MMPLS501

Reinforce Live Sound

RQF Level: 5 Learning Hours

60
Credits: 6

Sector: ICT and Multimedia

Trade: Multimedia Production

Module Type: Specific

Curriculum: ICT MMP5001 TVET Level 5 in multimedia production

Copyright: © Rwanda TVET Board, 2023

Issue Date: May ,2024 2024-25

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Elements of competency Performance criteria

1. Install sound system 1.1. Environment is properly assessed based on event requirements.

1.2. Equipment is properly selected based on assessed environment

1.3. The site is properly installed according to its acoustics and audience
seating arrangement.

1.4. Audio components are correctly connected based on audio system

schema/block diagram component.

2. Control sounds 2.1 Sounds are clearly monitored based sound quality.

2.2 Sound system is properly troubleshoot based on its technical issues.

2.3 Performers are properly guided based on stage monitoring techniques.

3. Maintain sound equipment 3.1. Sound equipment is properly dismantled and checked in line with safety
and efficiency.

3.2. Audio equipment is properly cleaned based on cleaning procedures.

3.3. Audio equipment is properly stored based on manufacturer’s

instructions

Learning outcome 1: Install sound system

Introduction to live sound

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Live sound refers to the audio produced and experienced in real time, as opposed to recorded
or pre-recorded sound. It typically involves a live performance, such as a concert, musical, or
theatrical production, where musicians, singers, or actors perform in front of an audience.

Key characteristics of live sound:

 Spontaneity: Live performances are characterized by their unpredictability and

spontaneity, as performers may make adjustments or improvise during the show.
 Direct experience: Audiences experience live sound directly, without the mediation of
recording or playback equipment.
 Interaction: Live performances often involve interaction between the performers and
the audience, creating a unique and immersive experience.

Reinforcing live sound refers to the process of enhancing the sound quality and volume of a
live performance using electronic equipment. This is typically done to ensure that the audience
can hear the music and vocals clearly, even in large venues or outdoor settings.

Common techniques used to reinforce live sound:

 Microphones: Capturing the sound from instruments and vocals.

 Mixers: Combining the signals from multiple microphones and adjusting their levels.
 Amplifiers: Increasing the volume of the sound.
 Speakers: Delivering the amplified sound to the audience.
 Equalizers: Adjusting the frequency balance of the sound.
 Compressors: Controlling the dynamic range of the sound.
 Effects processors: Adding various effects, such as reverb, delay, or distortion.

Indicative content 1.1. Assessing the Environment for Reinforcing Live Sound

Assessing the Environment for Reinforcing Live Sound refers to the process of evaluating the
physical characteristics of a venue or outdoor space to determine the best approach for
ensuring optimal audio quality during a live performance or event. This assessment is essential

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for ensuring that the sound system is properly designed, installed, and adjusted to overcome
any challenges posed by the environment.

Here are the key factors to consider:

Sound System

 Type: Determine if a passive or active system is suitable based on the venue size, power
requirements, and budget.
 Components: Ensure the system includes speakers, amplifiers, mixers, microphones,
cables, and accessories.
 Capacity: The system should be able to handle the expected sound levels and audience
size.

Types of PA System

 Portable PA: Ideal for small venues and outdoor events.

A portable public address (PA) system is a self-contained audio system that can be easily
moved and transported to different locations. These systems are designed to provide clear and
amplified sound for public announcements, presentations, events, and other gatherings.

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Portable PA systems typically include:

 Amplifier: This increases the volume of the audio signal.

 Speakers: These deliver the amplified sound to the audience.
 Microphone: This captures sound from a speaker or performer.
 Mixer: This combines and controls the levels of multiple audio sources.
 Power supply: This provides electricity to the system.

 Fixed PA Systems or Large scale:

o Fixed PA Systems This type of PA, require permanent installation
in venues such as auditoriums, theaters, or conference rooms.
They consist of multiple components like microphones, mixers,
amplifiers, and speakers.

o Large-scale PA: Used for concerts, festivals, and arenas.

Large-scale public address systems, on the other hand, emphasize the sheer size and
capacity of the system. These systems are often used in very large venues, such as arenas or
stadiums, where they need to deliver sound to a massive audience. They may incorporate
advanced technologies like beamforming or digital signal processing to ensure clear and
intelligible sound coverage even in challenging acoustic environments.

