MORE MIXER FLEXIBILITY

INCREASE THE FLEXIBILITY OF THE MIXER YOU HAVE

If you have a mixer that lacks some features you need, you might be able to use the features you have to gain the features you lack. Here are some tricks that give you extra flexibility with minimal investment:

1. Use an after-fader AUX SEND and SUBGROUPS to make separate multitrack and house mixes:
   • Patch the output of the AUX SEND to the house amplifier.
   • Connect the subgroup outputs to the multitrack tracks.
   • Use the GROUP ASSIGN switches to select which group gets each live part.
   • Set the faders and trims for the proper recording level for each part.
   • Then set the AUX SEND control of each channel strip to make the live house mix.
   • Now you can turn down acoustic instruments in the house mix using the AUX SEND controls without messing up the recording mix to do so.
   • Use the faders to adjust both the house mix and the recording equally.
2. Use an after-fader AUX SEND (or EFFECTS SEND) for an extra SUBGROUP:
   • Your mixer must be able to unassign the LR (MAIN) GROUP to do this.
   • Patch the output of the AUX SEND into an unused channel or AUX RETURN.
   • Use the return channel FADER or AUX RETURN level control to control the entire group.
   • The individual AUX SEND controls are set to unity gain to assign the channel to the "subgroup," and all the way down to not assign it.
3. Use a pre-fader AUX SEND (or MONITOR SEND or FLB) for an extra SUBGROUP:
   • Your mixer does not need to deselect the LR (MAIN) GROUP to do this.
   • Patch the output of the AUX SEND into an unused channel or AUX RETURN.
   • To select this send, turn the channel FADER down, and control level with the AUX SEND instead.
   • Use the channel FADER or AUX RETURN level control on the return channel to control the entire group.
4. Use an AUX SEND for a SOLO function:
   • Patch the output of the AUX SEND into a headphone amplifier.
   • Use the channel AUX SEND level control to enable and disable the SOLO on each channel.
   • A PRE-FADER send is PFL (pre-fader listen), and an AFTER-FADER send is AFL (after-fader listen).
   • If the send has a switch to choose PRE or AFTER, then you can have both.
   • Set the send to unity gain to SOLO the channel, all the way down to remove it from SOLO.
5. Use an AUX RETURN for an extra input channel:
   • As long as you don't need to be able to equalize the signal, or send it to monitors or effects, an AUX RETURN will do just fine.
6. Use an unused channel as an AUX RETURN:
   • Just be careful not to send that channel strip to the AUX SEND that feeds the effect that is being returned.
7. Use a SUBGROUP for an extra EFFECTS SEND:
   • As long as you don't need to be able to control the level independently of the main mix for each channel, this works fine.
8. Use a SOLO for a SUBGROUP:
   • The SOLO must be AFTER-FADER (AFL) and the LR (MAIN) GROUP must be assignable for this to work.
   • Many mixers send the SOLO to an output (labeled CONTROL ROOM or MON).
   • This output can be patched into an unused channel or AUX RETURN.
   • Alternately, a pad can be plugged into the Headphones jack and its output patched to the unused channel or AUX RETURN.
   • Just don't press the SOLO button on the return channel or forget and try to use SOLO.
9. Change your PFL (pre-fader listen) to AFL (after-fader listen):
   • As long as you don't need monitor sends, you can set the channel FADERs to unity gain and use the TRIM controls as faders.
   • Pre-fader AUX SENDs (MONITOR) become after-fader AUX SENDs (EFFECTS) when this is done.
10. Use an unused channel to monitor something else:
    • Use a Y-cord or extra outputs to connect any sound source not directly connected to the mixer to the input of the unused channel.
    • If you have PFL, you can turn down the FADER and all of the AUX SENDs, and use the PFL SOLO to monitor the sound source.
    • To use AFL, the groups must all be simultaneously unassigned. Turn down the AUX SENDs and set the FADER at unity gain.
11. Use two mono channels as one stereo channel:
    • Set the PAN pot of the lower numbered channel hard left, and the PAN pot of the higher numbered channel hard right.
    • Set the EQ and FADER controls identically.
12. Use a stereo channel as two mono channels:
    • Choose one source that is to be panned hard left, and another to be panned hard right.
    • The sources should be similar enough to use the same EQ setting.
    • Connect them to the left and right inputs.
    • Use the FADER to control common level of both sources, and BALANCE to control which is stronger.
13. Cascade two small mixers:
