Operating a Sound Console: Reprint from Apr-Jun Issue of Sound Express, 1998

As discussed in the previous issue of Sound Express, equipment selection and developing operational skills are often separate steps. The previous article discussed features of a sound console. This article focuses on the operation.

Operation of the sound system is often a thankless job. If you do a terrific job, you are not noticed. But let something go wrong, and a whole room full of people turn around and stare. Therefore, we have to agree that being unnoticed is the best option!

As you know, performers need to practice. The same is true for developing your sound skills. You may need to insist on both time to practice mixing sound for the performers as well as an adequate sound check near performance time.

In preparation, you need to become familiar with your sound console, the signal flow, and the response of your master slider, treble, mid, bass, effect controls etc.

You should follow a regular process of "zeroing the board" at the start of a session. This refers to moving all settings to a known starting position. This is especially true when someone else may have been the last person to use it. Some settings may have been left off track. I've seen operators struggle during the sound check with a problem only to eventually discover a basic setting way off balance. The "zero" process insures that you won't miss these changed settings.

Set main, monitor, and channel sliders to zero. Set EQ to the midpoint on each channel. Set master, monitor and effects sends to zero.

For most systems you will want to power on the mixing console and peripherals (EQ, effects etc) first. Then power the main amp. Modern amps have protection circuits that do not send power to the speaker for several seconds after power-on. Following this procedure will protect and lengthen the life of your main speakers. Reverse this procedure for power down.

Gradually raise the master fader(s) to the marked center position. Adjust the channels one at a time starting with the lead singer or key instrument. Raise the slider to a pleasant level, then use this as a reference level when you bring up the rest of the channels.

Most boards will have a knob at the top of each channel marked as "trim", "gain", or "atten". These are designed a bit different but for a similar purpose. Input devices (e.g. microphones) put out different signal levels. If the level is too weak you may get less quality and more hiss. If the input is too strong you will get distortion from overloading the input. This knob lets you control the input level. A good board will have a clipping indicator on each channel. This is a red light that flashes on if the signal is too strong. If this is happens, turn down the trim on that channel. Next, adjust the equalization (e.g. Bass, Mid, Treble) for the channel you are working with. Make the singer or instrument sound natural. New technicians tend to leave the vocals sounding a bit muddy. You may feel this is a musically pleasant sound. However, you will want to listen for how easily you can understand the lyrics. Try adjusting the treble and observe the difference.

Once each channel has been set, switch your focus to the blend. Can you hear every instrument and vocal? Are some too loud? Are the vocals discernible above the instruments? Can you hear the lead singer? If people are expected to sing along, you will want to make certain the vocalist singing the melody is a bit louder than the rest. Make certain you know which vocalist is singing melody. Note this may change with each song or even parts of songs. Make adjustments to the main channel sliders as necessary.

You will want to have a headphone handy. Note however, that when you are mixing for live sound, listen to the live sound. The headphone mix will not be right for the room. Headphones are used for several other purposes. Headphones help you listen to an individual channel to set the EQ. Most mixing consoles have a PFL button (pre-fader listen, sometimes named 'Solo' or other titles). When pressed, this button mutes all other channels from the headphone and sends only the selected channel. If you set the EQ this way, you will want to remove the headphones and check the live sound and make a few more necessary adjustments for the live mix. In other words, use the headphones to get close, then fine-tune the EQ live.

Another use of the headphones is to find a channel. If the mics get mixed up on stage and you're not sure who is using what channel, put on the headphones and start pressing the PFL buttons.

If you have an effects unit, set the effects (e.g. reverb/echo) next. Note that you want echo on for music and off during speaking.

Once the mix is set, don’t try to follow the performer and raise the level when they sing softly and lowering when they sing loud. Let them control the dynamics. Note that you may need to coach some singers on proper use of the mic (see mic control article in October 97 issue of Sound Express). Move channel sliders for mics not currently being used to 0. This will avoid unwanted sounds and allow move gain before feedback on the mics being used.

During the sound check, ask (or train) the performers to indicate desired monitor levels. In-experienced singers may need to understand why monitor settings are separate from the main speaker mix. Watch performers who signal for monitor changes during a performance.

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