In live sound, we need to know how much volume we have in the speaker system before clipping.
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In live sound systems, clipping an audio signal can eventually damage a speaker. This can be expensive to replace.
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The wireless audio landscape is changing year by year, which makes the job of an RF (Radio Frequency) coordinator increasingly important.
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Once we have a good mix we need to route it to the output of the mixer.
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You can assign input channels to VCAs or Subgroups, but they function differently.
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Compression can help you build a well balanced mix.
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Gates are especially effective on percussion and other transient sounds.
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Both Parametric and Graphic EQ can dramatically alter a sound, but each tends to work best in specific situations.
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Soft Patching is a super handy feature of digital mixers.
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Correctly setting input gain is the first step to a great mix.
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Being aware of a microphone polar pattern can help you control what gets in (or stays out of) your mix.
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This handy trick has been a life saver when I’m mixing monitors from FOH.
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Direct Boxes (DIs) are how we connect electrical audio signals to the mixer.
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A speaker may need more than one channel of amplification.
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The needs for PA zones varies on the venue and type of performance.
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Many engineers use both a mic and a DI for bass guitar. This gives us options while building a mix.
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Two input sources for the same instrument don’t always line up perfectly.
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Microphones can “color” a sound by their unique frequency response.
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The type of cable you use determines how far you can run the signal.
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Manipulating frequencies is one the main ways we shape our mixes.
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