moves into an external MIDI sequencer as MIDI data and play them back. Your mixer may also
transmit MTC or MMC data. MTC and MMC provide the ability to control the transport functions
of an MTC- or MMC-compliant device, such as a multi-track recorder, from your mixer.
If your mixer supports MIDI, youÕll have up to three jacks into which you can plug MIDI cables:
¥ MIDI InÑThis jack sends MIDI data from an external device into the mixer.
¥ MIDI OutÑThis jack sends out MIDI data generated by the mixer.
¥ MIDI ThruÑThis jack passes any MIDI data received by the MIDI In jack back out,
unchanged. This can be handy when connecting several MIDI devices in a daisy-chain.
Mini Connectors
Mini jacks are used primarily by portable tape and CD players. Very few mixers actually provide
mini jacks. If you need to connect your mixer to a mini-plug device, you may need an adapter to
convert the mini connector to one you can use. The mini plug shown above is a mono mini plug.
Many headphones utilize a stereo mini plug, which has two black bands around its shaft instead
of one. A stereo mini-to-stereo phone adapter will allow you to plug the headphones into your
mixerÕs headphone jack.
Since mini connectors are so tiny, you may be tempted to insert one into a 1/4Ó phone
jack in a pinchÑdonÕt do it. It wonÕt work. Get an adapter.

5ÑConnections
Basics of Mixing 25
Impedance
Remember how we said that audio travels through cables as voltage? Electrical connections are
characterized by the degree to which they force voltageÑin the case of connectorsÑor accept it,
in the case of jacks. The amount by which they do this is called Òimpedance.Ó ItÕs important that
the things you connect together be of the same type of impedance. Otherwise, their
interconnections will not be correctly made, and the resulting audio will not sound as good as it
should.
Audio equipment may be low-impedance or high-impedance. In microphones, pro mics are low-
impedance, while semi-pro mics are typically high-impedance.
If you need to connect a high-impedance device into a low-impedance one, you can purchase an
impedance-matching adapter from a music or electronics store. This will correct the mismatch by
converting one of the deviceÕs impedance characteristics to match the otherÕs.
Fighting Hum and RF
ItÕs not uncommon to find that audio is arriving in your mixer accompanied by an unwanted
buzzing toneÑcalled ÒhumÓÑor other electrical noise, such as RF (for Òradio frequencyÓ). If you
hear local radio stations, CB traffic or static through your cables, youÕre hearing RF.
These types of sounds are picked up by your cables as they cross your studio or stage on their
way to your mixer. While itÕs not always possible to create a noise-free environment for your
cables, there are some guidelines you can observe to help keep unwanted noise to a minimum:
¥ Always use properly wired, shielded cables. Shielded cables contain electrical or magnetic
insulation that makes them less likely to pick up noise. You can usually trust the cables with
connectors already attached that youÕll find at a professional music or electronics store.
Make sure to buy cables with unbalanced or balanced characteristics that match those of
your mixerÕs input jacks (weÕll explain this on the next page).
¥ Keep your cables as short as possible. The longer the cable, the more likely it is that itÕll pick
up unwanted noise.
¥ Keep your cables as far away as possible from electrical equipment and outlets on their way
to and from your mixer.
¥ Take care that all of your equipment is properly grounded. Consult your manuals to learn
their grounding requirements.

5ÑConnections
26 Basics of Mixing
Time
Airpressure
One signal...
The other signal...
Balanced and Unbalanced Connections
Your mixer may provide ÒbalancedÓ jacks, which should be used with balanced connectors.
Balanced connections reduce noise by taking clever advantage of phase cancellation.
WhatÕs Phase Cancellation?
Audio signals are made up of repeated, or cyclical, changes in air
pressureÑor electrically speaking, voltageÑcalled sound waves. A sound
wave travels to its highest amount of air pressure, then to its lowest, back
to its highest, and so on, many times per second.
If you have two identical, or very similar, signals, itÕs important that they rise
and fall at the same timeÑwhen they do so, theyÕre Òin phase.Ó If theyÕre out
of sync, so that one falls as the other risesÑas shown in this pictureÑtheyÕll
cancel each other out, resulting in silence. This is called being Òout of phase.Ó
You can fix this by delaying one of the signals so that it lines up with the
otherÑthis is referred to as Òflipping its phase.Ó
If your speakers are wired by attaching a hot and ground wire to posts on each speaker,
make sure that you attach the same wires to the same posts on both speakers.
Otherwise, your speakers will be out of polarityÑa condition that mimics being 180
degrees out of phaseÑand youÕll experience a serious volume drop when you listen in mono.
Audio cables typically contain three wires that can be attached to specified places on connectors
that correspond to particular places in jacks. Normal unbalanced connectors use the ÒhighÓ wire
to carry the audio signal, while the ground wire provides groundingÑthe third, ÒlowÓ wire is not
used. Balanced connectors use all three wires, with the audio signal carried over the high, and a
copy of the signal carried on the low. The signal on the low is flipped 180 degrees out of phase.
When the audio arrives at a balanced jack, the phasing of the low signal is flipped so that itÕs back
in phase with the high signal. This accomplishes two things:
¥ First of all, the signal will be twice as loud so that it will be nice and strong.
¥ SecondÑand hereÕs the clever partÑany noise picked up by the high and low wires will be
flipped out of phase, causing it to cancel and disappear.
Therefore, if your mixer provides balanced connectors, take advantage of them.
To ensure the integrity of your balanced connections, make sure that the pin
assignments in your balanced cables conform to the wiring of your balanced jacks.

5ÑConnections
Basics of Mixing 27
Matching Levels
Every piece of equipment that generates audio in a studio or on stage does so within a specified
industry-standard volume range. To get the best fidelity out of the things you connect to your
mixer, youÕll want to make sure that youÕve connected them to mixer jacks that are compatible
with these basic levels, or to make any necessary level adjustments to compensate for
mismatches. Likewise, youÕll need to make sure that you connect your mixerÕs outputs to the
appropriate jacks on your multi-track and mixdown recorders, speaker amplifiers and/or other
external devices, and to make all of the required level adjustments there as well.
+4 and -10
Audio equipment commonly produces audio at either +4 dBU or -10 dBV level. If your inputs are
+4, and you connect a -10 signal, the signal will be too quiet. Likewise, if you plug a +4 signal
into a -10 jack, the signal is likely to be so loud that it may distort. Your mixer may provide both -
10 and +4 input jacks. Otherwise, if you need to mix and match +4 and -10 gear, you can use a
separate amplifier to adjust the signal coming out of the device producing audio so that it
matches the input of the device receiving it. You can also use a channel input trimÑwhich weÕll
discuss in the next chapterÑto reduce a too-loud signal.
Line and Mic Levels
Within the +4 and -10 level ranges are two additional sub-categories of volume:
¥ Mic-level devices produce a very low-level signal. As the name implies, the most common
mic-level devices are microphones; electric guitars and basses also produce mic-level
signals. Mic-level devices are usually connected to a mixer using an XLR plug. You can
convert the 1/4-inch output of an electric guitar or bass to an XLR by plugging it into a
device called a Òdirect box,Ó which has the added benefit of boosting the signalÕs level.
¥ Line-level devices, such as mixers, multi-track and mixdown recorders and external effect
processors, produce a considerably louder level than mic-level devices.
The level differences between these two types of signal mean that you should avoid
connecting mic-level devices directly to line-level inputs and vice versa. You, however,
may be able to use your channel input trims to compensate for any mic and line-level
mismatches you canÕt helpÑweÕll discuss input trims in the next chapter.
Making Digital Connections
Sample Rates
When a digital device converts audio into binary numerical data, it does so by creating a digital
representation of the audio at a particular moment in timeÑthis is called a Òsample.Ó By creating
samples many thousands of times per second, and playing them back just as quickly, the illusion
is created of a single stream of continuous audio, though, in fact, what youÕre hearing is really a
series of separate samples.

5ÑConnections
28 Basics of Mixing
Three volume
changes...
...sampled twice would
look like this:
...but sampled three
times would look like
this:
Since audio changes constantly, a digital device most faithfully captures these changes by
creating as many samples per second as possible. For example, if a signal were to change three
times in a second, but only be sampled twice, one of the changes would be missed. If it was
sampled three times, a more accurate representation of the sound would be achieved.
In fact, audio changes many, many times per second.
The number of times per second that a digital device samples audio is referred to as its Òsample
rate.Ó Most digital devices sample audio 44,100 times per second (referred to as a 44.1 k
sampling rate) or 48,000 times per second (a 48 k sampling rate). Your digital mixer and other
digital devices may be able to operate at either sampling rate. When working with digital
connections, the device sending the audio and the device receiving it must be set to the same
sampling rate to ensure that the digital data is transmitted and received correctly. Some devices
provide sample-rate converters that can convert incoming data to the required sampling rate.
Play back digital audio at the same sampling rate at which it was recordedÑotherwise,
the audio will not play at its original pitch.
HereÕs an interesting note. A digital signalÕs sample rate limits the frequencies it can
contain according to the Nyquist theorem, which states that a digital signal can
reproduce frequencies as high as roughly half of its sample rate. In other words, a signal
whose sample rate is 44.1 k may contain frequencies as high as 22 kHzÑany
frequencies in the original audio higher than 22 kHz will not be captured.
Audio CDs use a 44.1k sample rate. If you record audio at any other sample rate, youÕll
have to use sample-rate conversion software to convert the signal to 44.1 k prior to
burning it onto a CD.
Bit Depth
When a digital device records changes in signal level, it divides these changes into a specified
number of steps. The more steps a device allocates for the representation of these changes, the
finer its resolution, which is referred to as Òbit depth.Ó Digital recording is often done at a depth
of 16 bits, which breaks up the dynamic range between the loudest and quietest portions of a
signal into 65,536 steps. The finer resolution of 24 bits divides the signalsÕ loudest-to-softest
dynamic range into 16,777,216 steps. The main advantage of using a higher resolution is that
additional steps are available for a more accurate rendering of the quieter parts of the audio.
When making digital connections, youÕll get the best results when the interconnected devices
share a common bit depth.
Audio CDs have a resolution of 16 bits. If youÕve recorded audio using any other bit
depth, youÕll have to convert it to 16 bits before burning it onto a CD. Various
computer-based audio programs can do this.

6ÑAnatomy of a Channel Strip
Basics of Mixing 29
Input Trim
Phase Switch
Delay
EQ
Dynamics Processing
Mute & Solo
Level Control
Bus Control
Pan Controls
On a digital mixer, each channel strip may function differently in different modes, as weÕve
already mentioned. However, the main action occurs when itÕs operating as a channel stripÑthis
is where the most significant chunk of a mixerÕs sound-shaping power resides. As such, a channel
strip is worthy of a closer look. ThatÕs what this chapterÕs about.
The features offered in a channel strip vary from mixer to mixer. In this chapter, weÕll describe
the major tools youÕre likely to find in a channel stripÑyour mixer may offer some or all of them,
and perhaps some other tools as well.
Channel Strip Signal Flow
This chapter discusses channel-strip tools in the order that a
signal will encounter them. In most mixers, the signalÕs flow
through a channel stripÕs components is fixed, and canÕt be
changed (though it may vary slightly from mixer to mixer). Signal
flows through the strip, passing through the first component to
the next one, and so on. After each component alters the signal,
it passes it on to the next component in its newly altered form.
Bus controlsÑwith which you send a copy of the channelÕs signal
to the desired bus or bussesÑare a special case. These controls
can sometimes copy a signal from several different places in the
signal flow. Even so, weÕve shown them near the end of the
signal flow in the picture to the right because they select the
ultimate destination for a channelÕs signal.
The subsequent pan controls affect how much of the signal is
sent to the left or right side of the mixerÕs main mix busses, or to
either side of a pair of linked standard busses in a traditional
mixer without FlexBusses.
WeÕll discuss one other type of channel strip component, its
inserts, separately. A mixer may allow you to use inserts to interrupt a signal at any of several
points along its journey through the strip. Therefore, inserts have no one set position in the
signal flow, especially since the possible insert points vary from mixer to mixer.
Input Trim
Once youÕve connected a signal to the appropriate input jack, you can further adjust
its level going into the channel strip using the stripÕs input trim control. A trim
derives its name from the fact that it lowersÑor trims the top offÑa signalÕs level. A
trim typically only makes a signal quieter, not louder. Some mixers refer to a trim as an
Òattentuator,Ó the technical term for a mechanism that reduces level.