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  Integrated PA Systems:
This Combine various components like microphones, mixers, and
speakers into one unit for ease of use. These systems are typically user-
friendly and easy to set up.

 Distributed PA: Provides even sound coverage in large spaces.

Distributed public address (PA) systems typically refer to systems that are spread out over a
large area, with multiple speakers or loudspeakers placed at various locations. This allows for
even sound coverage across a wide space, such as a stadium, airport, or theme park. The goal
of a distributed PA system is to ensure that everyone in the area can hear the announcements
or messages clearly and consistently.

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 Types of Events

 Music concerts: A music concert sound system requires a complex network of

equipment designed to deliver high-quality audio to a large audience.

These systems typically consist of several key components:

1. Microphones:

 Vocal microphones: Capture the singer's voice.

 Instrument microphones: Capture the sound of various instruments.
 Wireless microphones: Offer freedom of movement for performers.

2. Mixers:

 Analog or digital mixers: Combine and balance the signals from multiple microphones
and other audio sources.

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  Features: Equalizers, compressors, effects, and routing capabilities.

3. Amplifiers:

 Power amplifiers: Increase the volume of the audio signal.

 Types: Tube amps, solid-state amps, and hybrid amps.
 Power Amplifiers: Like the Crown XLS Series, used to power large
speakers.
 Integrated Amplifiers: Combine an amplifier with other components like
mixers in one unit.

4. Speakers:

 Main speakers: Deliver the primary sound to the audience.

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  Subwoofers: Provide deep bass frequencies.
 Monitor speakers: Speakers placed on stage so performers can hear themselves

5. Signal Processing: Signal processors are used to shape, modify, and control the audio
signal for better sound quality and management.

The following are some examples of Signal processing equipments:

 Equalizers: Adjust the frequency balance of the sound.

 Compressors: Control the dynamic range of the sound. This means, it reduces the
volume of loud sounds and increase the volume of softer sounds

 Effects processors: Add various effects like reverb, delay, or distortion.

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  Reverb/Effects Units: Add effects to the sound for enhanced audio
experience.

6. Audio Cables:

A cable is a wire or bundle of wires used to transmit electrical signals or power between
devices. In audio and PA systems, cables connect microphones, instruments, amplifiers, and
speakers to facilitate sound transmission and communication.

 Connect all components of the system.

 Types: XLR, TRS, RCA, and speak on.
 XLR Cables: Typically, XLR cables (3-pin connectors). Used for connecting
microphones and other balanced audio equipment, this helps reduce
noise and interference.

 TRS Cables: For balanced connections between mixers and other devices
 Speaker Cables: Specifically designed for connecting speakers to
amplifiers,mixer.

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Figure 1:Speaker connector( Speacon)

7. Power Distribution:

 Ensure adequate power supply to all components.

 Use power conditioners to protect equipment from voltage fluctuations.

8. Acoustic Treatment:

 Reduces unwanted reflections and echoes in the venue.

 Uses sound-absorbing materials like acoustic panels.

 Corporate events: May need a more versatile system for speeches, presentations, and
music.

A corporate event sound system is essential for ensuring that your message is heard clearly and
effectively. Whether you're hosting a small meeting or a large conference, the right sound
system can make a big difference in the overall success of your event.

Key Components of a Corporate Event Sound System: Microphones, Mixer, Amplifier,

Speakers, Wireless microphones, Audio cables, Signal processors

 Theater productions: Require a system that can integrate with stage lighting and
effects.
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A theater production sound system is a crucial component of any stage performance. It ensures
that the audience can clearly hear the dialogue, music, and sound effects, enhancing the overall
viewing experience.

Key Components of a Theater Sound System

1. Microphones: These capture the sound of actors, musicians, and other sound sources
on stage.
2. Mixers: These devices combine and control the levels of multiple audio sources,
allowing for balance and equalization.
3. Amplifiers: These increase the volume of the audio signal.
4. Speakers: These deliver the amplified sound to the audience.
5. Equalizers: These adjust the frequency balance of the sound to compensate for room
acoustics and desired effects.
6. Effects processors: These add various effects, such as reverb, delay, or distortion, to
enhance the sound.
7. Wireless microphones: These allow for freedom of movement for actors and musicians.
8. Digital audio workstations (DAWs): These software programs can be used to record,
edit, and mix audio.

