new to "serious" mixer (well, serious for us)

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ospenser

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went from a little 8x10 inch mixer with like 4 XLR inputs plus to a yamaha mc166cx

('whats a bus??')

well - we know what a bus is but we're having a hard time using all this new-found flexibility and the PFL etc.

i've got a big blowup of the schematic so i can see where the switches send stuff - i know - it should be easy. But bad part is the schematic DOESNT point at the switch it shows ON THE MIXER ITSELF.


we have one issue with getting stereo output mix to the headphones/monitors (instead of only PFL signals). I've tried interpreting the diagram on p18 - the PFL button near the MON/PHONES is UP (off) and yet we only get channels that have the PFL buttons down.

For recording - we want to be sure the recording mix has good relative levels - we should be able to record the mix level that comes out of the speaker (STereo out), in my opinion - and that should remove the problem where what is recorded is not what we heard coming out of speaker (or something like that). Maybe we haven't sourced the signal for the REC OUT jacks correctly? or can we use a different BUS (jacks) for that?

TIA

Mike
 
I have the same mixer, and use it for recording. Think of the PFL as a "solo" button. If ANY of the PFL buttons are on ONLY those channels with PFL on are routed to the stereo L/R out (which is as you say). Fix #1: Turn all PFLs off. PFL has a function, and that is to bypass the EQ and faders. I use it to set the input gain. Activate the channel PFL, set the main fader to unity (0 db) then increase the input gain until the LED meter reads unity (0 db), turn the PFL off. Repeat on each channel.

From what you say I am assuming you are recording only two track (stereo l/r). I prefer to route my channels to Group 1-2 (and not to 3-4 or Stereo l/r) ... then connect the Group 1-2 outputs to my recorder l/r (group 1 is left, group 2 is right). This way, the overall level going to recorder is controlled by the Group 1-2 slider. When you use the "tape out" as you do you have no control over the level ... it's a set line level signal. To monitor, I take the line level signal from the recorder and input that into tracks 15/16 and route that to the stereo out. This gives me the ability to adjust the monitored level separately from the recorded level. You could just as well route the line level signal from the recorder to the '2-track in' jacks (which always route to stereo l/r or monitor l/r depending on the setting of the switch) and control the volume level via the 2-track in knob (but I prefer to use that input for an iPod).

To summarize:

  • All PFL off
  • All ST off
  • Group 1-2 on (active channels)
  • Channel ON (only active channels)
  • Connect Group 1-2 outputs to recorder L/R respectively
  • Connect Recorder line out to channel 15-16
  • Channel 15-16 ST on

It gets a little more complicated if you use the effects, but to simplify, just turn the Effects Group 1-2 on to send FX outputs on the recorded signal (and the channel FX and master FX levels appropriately, of course).

With flexibility comes complexity. Once you get a handle on the how the signal(s) route through the mixer it'll make sense, and you'll find new ways to use your mixer.
 
thanks Rusty!!

actually we're gonna use this with rehearsal and gigs mostly , and we are making a demo CD to hand out - i imagine there are some subtle differences among those situations.

In our group (kinda latin pop/jazz) we have only 4 people totaling about 7 mics and a keyboard - trumpet, vocalist, conga/rhythm with vocals, and keyboard with vocals (NO BASS, NO DRUMS - THATS IN THE KEYBOARD) - the keyboard sets the tempo as well as the standard keyboard functions of melody etc. Certainly our conga/rhythm guy has to be able to hear the keyboard clearly - we will do that eventually with a monitor on the gig but for rehearsals and gigs for now we are using headphones.

FX (Reverb) definitely come into play for us for gigs and recording.

I'll parse your reply and see how well we do.

Is there a standard basic book on "how people use mixers for gigs etc. . . " ???


Many thanks.

Mike
 
Yamaha has published a book "The Yamaha Sound Reinforcement Handbook". Probably over most peoples' heads, but a good read. Available at most online music retailers and Amazon.
 
The Yamaha Sound Reinforcement Handbook is a reference that should be on the bookshelf for everyone involved in sound. However, it's not a book to "read"...it's a reference full of everything from mathematical formulas to wiring specs for tons of connectors.

If you want a very readable book about the basics, try AUDIO MADE EASY OR HOW TO BE A SOUND ENGINEER WITHOUT REALLY TRYING. It's written in an easy to grasp style but I can vouch that the information is accurate. Worth a read.

Bob
 
Thanks Bobsy - i did get a chance to browse the yamaha book on amazon and while thorough its more of a technical book - at this stage your reco. seems to fit the bill (more like a "mixers for idiots" ) - e.g. when you might want pre-fade on the monitors etc. I browsed thru THAT and searched a bit at amazon and ORDERED it.

Thanks again.
 
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