30 Basics of Mixing
Your mixer may allow you to adjust a signalÕs level continuously in 10 dB increments or by finer
amounts. Some input trims utilize ÒpadsÓ instead of continuos controlsÑpads can reduce a
signalÕs level by pre-set, fixed amounts.
Your mixer may provide a clipping indicator for each channel strip that lights when the signal
coming into the strip is too loud. If this occurs, use the trim to lower the input signal.
Phase Switch
Each channel strip may provide a phase switch to help you correct any phasing
problems you might encounter when mixing together two channelsÕ similar signals.
Your mixer may label its phase switches with this symbol:
A phase switch will allow you to flip the phase of either channelÑyouÕll only need to flip the
phase of one channelÑto get the two channels back in phase with each other.
Phasing problems between two channels can arise when two mics are used on the same
instrumentÑas when using two mics above a drum kit, for exampleÑbut placed improperly. If the
signals are 180 degrees out of phase, you wonÕt hear either signal; if theyÕre out of phase to a
lesser degree, youÕll hear a ÒswirlingÓ sound, and the signals will be missing some of their volume
and content. A phase switch is most helpful when the signals are 180 degrees out of phase.
You can easily tell when two audio signals are out of phase by panning them to the same
stereo location and listening. First turn one up, and then the other. If the overall volume
goes down as you increase the volume of the second signal, theyÕre out of phase.
To help avoid phasing problems when using a pair of mics on the same
instrument, position the mics in an ÒxÓ patternÑso that theyÕre at 90-degree
angles to each otherÑover the instrument.
You can also get phasing problems with improperly wired cables, or poorly wired older electric
instruments, such as electric pianos.
Delay
Some channel strips contain a built-in delay with which you can shift the channelÕs
signal later in time, so that itÕs heard a bit later than it actually occurs. A channel
delay can be used for a few purposes:
¥ You can use very short delay times to fix the phasing between two channels when theyÕre
not a full 180 degrees out of phase, and therefore not a good candidate for using a phase
switch.
¥ You can use the channelÕs delay as an effect.
¥ You can sometimes line up signals that are synchronized but which start at slightly different
points by delaying those that start first. (If the lag between signals isnÕt constant, a delay
wonÕt be as useful.)

Basics of Mixing 31
EQ
EQ is at the very heart of mixing since it allows you to change the balance of the
frequencies that give a signal its basic tonal characteristics. Fortunately, the
mechanics of EQ are pretty simpleÑthe art is in learning to understand, hear and
manipulate frequencies. Though based on numbers and physics, EQ doesnÕt require any
mathematical or scientific skillsÑanyone who can listen carefully can become a master of EQ.
What are Frequencies, Anyway?
As we said earlier, a sound is made up of sound waves, changes in air pressure that repeat many
times per second. Some travel smoothly from their greatest air pressure to their least, as in the
picture of a sine wave on Page 26. For some sound waves, the trip is more abrupt, for others
more irregular. In all of these cases, however, each of these little journeys is called a Òcycle.Ó The
pitch of a sound wave is determined by how many times this cycle repeats each second.
You can demonstrate this principle using your voice. Sing a very low musical note, and listen to
how it vibrates, almost buzzing. Lower the pitch of the note little by little and notice how the buzz
turns into discernable clicks as you get lower and lower. You can probably lower the pitch of
your voice to a point where you hear nothing but a series of clicks. Take a breath and sing again,
starting down low and slowly raising your pitch to somewhere in the higher part of your singing
range. Notice how the clicks turn to a buzz and then disappear into smoothness as you go
higher? When you sing down low, you can hear the clicks that make up your note because
thereÕs only a few of them being sung per second, and they can therefore be individually heard.
As you move up in pitch, more and more of them occur per second, until the clicks are coming
so fast that they actually blur together into a smooth tone. This mirrors the way that a sound
waveÕs cycles work: the fewer cycles per second, the lower the pitch of the wave; the more
cycles per second, the higher the pitch.
A sound waveÕs frequency is a number that reflects how frequently a sound waveÕs cycle occurs
per second. Frequency numbering is based on Hertz (Hz)Ñeach Hertz is one cycle per second.
To save space on your mixerÕs display, a thousand Hertz is referred to as 1 kHz. Depending on
the EQ capabilities of your mixer, youÕll see frequency numbers running from about 20 Hz all the
way up to 20 kHz or higher.
Nearly every sound you hear is actually made up of a pile of sound waves occurring at the same
time, with each sound wave humming along at its own frequency. When heard together, the
individual pitches of most of a soundÕs waves are not noticeableÑinstead, they contribute to its
tonal quality, or timbre in musical terms. Higher-pitched sound waves add brightness, or treble,
to the sound, while lower waves contribute bass. The frequencies of these sound waves and their
relative volumes are what separates one sound from another.
When working with EQ, people use the word ÒfrequencyÓ as a shorthand to identify the
sound waves in a sound according to their frequency. For example, if someone wants to
ask you to raise the level of the higher-pitched sound waves in a soundÑits
trebleÑtheyÕll ask you to increase, or Òboost,Ó the volume of its high frequencies, or
even simply its Òhighs.Ó When you reduce frequencies, you ÒcutÓ them.

32 Basics of Mixing
HereÕs an interesting notion central to EQ: the sound of most instruments is actually made up of
several sounds put together. For example:
¥ A snare drum sound is comprised of the sound of the stick hitting the drum head, the
resonation of the head in the snareÕs shell and the rattle of the snares beneath the drum.
¥ A guitar sound consists of the pick hitting the string, and the resonating of the string itself.
¥ A piano sound is made up of the sound of the hammers striking its strings, the resonating of
each string, and the sympathetic resonation of all of the pianoÕs strings together.
Each of these elements is made up of its own range of frequencies, which may or may not be
shared by other elements in the sound. By pinpointing the frequencies that constitute any of
these elements, you can boost or cut the elementÕs volume within the sound, changing the
soundÕs overall nature.
For example, letÕs say youÕre working with a guitar with old strings. By listening, youÕll realize that
part of what makes the strings sound old is that the sound of the pick against the strings is
muted. With EQ, you can boost the pick soundÕs frequencies, making the strings sound brighter
and newer.
Why Use EQ?
EQ can do a number of things. It can help you:
¥ improve the timbre of a less-than-great-sounding instrument or voice.
¥ compensate for the limitations of a particular mic.
¥ emphasize particular components of a signal to fit better within a musical arrangement.
¥ create special timbral effects, ranging from the subtleÑadding extra warmth or sparkleÑto
the obvious, such as the re-creation of the sound of a telephone.
While it can be tempting to use EQ to fix any problem you have with a signal, it should only be
used when itÕs really needed, and you should only use as much as youÕre sure you need. Too
much EQ can make a signal sound worse: too harsh, bright or bass-y, depending on what you do
with it. It can also make signals sound artificial, a bad thing unless youÕre specifically going for
that effect.
If youÕre interested in a natural sound, and can move a mic to make a signal sound
better, do so. EQ is a poor substitute for good mic placement.
The Mechanics of Using EQ
The channel strips of most mixers contain a set of EQ modules, with each dedicated to the
control of a specific range, or Òband,Ó of frequencies. These modules all function in a similar
manner. First of all, most mixers also provide a switch with which you can turn a channelÕs EQ
modules on or off, individually and/or together. Most mixers provide at least two basic EQ
controls:
¥ FrequencyÑthe control with which you select the frequency you want to boost or cut.
¥ Gain, or levelÑthe control with which you boost or cut the selected frequency.

Basics of Mixing 33
Selected
frequency
Frequencies
above and
below it
On some mixers, you can only choose from among a set of frequencies selected by the mixerÕs
manufacturer. The manufacturer will have selected those frequencies it judges to be most
commonly useful. Typically in such EQ, when you choose a frequency, youÕre actually targeting a
band of frequencies above and below the frequency youÕve selected. That wayÑgiven that youÕre
using one of the manufacturerÕs frequency selectionsÑwhen you apply a boost or cut, youÕre
more likely to get to the frequencies you really want.
Parametric EQ, on the other hand, is far more powerful, since it lets you select the frequency
youÕll boost or cut.
In addition, parametric EQ often allows you to set the
width of the band of frequencies above and below the
selected frequency using a Òbandwidth,Ó or ÒQ,Ó control.
Any boost or cut you apply will affect all of the
frequencies in this range. You can set exactly how high above and below the selected frequency
range extends. Wider bandwidths allow you to select a frequency with less attention to precision,
and can also make your boost or cut sound smoother. Narrower bandwidths let you really zero in
on just the frequency you want to change.
Notching and Shelving
EQ modules can sometimes be configured to affect the selected frequencies in any of three
ways, each of which may be represented by a symbol that shows how it works.
Notching boosts or cuts the selected frequency and a range of
frequencies above and below it.
Low shelving affects the selected frequency and all of the frequencies
beneath it.
High shelving affects the selected frequency and all of the frequencies
above it.
The process of using a channel strip EQ module, therefore, has a few general steps:
1. Mentally identify the part of the signal you want to boost or cut.
2. Select the desired frequency.
3. If youÕre using a parametric EQ, set the desired bandwidth, or choose the form of shelving
you want to use.
4. Boost or cut the selected frequency or frequencies.
Some mixers provide a special form of EQ called a Òhigh-pass filter.Ó As its name
suggests, a high-pass filter (HPF) allows a signalÕs higher frequencies to be heardÑor
ÒpassÓÑwhile silencing its lower frequencies. An HPF can be handy for reducing low-end
(as in Òlow-frequencyÓ) rumble or 60 Hz electrical hum from a signal. If a channel strip
provides an HPF, youÕll be able to set its cutoff frequencyÑall frequencies above the
cutoff frequency will remain audible, while those below it will be silenced.

34 Basics of Mixing
12 kHz
30 Hz
80 Hz
Thump
Skin/flap3 kHz
1 kHz
Bass Drum
15 kHz
50 Hz
300 Hz
Fatness
Snares
Sizzle9 kHz
1 kHz
Snare Drum
17 kHz
300 Hz
4 kHz
1 kHz
Stick tip
Sizzle
11 kHz
Cymbal
10 kHz
20 Hz
100 Hz
Pick
Slap
6 kHz
1 kHz
Electric Bass
10 kHz
60 Hz
500 Hz
Pick
6 kHz
1 kHz
Electric Guitar
13 kHz
90 Hz
400 Hz
Pick
Sparkle10 kHz
1 kHz
Acoustic Guitar
10 kHz
30 Hz
500 Hz
Tines
6 kHz
1 kHz
Electric Piano
12 kHz
70 Hz
300 Hz
Warmth
Hammers7 kHz
1 kHz
Acoustic Piano
14 kHz
100 Hz
200 Hz
Sibilance
Breathiness
11 kHz
1 kHz
7 kHz
Voice
How Do I Know Which Frequencies I Want?
The frequencies that comprise any particular sound depend to some degree on the mic technique
youÕre using and the quality of the mic, not to mention the quality of the instrument itself (as with
our old guitar strings).
HereÕs a general idea of the typical frequency ranges of some common signals.