Considerations for Theater Sound Systems

 Room acoustics: The shape and size of the theater can affect sound quality. Acoustic
treatments may be necessary to improve sound clarity.
 Audience size: The size of the audience will determine the required speaker power and
placement.
 Type of performance: Different types of performances (e.g., musicals, plays, concerts)
may have different sound requirements.
 Budget: The budget will influence the choice of equipment and accessories.

Venue Size and Layout

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 Venue size and layout are crucial/important factors in designing an effective PA system.
The size of the venue determines the power and number of speakers needed to ensure
sound reaches all areas clearly. Larger venues may require more extensive systems,
including multiple speakers and amplifiers, to cover the distance. While, the layout
including the shape of the space and the positioning of obstacles like pillars or walls,
affects how sound travels.
Target Audience

 Preferences: Understand the audience's expectations and preferences for sound quality.
 Age: Consider the age demographic, as hearing sensitivity varies.
 Cultural factors: Be aware of cultural preferences and sensitivities regarding sound.

Power Source

 Availability: Ensure access to a reliable power source or consider generators if

necessary.
 Capacity: The power source must be able to handle the system's requirements.

Venue Acoustics

Understanding the venue's sound qualities helps in placing speakers and adjusting settings to
make sure the sound is clear and balanced.

Logistics and Setup Time

 Access: Consider access to the venue and any restrictions on equipment movement.
 Setup time: Allocate sufficient time for system setup and testing.

Budget

 Constraints: Determine the available budget for the sound system and related
expenses.

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Planning how long it will take to set up the PA system and coordinating with other event details
is key to avoiding last-minute issues.

Indicative content 1.2. Equipment selection

Equipment selection in a sound system refers to the process of choosing the appropriate
components to meet the specific needs of a particular application. This involves considering
factors such as:

Factors to consider for better selection of equipment”

 Purpose: What is the sound system being used for (e.g., live music, public
announcements, home theater)?
 Size and venue: How large is the space where the system will be used? What are the
acoustic characteristics of the venue?
 Budget: How much money is available for the system?
 Desired sound quality: What level of audio fidelity is required?
 Portability: Does the system need to be easily transportable?
 Type of Event: Different events require different equipment. For example, a concert
may need powerful speakers and subwoofers, while a conference might need clear
vocal microphones and portable systems.

 PA Input Devices

PA input devices are the components of a public address (PA) system that are used to capture
and input audio signals. These devices allow you to connect various sources of sound to your PA
system, such as microphones, instruments, and other audio equipment.

 Microphones:

Dynamic microphones: A dynamic microphone is a type of microphone that

uses electromagnetic induction to convert sound waves into electrical signals. A

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 condenser microphone is a type of microphone that uses a diaphragm placed
close to a back plate to form a capacitor. When sound waves hit the diaphragm,
it vibrates, causing changes in capacitance that generate an electrical signal.

They are known to be robust/strong and durable, suitable for live performances.

Some popular examples of dynamic microphones include:

 Shure SM57

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 Shure SM58

 Sennheiser e 905

 AKG D5

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Condenser microphones: Condenser microphones are a type of microphone
that uses a capacitor (also known as a condenser) to convert sound waves
into electrical signals. They are highly sensitive and capable of capturing a
wide range of frequencies, making them popular for recording and studio
applications.

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There are known to be sensitive and detailed, ideal for recording and studio applications.

Ribbon microphones: Ribbon microphones are a type of microphone that uses a thin
metal ribbon suspended between two magnetic fields to convert sound waves into
electrical signals. The ribbon vibrates in response to sound waves, inducing an electrical
current in the magnetic field.

How it works:

1. Sound waves strike the ribbon: The sound waves cause the ribbon to vibrate.
2. Ribbon moves within magnetic fields: As the ribbon vibrates, it moves within
the magnetic fields created by the magnets.
3. Electrical current is induced: The movement of the ribbon within the magnetic
fields induces an electrical current in the ribbon.

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 4. Signal is amplified: The electrical signal is amplified and transmitted as an audio
signal.

 Wireless microphones:

Wireless microphones are audio devices that transmit sound signals without the use of
cables, allowing for greater mobility and freedom of movement. They consist of a
microphone, a transmitter, and a receiver.

Line inputs: Line inputs in a sound system are designed to receive audio signals from
various external sources that have already been amplified and processed. These inputs
typically accept balanced audio signals, which are less susceptible to noise and
interference than unbalanced signals.

