Analog consoles have to be recalled manually, meaning each knob, button, switch, and fader has to be documented and returned to its original position by hand. Every knob, switch, button, and fader will snap to its saved position. The biggest advantage digital consoles hold over an analog mixer is instant “recall.” This means a mix (or setup) can be reloaded to the exact parameters from when it was last saved. Each of these console types has its own set of advantages and disadvantages, which are directly related to one another. Post-fader auxes are used for time-based effects so the amount of the effect (reverb, etc.) stays consistent with respect to the fader level.Īudio mixers are manufactured in either analog or digital form. Pre-fader auxes are used for headphone mixes so adjustments to the fader are not heard in the performer’s headphone mix. With this in mind, application of these auxes becomes easy.

A post-fader aux maintains the “wet-to-dry ratio.” This means each post-fader aux has its own level control and the effected signal can be raised and lowered with the fader.

A pre-fader aux sends the same amount of level to the new destination regardless of the fader’s position. These copies can be taken before or after the fader, referred to as “pre-fader” or “post-fader” auxes. On a live console, auxes are used for time-based effects, but also may be used to send sounds to in-ear monitors or a monitor wedge on stage. In the studio environment, auxes are used for creating a headphone mix or adding a time-based effect (such as reverb or delay). Mixers have a dedicated area for auxiliaries (auxes) used to send a copy of the channel’s signal to another destination. Some mixers have a knob referred to as the “line trim.” This serves the same purpose for line level signal as the mic pre does for mic level signal: it adds or subtracts gain at line level. This normally takes the form of deselecting all switches and buttons but may vary between consoles. The mixer will also be able to accept +4 line level, -10 line level or both. If so, pressing this button will tell the mixer to accept the instrument level signal (rather than mic level or line level). In this case, there may be a switch or button labeled “DI” in the input section. Wiring a guitar, bass or another instrument may use a separate input jack (probably for an “unbalanced” ¼” cable). Then, the mic pre knob must be raised in order to add gain to the signal. For example, if a microphone is wired into a channel, the channel must be configured to accept mic level signal. Depending on which level of signal is desired to be accepted, specific knobs and/or switches must be engaged and used. The input area of the channel strip may accept any or all of the following levels of signal: mic, instrument, -10 line level or +4 line level.

Easy audio mixer 2