Basics of Mixing 35
If your channel strips have at least one parametric EQ module, hereÕs the best way to
identifyÑand boost or cutÑa particular element of a sound.
1. Turn off all of your other signals so that you can hear only the signal whose frequencies you
want to investigate.
2. Send signal into the channel stripÑplay the instrument, run the tape, etc.
3. YouÕll want to use only one EQ moduleÑany module whose frequency range extends from
low frequencies to high can be used. Make sure that none of the stripÕs other modules are
boosting or cutting any frequencies.
4. Decide which element within the sound you want to pinpoint.
5. Turn the moduleÕs gain or level setting to a high value. On some mixers, you can turn the
gain all the way up; on others, this may be painfully loud. Set it to the most extreme setting
you can comfortably tolerate.
6. Turn the moduleÕs frequency selector all the way down.
7. Listen carefully as you slowly turn up the frequency selector. As it sweeps through the
signalÕs frequencies, youÕll hear each frequency at an exaggerated volume to help you
identify it. When it catches the element youÕre looking for, stop.
8. Reset the moduleÕs gain to 0.
9. Slowly raise or lower the gain value until you hear the change youÕre looking for.
DonÕt Overdo It!
ItÕs very easy to boost or cut frequencies by too great an amountÑthe result can be a
sound thatÕs too harsh or too dull. To avoid this, use the following method: When
boosting or cutting a frequency, raise or lower your EQ gain until you hear the change
you want to make, and then back off a step or two. Once you get a little psychological
distance, youÕll find that youÕve made the change you wanted without overdoing it.
Some Random EQ Tips
HereÕs an assortment of EQ tips:
¥ If a signal sounds lifeless or muffled, try adding some high frequencies above those you
hear in the signal. This can add sparkle, or ÒairÓ around an instrument or voice. The reason
this works is that instruments and voices contain overtones, high frequency sound waves
that are just barely audible, or are felt more than heard. Boosting these Òway-highsÓ can add
a surprising amount of realism. This technique is especially effective on vocals and cymbals.
¥ On the other end of the spectrum, some instruments such as acoustic guitar have some
very low frequenciesÑaround 30-50 HzÑthat add little or nothing to their sound, but which
can muddy up a mix. ItÕs a good idea to cut, or Òroll off,Ó some of this unneeded stuff.
¥ It can be too easy to over-concentrate on the highs and lows in a signal, forgetting its
important middle. The frequencies around 1 kHz affect how Òup-frontÓ a signal sounds. With
a boost in this area, the signal can sound as if itÕs stepped out in front of your speakers, a
useful thing when working on a lead vocal, for example. Likewise, you can push a signal

36 Basics of Mixing
away from the listener by cutting it around 1 kHz . This can be handy when, say, you want
one vocal to be more prominent than another vocal.
¥ When EQ-ing microphones while mixing live sound, watch out when you boost frequencies
from 5 kHz to 10 kHzÑthese can easily lead to squealing feedback. Boost them gradually!
¥ When attempting to boost or cut an element of a sound, listen to see if some other element
shares its frequency range, since it, too, will be affected by what you do. For example, if a
hi-hat and snare drum share the same mic, and you raise the volume of the snare drumÕs
snares (the rattles on the underside of the drum) with EQ, youÕll also be raising the level of
the sound of the drumstick hitting the hi-hat, since thatÕs made up of the same frequencies
as the snares. A better solution would be to move your mic closer to the snares.
¥ Be careful when boosting the very low frequenciesÑbelow 75 HzÑof a bass, bass drum or
electric piano. While these frequencies do add warmth, they can also add whatÕs not-so-
fondly referred to as ÒmushÓÑa mix where thereÕs no clarity in your low-frequency
instruments. Try boosting basses around 150 Hz, and bass drums around 100 Hz first.
¥ When youÕve got several signals in the same octave, you can add clarity to your mix by EQ-
ing them out of each otherÕs way. Figure out what elements in each signal identify its sound,
and feel free to reduce the volume of frequencies that donÕt directly affect those elements
and that overlap the frequencies of the competing signals.
¥ When mixing recordings, get to know your speakers so that you can be sure of what youÕre
doing when applying EQ. Each speaker emphasizes frequencies in its own way, depending
on its construction and the characteristics of the room in which youÕre listening. This can be
disastrously misleading. For example, if your speakers lack bass, you may add too much
low-frequency EQ to your mix to compensate, only to find that your mix sounds muffled on
other systems. If your mixer lets you tailor the frequency response of your speakers to your
room, take advantage of this feature. If youÕve got more than one set of monitors, switch
between them from time to time for reference. Depending on your Roland digital mixer, if
youÕre using Roland digital speakers, you may be able to test your mix on a variety of classic
studio-reference and consumer monitors using RolandÕs COSM speaker modeling. ItÕs also a
good idea to make copies of your work and listen to it on other systems.
Dynamics Processing
Channel strips in digital mixers often provide dynamics processing that helps you
control or enhance natural fluctuations in a signalÕs level. There are three types of
dynamic-processing tools you may find in a mixer: compressor/limiters, gates and
expanders.
Compressors and Limiters
The device most commonly used for controlling dynamics is a compressor or limiter (weÕll
explain the difference later). A compressor/limiter reduces the difference between the loudest
part of a performance and the softest. There are basically two reasons youÕd want to do this:
¥ First, the dynamic range of some performances can be unmanageably wide: if the loud parts
are too much louder than the soft parts, youÕd have to record them at an unacceptably low

Basics of Mixing 37
Threshold
Will be compressed
Won't be compressed
level so that distortion doesnÕt occur at the loudest parts; if youÕre mixing, the quiet parts
may disappear in the overall mix.
¥ The second reason you might want to use a compressor is that it can make a performance
sound tighter and somehow more Òrecord-likeÓ by making its dynamics more constant.
The way that a compressor/limiter
works is that it lowersÑthat is,
ÒcompressesÓÑthe volume of any signal
that exceeds a specified level called a
Òthreshold.Ó You can set a threshold to a high value so that only the loudest parts of the signal
will be compressed. You can also set it to a lower levelÑin this case, most of the signal will
exceed it and will be subjected to compression/limiting.
Compression Ratios
You control the amount by which a compressor/limiter reduces a signalÕs levels by selecting a
compression ratio. A compression ratio is a mathematical formulaÑnumerator:1Ñthat means
ÒFor every [selected number of dBs] that the signal goes over the threshold, the compressor will
reduce the level of the signal so that it goes only 1 dB above the threshold.Ó
For example, with a 4:1 compression ratio, each time a signal tries to go 4 dB above the
specified threshold, the compressor will reduce its volume so that it gets only 1 dB over the
thresholdÑitÕll bring the signalÕs volume down by 3 dB. If the ratio is, for example, 10:1, and the
signal exceeds the threshold by 10 dB, the compressor/limiter will be bringing the signalÕs
volume down by a much greater amount.
Therefore, the ratio controls how extreme the effect of the compressor/limiter will be. A 4:1
compression ratio gets you a quarter of the level of any peaks that exceed the threshold, a 10:1
ratio will give you a tenth of their levels, and so on.
The logic of compression ratios can be stated simply: to reduce the level of a signal gentlyÑby a
small amountÑuse a lower ratio. To squash it, use a higher ratio.
If you use too high a ratio, youÕll hear the compressor doing its job a bit too obviously;
this is called Òpumping,Ó and is usually not desirable.
Here are a couple of compressor/limiter ideas:
¥ To fix a signal thatÕs basically good, but that has a few too-loud peaks, use a high threshold
that catches only those peaks, and a compression ratio of about 4:1.
¥ To compress a vocalist, try a low threshold setting with a compression ratio of 2:1. Slowly
try out higher compression ratiosÑdonÕt go higher than 10:1Ñ to tighten up the vocal until
you hear the compressor pumping in between phrases, and then back off a bit.
¥ To make a bass sound smoother, or to tighten up a snare, try a low-to-middle threshold
setting and a compression ratio of 4:1.
¥ To add sustain to a lead guitar, try a low threshold and a ratio of 8:1.

38 Basics of Mixing
When a gate's closed...
...signal can't get
through
When a gate's open...
...signal can pass
through
SIGNAL
WhatÕs the Difference Between a Compressor and a Limiter?
A compressor and limiter are basically the same thing, except that a compressor uses a ratio of
less than 10:1 and a limiter uses 10:1 or higher. With its higher ratio, a limiterÕs threshold is like
a brick wall that the signal will just not be able to exceed. You can think of a compressorÕs
threshold as being more like a wall of sponge, in that itÕs not so absolutely ungiving.
Obviously, a compressor/limiter takes some time to measure the signal and reduce its level.
Some mixers allow you to set a compressor/limiterÕs attack speed, which determines how long
an above-the-threshold signal will remain at its original volume before the compressor/limiter
seizes control of it. When you want to catch and compress quick loud peaks in level, try using
shorter attack time values. If youÕre only interested in audio that remains above the threshold for
a longer periodÑwhile letting quick, brief peaks escapeÑset the attack time to a longer value.
You may also be able to adjust a compressor/limiterÕs release time, the time it takes for the
compressor/limiter to stop the compression it applies to a signal that exceeds its threshold.
When a signalÕs above-the-threshold peaks come quickly, one after another, you may get a more
natural sound by lengthening the compressorÕs release time, so it doesnÕt switch on and off
audibly as each peak comes and goes. If you only have a few peaks here and there that you need
to catch, set the release time to a shorter value.
Once the signalÕs louder parts are under control, you can adjust its overall gain using the
compressor/limiterÕs output control.
Gates
Gates are devices that turn a signal down
when its volume falls below a specified
level. As its name implies, a gate opens and
closesÑlike a garden gateÑto let signal
pass through, or not.
Most commonly, when a gate is closed, it shuts off the signal altogether. Some gates allow you
to merely reduce the signalÕs level when it closes to help you duck unwanted audio without going
to the extreme of silencing it altogether.
Gates are very handy for reducing unwanted noise in a signal. For example, you can gate a bass
drum signal so that it will fall completely silent whenever the bass drum isnÕt actually
playingÑthis will prevent other sounds in the kit from being recorded on your bass drum track,
making it nice and clean. Similarly, you can gate an electric guitar signal so that when notes
arenÕt being played, the gate will close and shut out any annoying hum.
A gate can also be used as a special effect in which it shuts so fast after a note is played or sung
that it chops off the signalÕs room ambience or reverb, making it fall suddenly away to silence in
between notes as a special effect.