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Common sources of line inputs include:

 CD players: These devices output a line-level audio signal.

 MP3 players: Similar to CD players, MP3 players also have line-level outputs.
 Computers: Computers can output audio through line-level outputs or USB audio
interfaces.
 Mixers: Mixers often have line-level inputs to connect to other audio sources.
 Synthesizers: Synthesizers can output a line-level audio signal.
 Other audio equipment: Many other audio devices, such as turntables or tape decks,
may have line-level outputs

 Instrument inputs: Instrument inputs in sound reinforcement systems are designed to

accommodate the specific characteristics of various musical instruments. These inputs
often have different impedance and sensitivity requirements compared to line inputs,
which are designed for amplified signals.

Common types of instrument inputs include:

▪Guitar inputs: These inputs are specifically designed for electric guitars and have a high
impedance to match the output of the guitar's pickup.

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 ▪Bass guitar inputs: Similar to guitar inputs, but with a slightly different impedance to
accommodate the lower frequencies of the bass guitar.
▪Keyboard inputs: These inputs are designed for keyboards and synthesizers, and may
have different impedance requirements depending on the type of instrument.
▪Other instrument inputs: Some sound systems may have inputs specifically designed
for other instruments, such as violins, drums, or wind instruments.

Instrument inputs are typically used to:

▪Connect musical instruments directly to the sound system: This eliminates the need
for additional amplification or processing.
▪Provide phantom power: Some instrument inputs can provide phantom power, which
is required for certain types of condenser microphones and other electronic devices.
▪Adjust gain and tone: Many instrument inputs have built-in gain controls and tone
controls that can be used to adjust the sound of the instrument

 PA Output Devices

PA output devices in a sound system are the components responsible for delivering the
amplified audio signal to the audience. These devices typically include:

 Speakers: This is the most common type of PA output device. Speakers come in various
sizes and configurations, including full-range speakers, subwoofers, and stage monitors.
 Headphones: Headphones can be used for monitoring the audio signal, but they are not
typically considered PA output devices in a live sound context.

The choice of PA output devices depends on the size of the venue, the desired sound quality,
and the type of performance. For example, a large outdoor concert may require multiple full-
range speakers and subwoofers to deliver sufficient sound coverage to the audience. A smaller
indoor performance may only require a few speakers and stage monitors.

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Key considerations when selecting PA output devices:

 Power handling: The speakers must be able to handle the power output of the
amplifiers.
 Frequency response: The speakers should be able to reproduce the full range of
frequencies required for the performance.
 Sensitivity: The speakers' sensitivity determines how loud they will be for a given
amount of power.
 Coverage: The speakers should be able to provide even sound coverage throughout the
venue.
 Weight and portability: If the PA system needs to be portable, the speakers should be
lightweight and easy to transport.

Types of Speakers Used in Sound Systems

Speakers are the primary output devices in a sound system, responsible for delivering the
amplified audio signal to the audience. There are several types of speakers used in sound
systems, each with its own characteristics and applications.

 Full-Range Speakers

Full-range speakers are designed to reproduce a wide range of frequencies, from low to
high.

Full-range speakers typically have a frequency response of 20 Hz to 20 kHz. This means

they can reproduce sounds from the lowest audible frequencies (20 Hz) to the highest
audible frequencies (20 kHz).

This wide frequency range allows full-range speakers to produce a balanced sound with
good bass, midrange, and treble response.

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  This is suitable for a variety of applications, including live sound, home audio, and public
address systems.
 It is Multifunctional and can be used in various settings, but it may not provide the same
level of bass response as dedicated subwoofers.

 Midrange speakers are designed to reproduce frequencies in the mid-range of the

audio spectrum, typically between 200 Hz and 2 kHz. This range includes most human
speech and many musical instruments.

Midrange speakers are often used in conjunction with full-range speakers or subwoofers to
create a complete audio system. They provide clarity and detail in the mid-range frequencies,
which can be essential for understanding speech and enjoying music.

 Woofers and subwoofers

Subwoofers are specialized speakers designed to reproduce low-frequency sounds

(bass).

Subwoofers typically have a frequency response of 20 Hz to 120 Hz. This means they are
specifically designed to reproduce the lowest frequencies, which are often referred to as
"bass."

