Mastering the Basics: An Overview of Recording and Mixing on an Audio Console

SSL-SL9000J courtesy of Solid State Logic

In the realm of professional audio engineering, the audio console serves as a cornerstone tool, seamlessly bridging the worlds of recording and mixing. Understanding the intricacies of its functionalities can significantly elevate the quality and efficiency of audio production processes. In this blog post, we will explore how to use the audio console in both the recording and mixing processes. Typical in-line consoles feature two sets of inputs: microphone inputs and line-level inputs. Microphone inputs, designed to accept low-level mic signals, contrast sharply with line-level inputs, which interface with the rest of your audio system, including synthesizers, effects, and multitrack recorders. Flipping between both systems or using them simultaneously presents a challenge for new console users. Let’s break down each function.

Recording with an Audio Console

Mic inputs on an audio console are more than just entry points for audio signals; they capture the essence of live performances or studio sessions. These inputs preserve the integrity of incoming audio, with high-quality preamps ensuring optimal signal-to-noise ratios and dynamic range.

Mic level typically ranges between -60 and -40 dBu.

When discussing mic versus line level, we focus on the voltage typically generated because, remember, dynamic microphones are electrical generators that produce voltage analogous to the sound pressure levels hitting the diaphragm.

Various methods exist for routing from the console to your multitrack recorder, depending on how you wish to record your music:

1. For quick mic-to-multitrack recording, you can use the microphone out at the insert point, bypassing your auxiliary sends, direct outputs, and fader busses.

2. You can use an auxiliary send to route to a multitrack. However, you are limited by the number of auxiliary sends available. For example, if you only have two auxiliary sends, you can only send two microphones or a mix of microphones per auxiliary to your multitrack.

3. You can route signals using the busing matrix on the console, which is typically the primary method for sending signals to a multitrack. You are limited by the number of buses you have. For instance, consumer-level Mackie or Yamaha mixers might limit you to four or eight buses, which means you can only send four or eight tracks to your multitrack machine. While you might need to combine signals for a large ensemble, this method is optimal for singer-songwriter recordings. Large format consoles like those from Solid State Logic or API might offer 24, 32, or 64 bus matrices.

4. You can use the direct outs from your console. Direct outs bypass the busing matrix and exit through the bottom of the mixer channel. The fader affects the output level, but you benefit from all the processing power of the channel without the limitations of your busing matrix. However, you cannot combine signals.

Mixing on a Console

Engineers sometimes discuss flipping the console from recording to monitoring mode. This change means that instead of taking microphones as the primary input to each channel, the console shifts to accommodate the line inputs of incoming signals. These line inputs usually connect to the multitrack machine, but a patchbay can alter the routing.

Line level is about 1 volt, roughly 1000 times higher than a mic level signal. There are two primary line levels: -10 dBV, typical for consumer-level equipment (CD players, computer headphone jacks, etc.), and +4 dBu, typical for professional-level equipment like synthesizers, mixing consoles, and outboard gear.

Mixing

Mixing on an audio console can give you a much different, tactile experience than mixing on a DAW.

Using an audio console for mixing offers numerous strategic advantages rooted in tactile control. Through physical manipulation of faders, knobs, and buttons, engineers can intricately refine levels, make precise EQ adjustments, implement dynamic processing techniques, sculpt spatial effects, and seamlessly blend tracks. This hands-on method fosters a deep connection with the music, enabling nuanced alterations that significantly enhance the overall sonic impact of the mix.

Beyond basic mixing tasks like level balancing and panning, audio consoles boast sophisticated routing functionalities and signal processing capabilities. Subgroups, buses, and matrix routing systems allow engineers to organize and manipulate multiple tracks collectively, facilitating the application of global effects or subgroup processing. This streamlined workflow enhances cohesion within the mix, resulting in a harmonious sonic tapestry.

Furthermore, the integration of onboard EQ modules, dynamic processors, and effects units within the console enables engineers to craft dynamic and expressive mixes. Parametric EQs provide meticulous frequency control, while compressors and limiters manage dynamics effectively, imparting punch and clarity to individual tracks or the entire mix. Additionally, reverbs, delays, choruses, and other effects contribute depth, dimension, and spatial richness, imbuing the sonic landscape with captivating artistic allure.

In the digital domain, modern audio consoles seamlessly integrate with DAWs (Digital Audio Workstations), offering expanded flexibility, recallability, and automation capabilities. This symbiotic relationship between console and DAW enables engineers to harness the synergies of both analog warmth and digital precision. By merging the organic character of analog processing with the efficiency and accuracy of digital editing and recall, engineers achieve optimal sonic results that resonate with professional excellence.

Conclusion

Exploring the multifaceted capabilities of an audio console for recording and mixing unveils a world of strategic advantages and artistic possibilities. From capturing the raw essence of live performances to sculpting dynamic and expressive mixes, the audio console serves as a pivotal tool in the hands of skilled engineers. In the recording realm, the meticulous design of mic inputs and the strategic utilization of routing options empower engineers to preserve audio integrity and achieve optimal signal flow. Whether leveraging insert points for quick mic-to-multitrack recording or utilizing the busing matrix for nuanced control, the console offers versatility tailored to diverse recording needs. Transitioning to the mixing phase, the tactile control and advanced processing capabilities of audio consoles enable engineers to finesse every aspect of the mix with precision. From fine-tuning levels and applying EQ adjustments to crafting spatial effects and managing dynamics, the hands-on approach fosters a deeper connection with the music, resulting in mixes that resonate with clarity, depth, and artistic allure. Furthermore, the seamless integration of onboard EQ modules, dynamic processors, and effects units with digital audio workstations (DAWs) unleashes a hybrid realm of analog warmth and digital precision. This convergence of technologies empowers engineers to navigate between analog character and digital efficiency, achieving optimal sonic results that embody professional excellence. Ultimately, mastering the potential of an audio console requires a blend of technical expertise, creative intuition, and a deep understanding of signal flow and processing techniques. By harnessing the full capabilities of mic inputs, line inputs, routing options, tactile controls, and digital integration, audio engineers can unlock a world of sonic possibilities, creating immersive and impactful audio experiences that captivate listeners and stand the test of time.