Basics of Mixing 39
Gates typically have five basic controls.
While each has its purpose, you may find that you have to juggle their settings to achieve the
desired result when gating signals in which real musicians or singers perform:
¥ ThresholdÑA gateÕs threshold sets the level at which a signalÕs level will force the gate to
shut, reducing the signalÕs volume. If the signal falls below the threshold level, the gate will
close.
¥ RangeÑThe range setting determines just how much a closed gate will bring down the level
of the signal. Setting a gateÕs range to 0 dB will make the gate completely shut off the signal
when the gate closes. You can set it to a higher value to merely reduce the signalÕs level.
¥ AttackÑA gateÕs attack time sets how quickly a gate will re-open when a signal exceeding
the threshold level occurs. While it may seem that youÕd always want the gate to open as
fast as it can, there may be times when youÕll want to slow down its response time so that it
doesnÕt open for brief peaks in the signalÕs level that arenÕt really worth opening the gate.
¥ HoldÑThe hold time sets how long the gate will remain wide open when it encounters a
signal that exceeds the threshold level. Set the hold time to a value that represents the
average amount of time that the wanted audio will last. This setting works hand-in hand
with the release time.
¥ ReleaseÑA gateÕs release time sets how long it will take the gate to close when the signal
has fallen below the threshold level and the hold time has ended. The release time can
sharpen or soften the sound of the gate closing. When itÕs set to a short value, the gate will
clamp shut hard when the hold time ends, cutting off abruptly. When itÕs set to a longer
value, the gate will close more gradually, in essence fading shut.
Since gating operates by reading the level changes in a signal, signals that are steady in
volumeÑsuch as sequenced MIDI partsÑare easier to gate than those that contain dynamics,
such as those produced in a performance by a musician or singer. In either case, a gateÕs settings
interact: when you change one gate setting, you may well have to adjust its partners until the
gate is acting as you intend. As you adjust a gateÕs settings, be patient, and let your ears guide
you. The things you want to listen for are:
¥ If the gate doesnÕt seem to be working, lower the threshold setting until you hear it start to
open and close.
¥ Make sure that the gate isnÕt openingÑletting audio pass throughÑwhen it shouldnÕt. If this
is occurring, raise the threshold setting so that a louder signal is required to open the gate.
¥ Make sure that the front of the audio you want to hear is not being chopped off as a gate
opens too slowly. If this occurs, try lowering the threshold or shortening the attack time.
¥ Make sure that the gate stays open for just as long as you want it to. If the gate is staying
open too long, shorten the hold time (after doing this you may have to lengthen the release
time). If itÕs cutting off the back of wanted audio by a large amount, lengthen the hold time;
if itÕs only chopping off a little bit, lengthen the release time.
¥ If the gate is shutting too abruptly, lengthen the release time (you may have to shorten the
hold time a little to compensate for the change).

40 Basics of Mixing
Expanders
Expanders do basically the opposite of compressor/limiters: they increase the dynamic range of a
performance by exaggerating the differences between its loudest and softest parts. An expander
can sometimes add a touch of excitement to a dull performance.
An expander works by reducing the level of signal that falls below a specified threshold,
increasing the difference in volume between that signal and any signal thatÕs louder than the
threshold level. An expander is thus sort of a cross between a compressor/limiter and a gate.
If your channel strips offer expansion, youÕll find the same settings youÕll encounter in a
compressor, though what they do is a little different:
¥ ThresholdÑIn an expander, the threshold sets a level below which a signal will be
attenuated. Therefore, if signal falls below the threshold level, the expander will push its
volume down even further. If a signal is above the threshold level, the expander will allow it
to pass unchanged.
¥ RatioÑThe ratio setting determines how much the expander will reduce the volume of
signal falling below the threshold level, using the same logic as we found in compressors.
¥ AttackÑAn expanderÕs attack time operates the same way that a compressorÕs attack time
does.
¥ ReleaseÑHere, too, an expanderÕs release time operates in the same manner as a
compressorÕs.
Mute and Solo
A channel stripÕs mute and solo features allow you to turn the strip on and off, or
isolate the strip for more careful listening by silencing all of your other channel
strips.
Mute
A channel strip mute button or software switch provides the most basic channel strip function of
all: when you mute a channel strip, you silence the signal passing through it. This provides a
handy way to stop a signal without having to go through the trouble of physically disconnecting
it from your mixer.
When its channel strip is muted, a signal will be completely turned offÑit wonÕt feed any busses
to which itÕs routed, and you wonÕt hear it. When you un-mute the strip, the signal will reappear,
and will once again flow into any busses to which youÕve assigned it.
There are a few reasons to mute a channel. Perhaps:
¥ you want to turn it off temporarily while youÕre preparing for a recording or performance so
that you can hear some other channel stripÕs signal.
¥ the signal is a mic thatÕs allowing performers to talk to you only during rehearsal. During
performance, youÕll want to silence the mic.
¥ the signal contains sections of a musical arrangement that you now realize you donÕt want.

Basics of Mixing 41
If your mixer offers automation, itÕs likely that it can capture and play back your channel mutings
and un-mutings.
A digital mixer may allow you to assign a set of channel strips to a Òmute group.Ó A mute group is
a group of channels that can all be muted at once with a single button-press. This can be very
handy when you want to quickly silence a group of related signalsÑfor example, a set of vocal
mics that you want to silence during a particular part of a song.
Solo
Soloing is a feature that temporarily silences all other signals so that the channel is heard by
itself. This allows you to listen to the channelÕs signal without the distraction of any other signals.
This can be helpful when you think you hear a problem in the signal that you need to track down.
It can be useful any time you want to work with a signal by listening to it un-obstructed by other
signals.
There are a couple of important differences between soloing a channel and simply muting all of
the other channels you donÕt need to hear:
¥ First of all, itÕs a much easier and quicker thing to do.
¥ SecondÑand more importantlyÑsoloing, unlike muting, doesnÕt actually turn any channel
signals off: it just silences them in your monitors for listening purposes. The silenced
channelÕs signals will continue to flow into the busses to which theyÕve been assigned. This
allows you to solo channels in your control room monitors without interrupting any signals
being fed to a recorder or stage speaker systemÑnobody outside of the control room will
even be aware that youÕve soloed anything.
One obvious use of soloing is to isolate an instrument when you want to EQ it. Be
careful about EQ-ing a signal when itÕs soloed. While soloing allows you to hear a
channel clearly, remember that your EQ will ultimately have to work along with the mixÕs
other instruments. When youÕve finished making any changes to a soloed signalÕs EQ,
un-solo it and listen to the signal in context with all of the other signals in the mix to
make sure youÕve got its EQ right.
Some mixers provide a way to solo more than a single channel at a time so that you can isolate
related groups of signals.

42 Basics of Mixing
Signal
level
goes
up
Signal
level
goes
down
Level Control
On almost all mixers, each channel provides a fader for the
precise control of its signalÕs level. A fader is a physical
device that slides forward, away from you, to increase the
level of the channelÕs signal or back to decrease it. The forward
direction is typically referred to as Òup,Ó while the other is referred to as
Òdown.Ó A fader derives its name from the idea that you can use it to
cause a signalÕs level to fade away to silenceÑthis is called a Òfade-out.Ó
In fact, however, a fader is used just as often to make a signal louder.
Unlike the trim control we described on Page 29Ñwhich sets the level of the signal as it enters
the channel stripÑa channel fader can control the level of the channelÕs signal as it flows out of
the strip into the main mix busses. On a traditional mixer with standard and Aux busses, the fader
will typically control the level of the channelÕs signal as it goes into a standard bus. A fader can
also control the level of any signal being sent to an Aux bus or FlexBus set to receive signal
Òpost-fader.Ó
Your mixer may offer any of a variety of devices that provide you with visual cues that help you
keep track of where you are as you move a fader up and down. This can be vital as you
experiment with different levels for a channelÕs signal, and as you move the fader up and down
during a recording or mix.
On some mixers, youÕll see horizontal lines printed on the mixerÕs face along the faderÕs up/down
trackÑthese are called Òhash marks.Ó You may also see numbers printed alongside the horizontal
lines. These show the amount of volume that the faderÕs adding or subtracting from the channelÕs
signalÑa Ò0 dBÓ marking may show the position at which the fader is neither boosting or cutting
its signal. You may also be able to feel a notch as the fader slides to this positionÑthis notch is
called a Òdetent.Ó
Flying Faders
On some mixers that offer automation, the channel strip faders contain small motors that actually
move the fader up and down as the automation is played back so that you can see the changes
being made for you. This type of fader is often referred to as a Òflying fader.Ó

Basics of Mixing 43
Effect
Effect
Pre-delay or Pre-EQ
Inserts
As we first mentioned on Page 12, a channel insert is a point in the channelÕs signal flow from
which you can interrupt the signal, send it to an internal or external effect, and then back into the
channel strip to continue its journey. The output of this in-line effect replaces the stripÕs original
un-affected signal. A digital mixer may provide one or more insert points in a channel strip.
Your mixer may allow you to choose the spot in the
channel strip from which you want to divert its signal
to an insert effect. Typical possibilities for an insert
point might be before the channelÕs delay component
(this would be referred to as Òpre-delayÓ), or perhaps
just after the delay, right before its EQ module (Òpre-
EQÓ). In either case, after its detour through the
selected insert effect, the newly effected signal would
be returned to the channel strip at the same place
from which it originally came.
On a digital mixer, each insert point on a channel strip
may have its own set of controls that allow you to
select the internal effect to which the signal will be
routed, or to route it to one of the mixerÕs output
jacks. You may also be able to edit the selected insert
effect, customizing it to suit your current purposes.
Inserts Beyond the Channel Strips
While not part of our discussion of channel strips, itÕs interesting to note that some mixers
provide insert points for their busses, allowing you to process a busÑthat is, all of the signals
youÕve assigned to the busÑthrough an in-line effect as a single entity. This can be handy, for
example, when you want to compress your main mix busses on their way out of the mixer, or run
a group of signals through an effect as theyÕre being bussed to a track on a multi-track recorder.
Bus Controls
A mixerÕs bus controls allow you to direct the channelÕs signal to some other place,
which is, after all, the point of bringing the channelÕs signal into the mixer in the first
place. Depending on your mixer, a strip may allow you to route its signal to Aux
and/or standard busses, or to one or more of RolandÕs multi-purpose FlexBusses. YouÕll also be
able to assign the channelÕs signal to your mixerÕs main mix busses when you want to create a
stereo mix.
Remember that when sending a channelÕs signal to any bus, your mixer sends a copy of the
channelÕs signalÑit doesnÕt interrupt the signal as it flows through the channel strip. This lets you
assign the channelÕs signal to as many busses as you want from different places in the strip.
Perhaps, for example, youÕll want to send a signal to an internal effect whose output will be
bussed into a mix. Later on down its strip, you may send the signal itself to the mix.