 This often used in conjunction with full-range speakers to provide deeper and more
powerful bass.
 Enhance the overall sound quality and impact of the audio, but require additional space
and power.

Woofers and subwoofers are both types of speakers designed to reproduce low-frequency
sounds, but they have distinct differences in their range and purpose.

Key Differences

 Frequency Range:

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 o Woofers: Typically reproduce frequencies between 40 Hz and 2 kHz.
o Subwoofers: Specialize in reproducing frequencies below 200 Hz, often as low as
20 Hz.

 Size:
o Woofers: Can vary in size, but are generally smaller than subwoofers.
o Subwoofers: Often larger to accommodate the larger cone size needed to
produce deep bass.

 Purpose:
o Woofers: Are often part of a multi-driver speaker system, handling the mid-bass
and low-mid frequencies.
o Subwoofers: Are dedicated to reproducing the very lowest frequencies, adding
depth and impact to sound.

 Tweeter speaker

Tweeters are specialized speakers designed to reproduce the highest frequencies, typically
above 2 kHz. They are characterized by their small size and their ability to produce clear and
detailed high-frequency sounds.

Key characteristics of tweeters:

 High-frequency response: Tweeters are specifically designed to accurately reproduce

sounds in the high-frequency range.
 Small size: Tweeters are often smaller than other types of speakers, allowing them to be
placed in various locations.
 Clarity and detail: Tweeters can provide excellent clarity and detail in high-frequency
sounds, such as cymbals, bells, and high-pitched vocals.

 Coaxial Speaker

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Coaxial speakers are a type of speaker that combines a tweeter and a woofer into a single unit.
The tweeter is typically placed in the center of the woofer, allowing both drivers to share a
common enclosure and acoustic space.

 Horn Speaker

Horn loudspeakers are a type of speaker that uses a horn-shaped acoustic waveguide to
increase the efficiency and directivity of sound reproduction. The horn is designed to gradually
increase in size from the throat to the mouth, which helps to focus the sound and increase its
intensity.

Key characteristics of horn loudspeakers:

 High efficiency: Horn loudspeakers are highly efficient, meaning they can produce a high
volume of sound with relatively low power input.
 Directivity: Horn loudspeakers have a narrow beam width, which means they focus the
sound in a specific direction. This can be beneficial in applications where it is important
to target the sound at a particular audience.
 Wide frequency response: Horn loudspeakers can be designed to reproduce a wide
range of frequencies, from low to high.

 Signal Processors

After the sound is captured, it often goes through processing to improve or change it.
This can include devices like mixers, equalizers, and effects processors that adjust
volume, tone, or add effects like reverb.

Common types of signal processors used in live sound reinforcement include:

 Equalizers: Equalizers are signal processors used in sound systems to adjust the
frequency balance of audio signals. They allow you to boost or cut certain frequencies to
shape the overall sound of instruments, vocals, or other audio sources.

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 Common used types of equalizers:

1. Graphic equalizers: These have a series of fixed-frequency bands that can be

adjusted to boost or cut specific frequencies.

2. Parametric equalizers: These allow you to adjust the frequency, gain, and
bandwidth of each band more precisely.

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  Signal processing

 Compressors: Control the dynamic range of the sound, reducing loud peaks and
boosting quieter signals.

Common controls found on compressors:

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 Threshold: This control sets the level at which the compressor starts to reduce gain.
Signals below the threshold are unaffected.
Ratio: This control determines how much the compressor reduces gain for signals above
the threshold. A higher ratio means more compression.
Attack: This control sets the time it takes for the compressor to start reducing gain after
a signal exceeds the threshold.
Release: This control sets the time it takes for the compressor to stop reducing gain
after a signal falls below the threshold.
Output: This control adjusts the overall level of the compressed signal.
Meter: This indicates the amount of compression being applied to the signal.

 Gates: are signal processors used in sound systems to reduce or eliminate unwanted
noise and background noise. They work by automatically muting or reducing the volume
of signals below a certain threshold.

Gates automatically mute or reduce the volume of signals below a certain threshold, reducing
noise and background noise.

How gates work:

1. Threshold setting: The gate's threshold is set to a specific level.

2. Signal monitoring: The gate continuously monitors the incoming audio signal.
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 3. Signal reduction: If the incoming signal falls below the threshold, the gate reduces or
mutes the signal.
4. Signal recovery: When the signal rises above the threshold, the gate allows the signal to
pass through.

