ProSoundWeb: Somewhere back in the paleolithic era of live sound, mixing consoles were noisy. That’s because they were made of stuff. Look inside a modern digital console and what you’ll find is a few ribbon cable connecting the fader/encoder banks to a small motherboard. All that computerized digital magic has made audio mixers very, very quiet.
1 comment:
Working in sound I have seen this layout that they are describing before. I worked at a dinner theatre during the summer and saw a lot of the same concepts that they are talking about in this article. However, I didn’t realize that there was a convention to how they all get laid out. Of course, once I think about it, it makes total sense to have it this way. Making sure that the layout and setup is the same is critical for people to be able to come in and out of a venue and do their best work quickly without trying to figure out what all the sends are and how they relate to one another. I was surprised by the amount of granularity that they described in the article. There is an order for every mic that you can think of. In the future I will definitely be trying to follow this structure in how I am programming and sound console. I wonder how much of this is followed in the professional world and how it might differ from concert to theatre to events/corporate.
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