44 Basics of Mixing
In a mixer with Aux busses, you can use a channel stripÕs Aux send level controls to send the
desired amount, if any, of the channelÕs signal to each Aux bus. Your mixer may allow you to
select the point within the strip from which youÕd like to send the copy of the signal, such as, for
example, pre-delay, pre-EQ or post-EQ (after the EQ stripÕs component). In this type of mixer, you
can typically assign a channelÕs signal to a regular bus using a simple on/off switch.
The way in which you control the amount of signal sent to a bus is determined by the point in
the strip from which the signal is being copied. If youÕre sending the signal to the bus post-fader
in a traditional mixer with standard busses, the channelÕs fader will control the amount of signal
sent to the busÑin a Roland digital mixer with FlexBusses, the channelÕs FlexBus send level
parameter sets the amount of signal sent. If youÕre copying the signal from some other point in
the strip, the send level will be controlled by the last component the signal passed through before
being sent to the bus.
In a Roland mixer with FlexBusses, you can use any FlexBus to send a copy of the channelÕs
signal to any place you likeÑeach bus has all the capabilities required for its use as an Aux or
standard bus. In addition to being able to assign the signal to the FlexBus, youÕll also be able to
select the point in the channel strip from which the busÕs copy of the signal will be taken, and be
able to independently set the copyÕs volume as it goes into the FlexBus.
One Bus, Two Bus
Each bus is a separate mono pathway. Your mixer may allow you to link two of them together
into a stereo pair. This can be handy when recording a pair of tracks on a multi-track recorder.
When you mix, your main mix busses are actually two mono busses linked together as a stereo
pair. Once busses are linked, you can position a signal as you wish between the two busses by
sending more of the signal to one side than the other using pan or level controls.
Some mixers offer pairs of mono Aux busses permanently linked together as stereo
bussesÑthese will typically have their own stereo balance controls.
Your channel strips may also provide controls for Cue busses that you can use to send
signal to performers, allowing them to hear what theyÕre doing.
Just a reminder: if you want to send a single channelÕs signal to its own
destinationÑsuch as a track on a multi-track recorderÑwithout any other signals, you
may not need to use a bus. Your mixer may allow you to use a Òdirect outÓ to route the
channel stripÕs output straight to an output jack connected to the desired destination.
Pan Control
When youÕre mixingÑwith all of your channel strips assigned to the main mix
bussesÑyou can use the channel strip pan controls to place each channelÕs signal in
the desired position within the overall stereo mix. Pan controls are really level
controlsÑas you pan the signal to one side, youÕre raising the level of the signal in that bus, and
lowering it in the other. On a traditional mixer with separate standard and Aux busses, you can
use the channel stripÕs pan control to balance a signal between two standard busses. (On a
Roland mixer with FlexBusses, you can use each FlexBusÕs level control for this purpose.)

7ÑReady, Set, Mix
Basics of Mixing 45
7ÑReady, Set Mix
Your MixerÕs Manual
YouÕre now ready to go through your mixerÕs manual to learn how it handles all of the concepts
and tools weÕve discussed. Your mixer may use different terms for some of the things youÕve just
read about, but by applying what you now know about a mixerÕs underlying structure, youÕll be
able to identifyÑand make the most ofÑthe way your mixer does things.
YouÕll also find that your mixer may offer features not discussed in this book. All of these will
build upon the things youÕve learned. Discovering the clever ways that each mixer goes about its
businessÑand the unique features it offersÑis one of the great pleasures of mixing.
This chapter contains additional information youÕll want to keep in mind as you begin mixing.
Some Survival Tips
DonÕt Panic
As you approach your first recording or stage session using your mixer, it may seem that thereÕs
an overwhelming amount of stuff to connect and tend to. If you approach things in an orderly
manner, youÕll find that the whole thing will get done. Here are some ideas to see you through:
¥ When you set up, youÕre once again doing one thing over and over. If you take care of one
signal at a timeÑand donÕt jump around from task to taskÑyouÕll have it all set up before
you know it. You may find that the performers with whom youÕre working will interrupt you
from time to time. Be polite, but stick with your one-thing-at-a-time method as best you can.
¥ Before you start setting up, make notes on a sheet of paper that list all of the things youÕve
got to connect, and where you want their signals to wind up. Use these notes as a roadmap,
checking off each item as you complete it. If you get distracted during setup by something
that comes up, the notes will help you get back on track.
¥ Turn down your control-room and studio monitors and headphone amplifier, or stage-
speaker and stage-monitor amplifier for safety as you make your connections.
¥ Connect all of your mics, instruments and other cables to your mixing processor or mixer.
Once thatÕs done, you can get out of your performersÕ way and move over to the mixer.

7ÑReady, Set, Mix
46 Basics of Mixing
When Panic Strikes
You bring up your first fader to listen to its signal and hearÑnothing. This has happened to
everyone who uses a mixer at least a few times. If it happens to you, donÕt worry. Most likely
your hardware is fine. WhatÕs probably going on is that the signal is getting waylaid somewhere
on its way between its source and your ears. HereÕs what to do:
¥ WeÕve repeatedly mentioned the importance of doing things in a logical order. This is the
moment when you most need to heed that advice. Patiently follow the signalÕs path from its
source into a jack, through a channel strip and on and to the desired destination. Most
likely, youÕll find that youÕve forgotten some step along the way. If this doesnÕt solve your
problem, repeat the process.
¥ Make sure your monitor or stage speaker system is turned up . YouÕd be amazed how many
times this obvious item is overlooked.
Feedback
Feedback occurs when a signal receives its own output. If youÕre suddenly engulfed in a
screeching or howling electronic noise, youÕll need to act fast. If youÕre recording, quickly turn
down your monitors and your performersÕ headphones or monitors. Since it may be something
youÕve just done thatÕs causing the problem, undo the last thing or two you did until the
screeching goes away. If itÕs a routing problem, you may see an overload or clipping indicator on
your mixer thatÕll pinpoint the problem signal for you. Correct the signalÕs input or output routing.
Setting Basic Channel Input Levels
YouÕll want to keep each channel fader somewhere around its middle up/down position to allow
yourself room to move in either direction, with more room on the bottom in case you need to do
a fade-out. In order to do this youÕll need to adjust the channelÕs input trim setting:
1. Have your performers make some noise to give you a sample of their sound as you perform
the following two steps.
2. Position the fader about three quarters of the way up. Your mixer may show some form of
mark printed beneath the fader in this areaÑthere may even be a detent at this position.
3. Adjust the channelÕs input trim so that the signal is at roughly the volume you desire without
causing the trimÕs overload indicator to light.
Avoid turning the trim up significantly above its middle positionÑthis can cost you
signal clarity. In such a case, increase the signal at its source, or move your fader up.
Some manufacturers refer to this process as Òsetting unity gain.Ó

ApplicationÑA Multi-Track Recording Session
Basics of Mixing 47
Application: A Multi-Track Recording Session
The recording of a song on a multi-track recorder typically involves several processes:
¥ YouÕll start by recording the songÕs basic tracks. Basic tracks can be anything from an entire
band playing to a single guide track of a percussion instrument. Typically, a songÕs basic
tracks are comprised of as many instruments as your mics, cables, MIDI channels or mixer
channels allow. You can record each performer on his/her own track, or combined with
other performers playing related partsÑa group of horn players might be one such case.
You can also divide complex instruments such as drum kits into individual tracks that allow
you to control each component of the instrument separately.
¥ Once the songÕs basic tracks have been recorded, you can record the rest of its tracks. This
process is commonly called Òmulti-trackingÓ or Òoverdubbing,Ó a term originally coined for a
slightly different procedure, as weÕll see later.
While a recorded guide lead vocal can be helpful, itÕs a good idea to record your
final vocals as overdubs to avoid leakage from instruments in your vocal tracks.
¥ A multi-track recorder will allow you to fix a performance error by re-recording only the
portion of a track that contains the mistake, leaving the rest of the track intact. This is called
ÒpunchingÓÑwhen you begin to re-record the section, youÕre Òpunching in,Ó and when you
stop re-recording the section, youÕre Òpunching out.Ó
¥ If you run out of tracks on your multi-track recorder, or if youÕd rather reduce a group of
tracks to single track or pair of tracks to make them easier to manage, you can combine
tracks by ÒbouncingÓ or Òping-pongingÓ them together.
Use Your Recording Time Wisely
When recording, setting up can take as much time, or more, than the actual recording. Try to
record all of your songsÕ basic tracks one after another, and then move on to your overdubs,
punches and bounces. This saves studio time and conserves everyoneÕs energy since performers
wonÕt have to wait around as you do and re-do your mixer setups and move mics and cables
around and will save you a lot of repetitive work. If jumping back and forth is unavoidable, your
Roland mixer may be able to save each songÕs recording, overdubbing and/or bouncing setups as
scenes that you can recall quickly, keeping your mixer setup time at a bare minimum.
In the following sections, weÕll refer to the recording studio and control room. If youÕre working
in an environment without separate rooms, think of ÒstudioÓ as meaning Òthe recording area,Ó
and Òthe control roomÓ as being the place you have your mixer.
Before recording, make sure that youÕve properly connected your multi-track recorderÕs
inputs and outputs to the appropriate outputs and inputs on your mixer. If youÕre going
to be sending a headphone feed to your performers, youÕll also need to make sure
youÕve connected any Aux, FlexBus or assignable output on your mixer that you intend to use for
this purpose to the headphone amplifier to which their headphones are connected.

48 Basics of Mixing
Setting Up In the Studio
¥ When youÕre working with microphones, try to arrange your performers in the studio so
that the best sound can be achieved. Try to isolate the sound of each performer as much as
possible so that each of your mics picks up only the intended instrument or singer.
Unwanted noise from other performers in a mic is called Òleakage,Ó and can make getting a
clear recording more difficult. You can avoid leakage by placing louder instruments as far
away as possible from other mics, or by surrounding them with acoustic separatorsÑalso
called Òbaffles,Ó or Ògobos.Ó Of course, itÕs important that your performers be comfortable
and able to communicate, so be diplomatic, and be ready to compromise if you have to.
¥ When working with mics and electric or electronic instruments, encourage their musicians
to listen to the instruments through headphones connected to the mixer instead of through
amplifiers in the studio. This will prevent their sounds from leaking into your mics.
If youÕre recording without micsÑin an all-MIDI situation, for exampleÑyour
performers can be anywhere thatÕs convenientÑeven right next to you in the
control room, if you likeÑsince mic leakage wonÕt be an issue.
¥ Consider setting up a mic in the studio through which performers can talk to you. This can
make the session go more smoothly. You neednÕt actually record this micÕs signal.
¥ Once youÕve set up all of your mics and cables, give each musician in the studio a pair of
headphones through which they can hear whatÕs being performed and recorded.
Preparing the Mixer for Recording
¥ If your digital mixer provides input patching, route each of the inputs you used in the studio
to the desired channel on your mixer.
¥ On each channelÕs writable stripÑor using the channel-naming parameter your Roland
digital mixer may provideÑname the strip with name of the signal itÕs controlling.
¥ If your digital mixer has multiple operating modes, select the mode that allows you to adjust
channel settings.
¥ Select the desired source for each channelÕs input signal.
¥ Assign all of your channel strips to the main mix, and set your monitors to listen to the main
mix. Turn up your studio monitorsÑyou turned them down while setting up, didnÕt
you?Ñand move from strip to strip, raising each fader a bit to verify that its signal is there. If
youÕre dealing with mics, youÕll be able to hear if they work by listening to the studio. If your
signals are coming from keyboards or electric instrumentsÑor CDs or turntablesÑyouÕll
have to get them to make some noise so that you can verify your connections are okay.
¥ With the exception of the mic your performers use for talking to you, remove all of the
channel strips from the main mix and route each to the desired track on your multi-track
recorderÑyou can do this by assigning it to a bus or FlexBus, or by using a direct out.
¥ Make sure the tracks youÕre using on your multi-track recorder are record-enabled, and that
the multi-track recorder is set to allow you to listen to its inputs so that you can catch any
problems quickly. Some people prefer to hear the just-recorded tracks by listening to the
recorderÕs outputs to ensure that theyÕve been properly recordedÑwith some recorders,
however, these signals are delayed slightly, making it hard to catch and fix problems quickly.