Common controls found on gates:

Threshold: This control sets the level at which the gate starts to reduce or mute the
signal. Signals below the threshold are affected.
Range: This control determines how much the gate reduces the volume of signals below
the threshold. A higher range means more reduction.
Attack: This control sets the time it takes for the gate to start reducing the volume after
a signal falls below the threshold.
Release: This control sets the time it takes for the gate to stop reducing the volume
after a signal rises above the threshold.
Output: This control adjusts the overall level of the gated signal.

 De-essers: De-essers are signal processors specifically designed to reduce

sibilance, which is the hissing sound that can occur in vocals, especially when
pronouncing "s" and "sh" sounds. They work by reducing the gain of high-
frequency sounds that fall within the sibilance range.

How de-essers work:

o Sibilance detection: De-essers use a frequency analyzer to detect sibilant

sounds.
o Gain reduction: When a sibilant sound is detected, the de-esser reduces
the gain of the high-frequency components of the signal.
o Signal restoration: Once the sibilant sound has passed, the de-esser
restores the gain of the signal to its original level.

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  De-esser controls:

Threshold: This control sets the level at which the de-esser starts to
reduce gain.
Frequency: This control sets the frequency range that the de-esser
targets.
Range: This control determines how much the de-esser reduces gain.
Attack: This control sets the time it takes for the de-esser to start
reducing gain.
Release: This control sets the time it takes for the de-esser to stop
reducing gain.

 Reverb units: Simulate the acoustic space of a room or other environment.

Reverb units are signal processors used in sound systems to simulate the acoustic space of a
room or other environment. They add a sense of depth, richness, and naturalness to the sound
by creating artificial reflections and echoes.

 Audio mixer
1. Definition of audio mixer.

Mixers, also known as audio mixers or soundboards or mixing console or mixing desk
, audio production console. Are essential components in audio systems for adjusting,
combining, and controlling audio signals. Mixers come in various types and with different
capacities, depending on their intended use.

2. Mixer types and their capacity

2.1. Mixer types

1. Analog Mixers:
An analog mixer is what generally comes to mind when most people think of a
mixing desk. It has a standard appearance, and a pretty unified layout such that

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 any person with some knowledge operating a mixing desk can get hold of one
and get going immediately.
These are simple and cost-effective mixers designed for small setups or
applications with fewer input channels. They typically have basic features and
are suitable for small events, home studios, or personal use.
Advantages of Analog Mixers

With that said, analog mixers have numerous advantages. Some of these include:

 They are cheap and inexpensive to buy

 They are user-friendly. Once you get the hang of an analog mixer, you can efficiently
operate any other analog mixer. First-time audio mixer users usually find it easier to learn
and operate.
 Quickly and easily set up a live mix

Disadvantages of Analog Mixers

Analog mixers also have some disadvantages, which include:

 Limited Signal Processing

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  Lack of Recall and Automation
 Size and Weight: Analog mixers tend to be larger and heavier than their digital
counterparts, making them less suitable for portable and compact setups.
 Limited Connectivity: Analog mixers may offer fewer connectivity options compared to
digital mixers.
 Cost of Expansion: Expanding an analog system with additional channels or advanced
features can be costly
 Limited Remote Control

2. Digital Mixers:
 Digital mixers have a wider variety of control functions. You can pre-program,
save, and recall setups, which is convenient if you play with the same band
regularly. This is also a plus for when you need to make a quick set up change in
the middle of the event.

 Most digital mixers also come with wireless connectivity to connect it to an iPad
or smartphone for remote control. This means that you don’t have to be
positioned in one place the entire time. You are free to walk all over the room
while mixing on your phone or tablet, ensuring the music is heard everywhere.
Portable Digital Mixers: These compact digital mixers are designed for portability
and ease of use. They are suitable for smaller events and mobile setups.

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 Advantages of a Digital Mixer
 It’s easy to pre-program and recall settings whenever you want to use them.
 Digital mixers can accommodate more external sound sources
 Digital mixers can perform a variety of tasks because each control offers several features
for different purposes.
 They can be used to perform multi-track recordings.
 Finally, digital mixers are compact and portable, which makes carrying them from one
point to another relatively easy.

Disadvantages of Digital Mixers

 One of the most significant disadvantages of digital mixers is their cost. They are very
expensive
 Digital mixers are also difficult to operate.