Basics of Mixing 49
¥ In the control room, turn up the tape-return level of each of the tracks youÕll be recording so
that you can hear it (if your mixer has MULTI inputs, youÕll need to temporarily switch
modes to adjust their levels). These levels are for monitoring purposes onlyÑthey have no
effect on the level of signal recorded on your tracksÑso set them however you like.
¥ Select a Cue bus, Aux bus or FlexBus to use as a headphone feed for your performers and
send signal from each channel you want them to hear to the selected Cue bus, Aux bus or
FlexBus. Send the signal from as early a point in the channelÕs signal flowÑe.g. pre-fader or
pre-EQÑas possible so that your performers wonÕt be distracted by any changes you make
to their signalsÕ levels or sound. Be prepared to adjust the send level of each channel as you
perfect the headphone mix in accordance with your performersÕ wishes.
¥ Set the basic input level for each channel using the method described on Page 46.
¥ Use each channelÕs tools to make its signal sound the way you want it to. Apply EQ, add
dynamics processing and so on.
Some people prefer to record without EQ if theyÕre concerned about making
mistakes during the session. They apply EQ later on, during mixing.
¥ Set each channelÕs signal to the optimal recording level. If your mixer has standard and Aux
busses, use each channel fader for this purpose. On a Roland digital mixer with FlexBusses,
adjust the amount of signal being sent by each channel to its assigned FlexBus. Consult
your multi-track recorderÕs documentation to learn what its preferred levels are and how to
interpret its metering, since these are the meters that count most during recording.
¥ After youÕve made all of your settings, set your mixer to monitor the headphone feed to
your performers and ask them if it sounds okay to them. If the performers request changes,
adjust your send levels to the appropriate Cue bus, Aux bus or FlexBus.
If your performers desire separate headphone mixesÑand if you have sufficient
headphone amplifiers availableÑyou can set up multiple Cue busses, Aux busses or
FlexBusses for this purpose.
About Adding Effects as You Record
While it makes sense to process a signal with in-line effectsÑsuch as dynamics processing,
distortion or RolandÕs microphone modelingÑas you record, itÕs debatable whether or not this is
a good idea when you want to add reverb, delay, flangers and other such effects.
Pros: If you add an effect to a signal during recording, the effect will be permanently embedded
in the track, and youÕll never have to worry again about recreating it. Also, it will free up an effect
processor for other uses during final mixing.
Cons: YouÕre absolutely stuck with whatever effect you recordÑyou canÕt change your mind later
without completely re-recording the track. Also, if youÕre using an effect that you want in stereo,
as will frequently be the case with reverb, youÕll need two tracks on your multi-track recorder to
capture it. If the original signal is mono, this will increase the number of tracks you need.
If you have enough tracks, you can get the benefits of both approaches by recording your dry
signals and effects on separate tracks.
Bottom line? ItÕs a matter of personal preference and the needs of your song.

50 Basics of Mixing
Recording
¥ Make sure that any required tape or other media is loaded properly in your multi-track
recorder, and set the recorder to the location at which you want to begin recording.
¥ Begin recording by pressing the appropriate transport buttons on the multi-track recorder,
or by using your mixerÕs MMC controls if the recorder supports MMC.
¥ At the beginning of each takeÑbefore the performers start performingÑrecord a slate
stating the takeÕs number. If your mixer provides a talkback mic, use it; if not, one of your
performers may be able to announce the take. This makes takes easier to identify for
playback and mixing.
¥ During the actual recording, your job is to listen for any problems and generally to make
only minor adjustments, if any at all. If you change the level or sound of a track during the
recording, you may find mixing to be more difficult because the track wonÕt have a
consistent sound. ItÕs better to note the changes you want to make and make them before
the next take. If there is no next take, you can make the changes when you mix. An
exception: If a signal is clipping, you should remedy the problem immediately.
¥ If your mixer can record scenes, store the songÕs final recording settings in case you need
to re-record it at some later date.
The First Playback
¥ Once recording has ended, immediately record-disable all of your tracks to avoid accidental
erasure. This will also result in the just-recorded tracks being heard through your tape
returns. (When itÕs time to record again, youÕll need to record-enable the tracks.)
¥ Play back the recording in the control room monitors. If itÕs desirable to play the recording
for your performers, you can play it over the studio monitors, if you have some, or invite
them into the control room to listen.
¥ You can also play the recording for your musicians over their headphones. If your mixer has
standard and Aux busses, select your multi-track tape returns as the signal source for all of
the channel strips that numerically correspond to the recorded tracks. Make sure that these
channels are being sent to any Cue or Aux bus being used as a headphone feed, and adjust
their send levels if necessary. Remember to set any channels being used for recording back
to their original input sources and headphone send levels before any further recording. If
youÕre using a Roland mixer with MULTI INs, send each MULTI that corresponds to your
recorded tracks to any FlexBus being used for headphones.
Fixing Tracks: Punching
Punching can be performed upon basic tracks, or the tracks you overdub later. In either event,
thereÕs very little you need to do to set up your mixer for punching:
¥ Make sure that all of the tracks you donÕt need to punch are record-disabled.
¥ DonÕt change any of your mixer settings! This will ensure that the punched-in portion of the
track will match its already recorded parts.
¥ Consult your multi-track recorderÕs documentation to learn how to punch in and out.

Basics of Mixing 51
Adding More Tracks: Overdubbing/Multi-Tracking
¥ Make sure that all of the tracks you want to keep are not record-enabled.
¥ Select the channel stripÑor strips if youÕre recording in stereo, or are recording more than
one performerÑyou want to use. If youÕve finished recording basic tracks, or if youÕve saved
your settings as a scene, you can use any strip; if not, try and find an unused channel so
that you donÕt lose your recording settings.
¥ Route the channelÕs signal to the desired track using a bus, FlexBus or direct out.
¥ Record-enable the desired track on your multi-track recorder.
¥ Turn up the trackÕs return level on the mixer so that you can hear what youÕre recording.
¥ If your performer is using headphones, assign the channel to the Cue bus, Aux bus, or
FlexBus youÕre using for headphones, and set the desired level.
When a performer is using headphones during overdubbing, he or she will also
need to hear the already recorded tracks during overdubbing. Route the necessary
multi-track tape returns to the headphone mix.
¥ Set the multi-track recorder to the desired starting location, and record the overdub.
¥ When recording is finished, record-disable the newly recorded track.
Combining Tracks: Bouncing/Ping-Ponging
You may decide to combine already recorded tracks because youÕre running out of empty tracks
on your multi-track recorder and need to make room for new tracks, or because you want to
combine tracks now to make mixing later on simpler. The process of bouncing tracks involves
making a mix of them and recording that mix onto other tracks:
¥ On a traditional mixer, youÕll use the channel strips that numerically correspond to your
recorded tracksÑdepending on the mixer, you can flip the channels or select a tape return
as each channelÕs input source. If youÕve got a Roland mixer with MULTI INs, patch your
tracks to the desired channel strips and select the MULTI In fader control mode.
¥ Assign all of these channels to a bus or FlexBus routed to the track on which you want the
new combination track recorded. (To bounce to two tracks, use two busses or FlexBusses.)
¥ Record-enable the new track youÕre bouncing to on your multi-track recorder.
¥ Turn up the tape return for the track youÕre bouncing to so that you can hear it.
¥ Make sure to turn off direct monitoring of the tape returns for the tracks youÕre bouncing.
Failing to do this will mean that youÕll be hearing the bounced tracks from two sources
simultaneously and will not be able to mix them together accurately.
¥ Adjust the channel settings of the tracks to be bounced. Set them to their desired levels, EQ
and so on. A bounce can include added effects, as well, if you wish. Bouncing doesnÕt erase
the tracks being bounced, so you can do a bounce over and over until youÕve got it right.
¥ You can add a new performance to the tracks as you bounce them by bussing a live signal
from another channel to the same track as the track youÕre bouncing to. This is called a Òlive
bounce.Ó Originally, the term ÒoverdubbingÓ referred to live bouncing.
¥ Set the multi-track recorder to the desired starting location, and record the bounce.
¥ When bouncing is completed, record-disable the newly recorded track or tracks.

ApplicationÑMixing a Record
Basics of Mixing 53
Application: Mixing a Record
A multi-track recording must eventually be reduced to a final form appropriate to the medium
youÕre using. If youÕre making a CD, for example, youÕll need to create a two-track, stereo mix.
Some mixers also support the creation of surround-sound mixes for video games and movie
soundtracks. In either case, a mix is where you perfect the sound of your recorded tracks and
combine them to create a final product.
Setting Up
YouÕll need to connect your mixerÕs main mix bus outputs to the inputs of your
mixdown recorder. Your mixer may provide special inputs to which you can connect the
recorderÕs outputs. These inputs can be selected for monitoring, allowing you to listen
to the recorder itself when mixing. This is a good idea because it ensures that what you
hear is what the mixdown recorder hears, and, thus, what you get.
¥ On a traditional mixer, youÕll use the channel strips that numerically correspond to your
recorded tracksÑdepending on the mixer, you can flip the channels or select a tape return
as each channelÕs input source. If youÕve got a Roland mixer with MULTI INs, patch your
tracks to the desired channel strips and select the MULTI In fader control mode.
¥ Write the name of each track in the writable area of its strip. If your mixer allows you to
assign a name to each channel, do so.
¥ Assign all of the strips controlling your tracks to the main mix bus.
¥ Set your monitor to listen to the inputs of your mixdown recorder.
Creating a Mix
The steps below are presented in roughly the order in which they should be performed.
However, thereÕs a lot of back-and-forth in mixing since each trackÕs sound is affected by
the other tracks in the mixÑcontinual re-adjustments must be made. Expect to re-visit
these steps many times as you work your way to a final mix.
¥ Set the stereo pan position of each channelÕs signal using the channelÕs pan control.
¥ Adjust each trackÕs EQ as necessary. Insert any in-line effects you want to use and tweak the
settings of the effects to taste.
¥ You can solo each track as you refine its sound, but make sure to re-check the track with all
of the other tracks playing when youÕre done.
¥ To add an effect to a track, send it to an internal or external effect processor by assigning it
to an Aux bus or Roland FlexBus routed to the effect processor:
¥ If the processorÕs outputs are connected to Aux returns, assign the Aux returns to the
main mix bus. You can also return the outputs of the effect processor to channel strips,
and assign the channels to the main mix busÑthis is the method youÕll always use on a
mixer without Aux returns.

ApplicationÑMixing a Record
54 Basics of Mixing
¥ Edit the effect processorÕs settings: select the desired effect and adjust its settings to
suit your needs.
¥ Using the channelÕs Aux or FlexBus send level controls, raise or lower the amount of
signal sent to the processor until youÕve got the desired amount of the effect.
¥ If youÕre sending more than one channelÕs signal to the effect processor, you may find
the overall level of the effect too loud or soft. While each channel controls the amount
of effect applied to its signal, you can set the effectÕs overall volume by adjusting its
Aux or channel return level settings.
¥ Listen to all of the tracks together, and make any necessary level or sound adjustments.
¥ Work out and rehearse any changes that need to be made as the song plays.
¥ Make sure the overall level of your mix is as loud as it can be without clipping the mixerÕs
outputs or the mixdown recorderÕs inputs. Consult the recorderÕs documentation to learn
what levels it wants, and what its meters meanÑtheyÕre the meters that count the most
when mixing.
You can run your entire mix through a stereo compressor or some other effect by
routing the mix to the effect using the insert points on your Roland digital mixerÕs
main mix busses. This can be a handy way to add just the right final touch to your
mix.
¥ ItÕs a good idea to try out your mix on different systems. If you have more than one set of
monitors connected to your mixer, listen to the mix on different speakers to help ensure itÕll
sound good on any system. If youÕre using Roland digital monitors, and your Roland digital
mixer offers RolandÕs COSM speaker modeling, you can try out your mix on a variety of
different virtual speakers.
¥ If you have time to make cassette copies of your mix to study on other peoples home
and/or car stereos, do it. You want your mix to sound great everywhere.
¥ When youÕre ready, record your mix on your mixdown recorder.
Your digital mixer may allow you to record a songÕs or projectÕs mix settings as a scene.
These can help you re-establish the settings at a later date, if necessary. ItÕs also a great
way to try out alternate versions of a mixÑperhaps, for example, utilizing different
approaches to effectsÑby saving each version as a separate scene.
If your digital mixer allows you to save snapshots, you can save a snapshot for each
major settings change in mix, and your mixer will be able to play them back for you at
the proper times during the actual recording of your mix.
Your mixer may also be able to capture and play back all of your mix moves during the
song, or allow them to be recorded and played back by an external MIDI sequencer.
Check your mixerÕs documentation to learn more about its various automation capabilities.

ApplicationÑMixing Live Sound
Basics of Mixing 55
When youÕre mixing live sound, youÕre typically responsible for two mixes:
¥ the mix that the audience hears.
¥ the monitor mix to which the performers listen as they work.
If your performers require more than one monitor mix, you can create as many monitor
mixes as you have busses, outputs and monitor amplification systems.
ItÕs best to perform your mixing tasks from a location within the audienceÑthis is the best way to
be sure youÕre hearing what the audience hears. The optimal location is towards the rear of the
room. A central position is best, especially when mixing in stereo.
When youÕre mixing live sound, your mixerÕs main outputsÑor the main outputs on your
mixing processorÑshould be connected to the main inputs of the house speaker system
amplifier. If your stage system is mono, either output will suffice; otherwise, youÕll need
to use both mix outputs. For monitor mixes, youÕll need to connect the outputs of any Cue bus,
Aux bus, or Roland FlexBus output you want to use for monitors to a monitor amplifier.
YouÕll also need a way to connect all of the cables onstage to your mixer:
¥ In a traditional mixer, this can be accomplished by connecting all of your stage cables to a
Òsnake,Ó a long, bulky cable containing wiring to carry all of your signals back to your mixer.
¥ In a component-based Roland mixer/mixing processor system, you can place the processor
on the stage, and connect your cables to the processorÑthe processor is connected to the
mixer by a pair of thin, easy-to-work-with digital cables.
In either case, take care to run your cabling somewhere it wonÕt get stepped on,
bumped, or worse, severed. Running it around one side of the room or overhead will
most likely be your best bet.
¥ ThereÕs no substitute for a sound check before the audience arrives. This will allow you to
calmly set up, troubleshoot and establish your starting levels without pressure. Try to
convince your performers to do a sound check.
¥ If your mixer provides a white/pink noise generatorÑwe discussed such a generator on
Page 20Ñuse it to optimize the frequency response of your stage speakers.
¥ Assign all of your channel strips to the main mix, and turn up your stage speaker
amplifierÑyou turned it down while setting up, didnÕt you? Move from strip to strip, raising
each fader a bit to verify that signal you want is there. If youÕre dealing with mics, youÕll be
able to hear whether they work by listening to the stage. When your signals are coming
from keyboards or electric instrumentsÑor turntables or CDs ÑyouÕll have to get them to
make some noise so that you can verify your connections are okay.
¥ Ask the performers to run through some of the material theyÕll be presenting to the
audience at the show. This will allow you to hear what theyÕre going to do and establish
your settings as they rehearse.

56 Basics of Mixing
¥ Set the basic input level for each channel using the method described on Page 46.
¥ Turn up your stage monitor amplifier. Select a Cue bus, Aux bus or FlexBus to use as a
monitor feed for your performers and send signal from each channel you want them to hear
to the selected Cue bus, Aux bus or FlexBus. Send the signal from as early a point in the
channelÕs signal flow as possible so that your performers wonÕt be distracted by any
changes you make to their signalsÕ levels or sound. Be prepared to adjust the send level of
each channel as you perfect the monitor mix in accordance with your performersÕ wishes.
Adjust the send levels gradually to avoid feedback.
¥ Set each signal to its desired position in the stereo field, or, if youÕre mixing in mono, pan all
of your signals to the side that feeds the output connected to the stage speaker system.
¥ Adjust each signalÕs level and EQ as necessary. Insert any in-line effects you want to use and
tweak the settings of the effects to taste.
¥ To add an effect to a signal, send it to an internal or external effect processor by assigning it
to an Aux bus or Roland FlexBus routed to the effect processor:
¥ If the processorÕs outputs are connected to Aux returns, assign the Aux returns to the
main mix bus. You can also connect the outputs of the effect processor to channel
strips and assign the channels to the main mix busÑthis is the method youÕll always
use on a mixer without Aux returns.
¥ Edit the effect processorÕs settings: select the desired effect and adjust its settings it to
suit your needs.
¥ Using the channelÕs Aux or FlexBus send level controls, raise or lower the amount of
signal sent to the processor until youÕve got the desired amount of the effect.
¥ If youÕre sending more than one channelÕs signal to the effect processor, you may find
the overall level of the effect too loud or soft. While each channel controls the amount
of effect applied to its signal, you can set the effectÕs overall volume by adjusting its
Aux or channel return settings.
¥ Listen to all of your signals together, and make any necessary level or sound adjustments.
¥ If your mixer provides fader grouping, take advantage of the feature to group together
signals you may need to adjust simultaneously, such as a bunch of backup vocal mics.
¥ Make sure the overall level of your mix is as loud as it can be without clipping the mixerÕs
outputs or speaker systemÕs amplifier inputs.
¥ When youÕve got all your settings the way you want them, a digital mixer may allow you to
save them as a scene in case someone changes any of them in-between the sound check
and show. If this happens, you can quickly recall the scene to re-establish your settings.
¥ During the actual performance, your job is to make adjustments as needed. ItÕs not
uncommon for musiciansÕ levels to change over the course of the performance, and youÕll
need to stay on top of these changes to make sure the overall mix doesnÕt suffer.
¥ You may need to make subtle, continuous adjustments to a signalÕs level during a
performanceÑthis is called ÒridingÓ a level. While a compressor/limiter can help smooth out
level fluctuations in a performance, riding levels may still be necessary when working with
performers whose mic or playing dynamics would require an unpleasant amount of
compression or limiting. You may also need to ride levels to bring up the volume of vocal or
instrumental soloists.

Congratulations!
Basics of Mixing 57
Congratulations!
Well, thatÕs it. You now know everything you need to know to understand the workings of any
mixerÑyouÕll find the precise details of your mixerÕs operation in its documentation. In case you
want to review anything, hereÕs a quick review of what weÕve discussed, and where:
¥ In Chapter 1 (Page 1), we explained the reason that ÒBasics of MixingÓ exists, and described
its symbols and conventions. We also introduced a couple of important, yet comforting,
thoughts about the process of mastering your Roland mixer.
¥ Chapter 2 (Page 3) described in general terms exactly what it is that a mixer does anyway.
We also introduced some basic terms such as Òmix,Ó Òsignal,Ó ÒsendÓ and Òreturn.Ó And we
explained why a digital mixer is a great thing to have.
¥ In Chapter 3 (Page 7), we introduced a host of vital mixing concepts, including, among
others, channels, busses, and effects.
¥ Chapter 4 (Page 13) discusses the sections of a typical mixer and what each one does.
¥ In Chapter 5 (Page 21), we described all of the types of connectors youÕll use to bring audio
into and out your mixer, as well as some of the connection issues that may arise.
¥ Chapter 6 (Page 29) detailed the various tools that each channel strip provides in a typical
mixer. It also offers lots of tips on how to master such channel tools as EQ and dynamics
processors.
¥ Chapter 7 (Page 45) provided some practical thoughts and tips as you begin to apply all that
youÕve learned in the rest of ÒBasics of Mixing.Ó
¥ The three application sections that follow Chapter 7 walked you through typical multi-track
recording (Page 47), record mixing (Page 53) and live sound (Page 55) sessions.
¥ Éand that brings us here!
The remainder of ÒBasics of MixingÓ is a glossary. As you go through your mixerÕs
documentation, you can consult the glossary to look up any terms whose meaning youÕve
forgotten.
Now that you know what your mixer can do for you, youÕre well on your way to a wonderful
creative experience with this oh-so powerful device at your fingertips. Be patient with
yourselfÑand your mixerÑas you master the art of mixing. Stay calm, listen carefully, and have
fun.

Glossary
Basics of Mixing 59
Glossary
ADC For ÒAnalog-to-Digital Converter,Ó a device that receives analog audio and
converts it into digital data, such as analog audio coming into a digital mixer
AES/EBU For ÒAudio Engineering Society/European Broadcast Union,Ó a format for
sending and receiving digital audio data; typically uses an XLR connection
Ambience The resonating of the real or imaginary space in which a sound occurs
Amplitude The technical term for a signalÕs volume or loudness
Analog Voltage-based representations of audio
Analog-to-digital The conversion, using an ADC, of analog audio to digital data
Attenuate To reduce in volume
Audio A general term for a stream of sound
Automation The memorization and playback of changes you make to mixer settings
Aux Short for ÒAuxiliaryÓ; a designation for extra busses typically used for sending
signal to effects, headphone amps and other destinations
Aux return An extra input; typically used for receiving a signal from the output of an
internal or external effect processor
Aux send An extra bus that can be used for sending signal anywhere; typically used for
sending signal into an effect
Balanced A type of audio connection that uses the three leads in a cable, connector and
jack as part of a phase-cancellation scheme to boost signal and reduce noise
Band In EQ, a range of frequencies
Bandwidth In EQ, the width of a band; the number of frequencies that will boosted or cut
above and below a selected center frequency
Bass The lower frequency range of a sound, usually from about 200 Hz down
Bit depth The resolution at which level changes are represented in a digital audio signal
Boost To increase the level of something
Bus A pathway down which one or more signals can travel
Cannon connector Another name for an XLR connector
Channel A set of tools for the control and shaping of a single signal
Channel strip A row of controls on a mixer allocated to the shaping of a single signal
Clipping The unpleasant thumping or clicking noise made when a signal exceeds the
capacity of an audio device
Compression ratio The amount of gain reduction that will be applied to a signal exceeding a
compressorÕs threshold level setting
Compressor A dynamics processor that reduces the level of any signal exceeding a
specified threshold volume
Condenser Microphone A type of high-quality mic that requires power