3. Powered Mixers:
A powered mixer is basically an analog mixer but with the added advantage of built-in
power amplifiers. Most powered mixers come with two amp channels and can be
plugged in with two speakers or one speaker and one monitor.

They are usually easy to set up and use. They are also pretty compact, which means they
are easy to transport.

Powered mixers also feature line-level outputs allowing you to add more powered
speakers and monitors easily.
Advantages of Powered Mixers

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  Simple to set up and operation
 Portability
 All-in-one integration

Disadvantages of Powered Mixers

 If one part of it fails, you’ll need to replace the whole unit
 Unlike analog and digital mixers, you don’t get a variety of features
Let’s get some more technical baggage out of the way so we can get on to the good stuff.

• Signal - An electrical representation of a sound as it passes through electronic

equipment.
• Volume - How loud the sound is
• Level - The electrical equivalent of Volume
• Gain - Another way to describe making a signal stronger (a measure of signal level
increase).
• Noise - Any undesired sound that your sound system creates, even when a sound
signal is not present. (Hiss or hum)
• Distortion - An undesirable alteration of the signal (clipping

What are channels on a mixer?

A channel is essentially a signal path. A mixer with a large channel count allows more things to
be connected and routed through it. Channels are usually designed to accept microphones
and/or line-level devices such as amplifiers, preamps, or signal processors

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Now let describe channel.

Audio mixer channel, offen referred to as a channel strip.

1. Input

This is where an audio source, such as microphone or instrument, is connected to the mixer.

2. Gain/ Trim control

Many people make the mistake of mistaking gain for volume. This is wrong. Gain should be
used just like any other control knob: to set the kind of sound you want and the quality, not
volume. The volume is what faders are for.

Gain refers to the adjustment of the input level of an audio signal. It allows you to control the
strength or amplitude of the signal coming from a microphone, instrument, or other sound
sources before its processed or mixed with other signals.

Summary:

GAIN: It adjusts signal level and amplifies or reduces the strength of audio signal, optimize
signal quality and prevent distortion.

3. EQ: Equalization

The EQ section of most mixers will be located right under the gain control, and can consist of
anything from 1 to 13+ knobs or 3 to 33 sliders.

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The EQ section allows you to modify the tonal characteristics of the audio signal. It typically
includes controls for adjusting bass, midrange, and treble frequencies.

For those of you who are new to audio, equalization refers to the control (boosting, cutting) of

certain frequencies to achieve a better sound or to eliminate feedback or unwanted noises.

4. Auxiliary outputs (Auxes)/ AUX SENDS

Auxiliary send referred as aux send or auxiliary bus, is a not or feature in audio mixers that
allows you to send a portion of channel signal’s audio signal to separate output, known as an
auxiliary output or bus.
PAN control

This determines the placement of the audio signal within the stereo field, allowing it to be
positioned to the left, center or right.

5. Faders, PFL's and AFL's, Pre/Post Fader auxes

The fader (present in small mixers as a level or volume knob) is used to set the volume of that

channel's signal in the mix. It is the most basic component in any channelstrip. Faders are

essentially volume sliders. Each channel has its own fader.

6. Mute and Solo Buttons

Mute silences the channel’s audio output while Solo isolate it for monitoring. These are helpful
for controlling which channels are heard in the mixer.

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 7. Inserts

These allow you to insert audio processors, such as compressors or reverber units, direct into
the channel’s path.

8. PFL

PFL stand for pre- fade listen. It is a feature found on audio mixing consoles and equipment,
often in a form of button or switch. PFL allows you to listed to individual channel’s audio signal
before it is affected by the channel’s fader or level control.

9. Effect

The effect knob on an audio mixer is used to control the amount of an effect such as reverb,
delay, chorus, or other signal processing, applied to a specific channel or overall mix.

10. Main output Knobs

These refer to the controls that adjust level of audio signal at various output points on the
mixer. These output points could include main outputs, subgroup outputs and more.

 Signal Routing:
Signal routing is about directing the processed audio to different parts of the system. It
involves sending sound to the right places, like to speakers or recording devices. This can
be done using cables, mixers, or digital interfaces.

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 Amplification:
The processed sound signal is often too weak on its own. Amplifiers boost the signal to a
level that can power the speakers, making the sound loud enough for everyone to hear.

Learning outcome 2: Monitor sounds

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