Glossary
60 Basics of Mixing
COSM An abbreviation for RolandÕs ÒComposite Object Sound ModelingÓ technology
that shapes audio by applying the sonic characteristics of popular or classic
microphones, guitars, guitar amplifiers and studio reference speakers
Cue Bus A busÑsometimes a stereo pair of bussesÑdedicated to the providing of
signal to performers so they can hear what theyÕre doing
Cut To reduce the level of something; typically used in the context of EQ
Cycle In a sound wave, the repeating movement from the greatest amount of air
pressure to the least; the pitch of sound waves is measures in cycles; each
cycle equals one ÒHertzÓ
DAC For ÒDigital-to-Analog Converter,Ó a device that converts digital data to analog
audio, such as the audio leaving a digital mixer on its way to an analog device
DAT Abbreviation for ÒDigital Audio TapeÓ; used in reference to this type of tape as
well as the recorders that use it
dB Abbreviation for Òdecibel,Ó a unit of measurement for the loudness of audio
De-esser A device that detects and reduces sibilance in vocal signals
Delay An effect in which a copy of a signal is played back later than the original
Detent A notch that you can feel as you move a fader up or down; signifies the point
at which no level boost or cut is being applied by the fader
Digital Audio expressed as binary computer data
Digital-to-analog The conversion, using a DAC, of digital data to analog audio
Dim A switch that allows you to quickly reduce your monitoring volume
Direct box A mic-level box that converts a phone connector to an XLR connector
Distortion Fuzziness or roughness added to a sound
Doubling The artificial simulation of a second, unison performance thatÕs created using a
delay with a short delay time
Dry A signal to which an effect has not been added
Dynamics Expressive volume fluctuations in a signal
Echo A delay-based effect in which copies of a signal are heard trailing off to
silence; similar to shouting from a mountaintop and hearing your voice repeat
Effects Any of a variety of audio processes that can be applied to a signal to modify it,
including reverb, delay, flanging, phasing
Effect Loop The process of adding an effect to a signal by sending a copy of the signal to
an effect, and mixing the effectÕs output with the original signal
Effect return An input that receives signal from the output of an internal or external effect
EQ A popular abbreviation for Òequalization,Ó the thing an equalizer does
Equalization The process of altering the levels of frequencies that comprise a signal
Equalizer A device that boost or cuts the volume of specific frequencies in a signal
Expander A device that reduces the level of a signal when it falls below a specified
threshold to exaggerate its dynamic range
EZ Routing A re-usable template containing a Roland digital mixerÕs routings; in some
cases, walks you through the creation of a setup using displayed questions

Glossary
Basics of Mixing 61
Fade In A change in level over time increasing upward from silence
Fade Out A change in level over time falling gradually to silence
Fader A slider-type device thatÕs used for the precise manipulation of levels
Feedback The delaying of a delay so that multiple images of the original signal are heard;
also, the loud squeal thatÕs heard when a channel is receiving its own output
Filter A device that removes specified frequencies from a signal
Flanger An effect that adds a swirling sound to a signal by adding a slightly delayed
copy of the signal in which the copyÕs delay time fluctuates
FlexBus A powerful all-purpose bus available on Roland digital mixers
Flip On an in-line mixer, the act of allocating a channelÕs tools to the control of an
input signal or to the control of a multi-track tape return
Flipping When working with two signals 180 degrees out of phase, delaying one of the
signals so that its phase lines up with the other
Flying fader A motorized fader that automatically moves during automation playback
Frequency Refers to the number of times per second that a sound waveÕs cycle repeats,
with a greater frequency resulting in a higher perceived pitch; also used as
shorthand for describing sound waves in a signal by their pitch
Gain Another term for level
Gate A device that turns audio off or down when it falls below a specified threshold
Graphic equalizer An equalizer with pre-determined editable frequencies, arranged from left to
right to visually depict the EQ shape of a signal
Ground A common zero voltage reference in a system of connected audio devices;
when devices have different zero voltage references ground hum may occur
Grouping A process by which multiple channel strips are joined together under a single
level control
Hash mark A horizontal line along the path of a fader to help identify its up/down position
Headroom The number of dBs above the point at which a clipping warning appears before
clipping actually occurs
Hertz (Hz) A unit of measurement equal to a sound waveÕs single cycle
High-pass filter A filter that removes lower frequencies from a signal, allowing higher
frequencies to pass through unaffected
Hum An undesirable low-frequency tone present in a signal as a result of grounding
problems or proximity to a power source
Impedance The amount of force with which voltage leaves a connector and the amount of
resistance to that force in the jack receiving it; they should be equal
In-line Any effect accessed by interrupting a channelÕs signal flow, directing its signal
to the effect, and returning the effectÕs output to the channel at the same point
from which it came (also called an Òinsert effectÓ); also, a mixer whose input
and multi-track tape return controls are contained in each of its channel strips
Input A jack that receives audio
Input level The level of signal coming into a channel strip

Glossary
62 Basics of Mixing
Insert A point in a signal flow at which an in-line effect can be employed
Insert effect A two-way journey of a signal from a channel insert point to an effect and
back to the insert point
kHz for ÒkiloHertzÓ: a thousand Hertz
LCD For ÒLiquid Crystal Diode,Ó a plasma-based display used in most digital mixers
LED For ÒLight Emitting Diode,Ó a small, sometimes colored, light bulb
Level A general term for volume or amplitude
Limiter A compressor set to a ratio of 10:1 or greater
Line level The high-level signal produced at the outputs of audio equipment such as
mixers, recorders and playback devices
Low-pass filter A filter that removes higher frequencies from a signal, allowing lower
frequencies to pass through unaffected
Macro A digital mixer shortcut that performs a multi-step operation as a single action
Meter A visual device that shows the level of a signal
Meter bridge A separate piece of mixer hardware that provides an additional array of meters
Mic A common nickname for ÒmicrophoneÓ
Mic Level The low-level signal produced by microphones and electric instruments such
as electric guitar or bass
Microphone A device that converts sound waves into audio signals
MIDI For ÒMusical Instrument Digital Interface,Ó the wiring and message protocol
that allows musical instruments and other devices to communicate
Mix As a noun, a signal that contains one or more other signalsÑtypically a mix is
a pair of stereo signals that contains numerous mono and stereo signals, along
with effects, combined together; as a verb, the act of creating such a
combined signal, or of using a mixer in general
Mixdown A common synonym for the noun ÒmixÓ
Mixer A device in which audio signals can be manipulated, enhanced and directed to
other destinations, singly or together; also, someone who works a mixer
Modeling A process by which the characteristics of one signal are applied to another;
RolandÕs advanced COSM modeling creates realistic emulations of popular and
classic microphones, guitars, guitar amplifiers and studio reference speakers
Monitor As a noun, a speaker, or set of speakers, for the purpose of listening to a mix;
as a verb, the act of listening when mixing
Mono A single signal
MMC For ÒMIDI Machine Control,Ó the MIDI-based protocol that allows the controls
of one MMC-compliant device to affect the transport mechanism of another
MTC For ÒMIDI Time Code,Ó a form of SMPTE used for the timing synchronization
of two or more MIDI-compliant devices
Mute A switch that allows you to silence a channelÕs signal; some mixers provide
mute grouping for silencing multiple channels at once

Glossary
Basics of Mixing 63
Notching A form of EQ in which a selected frequency and a specified number of
frequencies above and below itÑcalled a ÒbandÓÑare affected
Optical connector A connector that transmits digital data as light using fiber-optic technology
Out of Phase A situation in which the sound-wave cycles in one signal reach their greatest
amount of air pressure as the cycles in a similar signal reach their least; the
two signals will cancel each other out
Outboard External, as in an Òexternal deviceÓ
Output A jack that sends out signal
Overload What occurs when a signal is so loud that it exceeds the capabilities of the
device through which itÕs passing
Pad A device that lowers the level of a signal
Parameter A setting whose value can be changed
Parametric A type of EQ that can be adjusted so that it can boost or cut any frequency
within its overall range; may also have a user-definable bandwidth
Patch A temporary connection made between two audio devices, or within one
Peak A sudden high-volume burst of signal
Panning The left/right positioning of a signal within a stereo image
Phasing The synchronizationÑor lack thereofÑof the sound waves in two similar
signals; also an effect in which a swirling sound is added to a signal by
creating a very slightly delayed copy of the signal and in which the copyÕs
delay time fluctuates, similar to flanging
Phase Cancellation The complete cancellation of audio that occurs when two signals are 180
degrees out of phase
Phantom Power The power required for the operation of a condenser microphone when itÕs
not supplied by internal batteries or a separate power supply
Phone Connector A 1/4Ó connector used for the transmission of mic or line-level audio
Phono Connector A small audio connector used for the connection of line-level signals and
S/PDIF-format digital audio connections
Polarity Refers to whether or not the hot and ground leads in two audio cables are
connected to their destinations in the same manner
Post The designation for accessing audio just after it leaves a particular channel
component; for example, Òpost-faderÓ grabs audio just after it leaves the
channelÕs main level control, before it gets to the panning control
Pre The designation for the accessing of audio before a particular module; for
example, Òpre-EQÓ grabs audio before it gets to a channel stripÕs EQ
Pumping The undesirable sound of a compressor or expander switching on and off
Q A synonym for ÒbandwidthÓ
Ratio The mathematical formula that describes the amount of gain change to be
applied to a signal that exceeds or falls below the threshold settings of a
compressor or expander, respectively
RCA Connector Another name for a phono connector

Glossary
64 Basics of Mixing
Reverb An effect in which the ambience of a physical space is simulated; a signal is
copied many times, and the copies are heard one after another at decreasing
levels, so closely together that they are not heard individually
Return A bus or input jack that receives signal, commonly used for effect outputs
RF for ÒRadio Frequency,Ó interference from local radio stations thatÕs sometimes
picked up and passed along audio cables
Riding The process of continually adjusting a signalÕs level
Roll off In EQ, the reduction of the level of lower-most or upper-most frequencies
Sample rate The number of times per second a digital device captures an image of a signal
Scene All of a songÕs or projectÕs mixer settings saved in a Roland digital mixerÕs
memory; can be quickly recalled, re-establishing all settings instantly
Send A bus or output jack that transmits signal
Send & Return effect The process of adding an effect to a signal by sending a copy of the signal to
an effect, and mixing the effectÕs output with the original signal; also called an
Òeffect loopÓ
Sequencer A MIDI recorder that captures MIDI data and can play it back in real time
Shelving A type of EQ in which all frequencies above or below a selected frequency are
affected; low shelving affects all frequencies below the selected frequency;
high shelving all those above it
Shielding The electric or magnetic materials used in a cable meant to protect its signal
from unwanted noise
Signal A general term for audio as it travels through audio cables and equipment
Signal Flow The journey a signal takes from one place to another
Slapback Type of reverb whose beginning is slightly delayed to simulate the reflection of
sound off of a physical wall; also called- Òpre-delayÓ
Slate A spoken label recorded at the beginning of a take, such as ÒRemix, Take 1Ó
SMPTE For ÒSociety of Motion Picture and Television EngineersÓ; synchronization
technology used for coordinating the timing of audio and video equipment
Snapshot A captured group of Roland digital mixer settings that reflect the state of the
mixer at a particular moment within a song or project; mixer can recall the
snapshot and re-instate its settings at the proper moment during the playback
of the song or project
Soft button, knob A multi-use button or knob on a digital mixer whose function is defined by
software
Solo When monitoring, the isolation of one signal by silencing all other signals
S/PDIF For ÒSony/Philips Digital Interface Format, Ò a standard for the sending and
receiving of digital audio data; typically uses phono connectors
Split A mixer with a separate section for controlling multi-track tape returns
Stereo A two-dimensional image created by two signals, each of which is assigned to
one of a pair of speakers arranged left and right of each other
Strip Short for Òchannel stripÓ

Glossary
Basics of Mixing 65
Sweep In EQ, to quickly select in sequence all of the frequencies in a signal
Synchronization Or ÒsyncÓ; the coordination of timing between audio and/or video devices
Take An attempt at recording something; each try is called a ÒtakeÓ
Threshold A designated level that triggers an action in a compressor, gate or expander
Track A stream of recorded audio data
Transient A very brief high-level signal
Treble The higher frequencies in a signal
Unbalanced A type of connection that utilizes only two of the leadsÑthe high and
groundÑof a cable, connector and jack
Volume A general term for a signalÕs loudness
XLR Connector A high-quality three-pin audio connector; also called a Òcannon connectorÓ;
also used for AES-EBU-format digital audio connections
Y cable An audio cable with one jack on one end, and two on the other

Basics of mixing

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Basics of mixing