    • Connect the L and R outputs of the first mixer to a stereo AUX RETURN on the second mixer.
    • Any SUB groups can be connected to additional AUX RETURNs if they are assignable, or to unused channel inputs.
    • Either connect a switch (or a headphone mixer) to select which HEADPHONES output to listen to, or route the HEADPHONES output of the first mixer through a pad to an unused channel on the second mixer that can be SOLOed without being assigned.
    • Resistive mixing cords can combine AUX SENDS from both mixers to feed monitor amps and effects.
14. For extra EQ control, cascade two input channels:
    • Patch the CHANNEL RECORD output, DIRECT OUT output, an unused SUBGROUP output, or an unused AUX SEND output, into LINE INPUT of the second channel.
    • If a SUBGROUP is used, assign the first channel to only that subgroup, and assign nothing else to it.
    • If a CHANNEL RECORD output or an AUX SEND is used, don't assign the first channel to anything.
    • If the channel can't be unassigned, keep its fader down, and use a pre-fader after-EQ AUX SEND.
    • Assign the second channel normally.
    • You can now double the boost or attenuation, or use more frequencies on your sweepable EQs.
15. Double up a source to two channels for different front-of-house and recording settings:
    • Use one of the following methods, depending on what your mixer has:
    • If the mixer has TRS inserts:
      • Make a special Insert-Tap cable with a TRS plug on one end, with the tip and ring connected together, and a TS plug on the other end.
      • Bring the source into one channel, and put the TRS plug (this is the Tap End) into that channel's INSERT connector.
      • Plug the other end into the second channel's LINE INPUT.
    • If the mixer uses separate INSERT SEND and INSERT RETURN jacks:
      • Bring the source into one channel, and connect one end (think of this as the Tap End) of an ordinary patchcord to its INSERT SEND jack.
      • Plug the other end into the second channel's LINE INPUT.
    • Use a Y cable to feed the source to two channel strips
    • Assign the channels accordingly.
16. Use an unused channel as a booster:
    • Use one of the insert tap methods described in the tip above to take the INSERT SEND output of the first channel.
    • Patch the other end into a low-level input on another channel.
    • You might have to put an XLR plug on the end without the tap plug to do this.
    • Don't assign the first channel to anything.
    • Watch out for increased noise this might cause.
    • Try to set the TRIM controls of both channels to the same setting.
17. Connect two mixers to the same sources:
    • If your first mixer has TRS inserts:
      • Make a snake of the insert-tap cables described in the tip above.
      • Be sure each cable is color coded the same at both ends.
    • If the mixer has separate INSERT SEND and INSERT RETURN jacks:
      • An ordinary 1/4 inch snake will do.
    • Plug the Tap End of each cable into an INSERT (or INSERT SEND) jack of the mixer that the sources are connected to.
    • Plug the other end of each cable into a LINE INPUT on the second mixer.
    • This is great for doing separated front-of-house and recording mixes, or for a separated monitor mix.
    • Use two snakes, and have a separate mixer for each of the three functions!
    • One warning: Adjusting the TRIM controls on a mixer affects the levels on each mixer farther down the chain.
18. Turn two mono-mic/stereo-line channels into a stereo mic channel and a stereo line channel:
    • If the channels each have dual TRS INSERT jacks after the line inputs:
      • Make a two-conductor-plus-shield cable with the tip and ring traded at one end.
      • Plug one end into the RIGHT INSERT of the first channel, and the other end into the LEFT INSERT of the second channel.
    • If the channels have separate INSERT SEND and INSERT RETURN jacks:
      • Connect an ordinary patchcord from the RIGHT INSERT SEND of the first channel to the LEFT INSERT RETURN of the second channel.
      • Connect an ordinary patchcord from the LEFT INSERT SEND of the first channel to the RIGHT INSERT RETURN of the second channel.
    • The first MIC input will be placed on the left side of the first channel
    • The second MIC input will be placed on the right side of the first channel.
    • The RIGHT LINE input of the first channel is routed to the left side of the second channel, and the RIGHT LINE input of the second channel will appear on the right side of the second channel.
    • Do not connect anything to the LEFT LINE input of either channel strip.
    • NOTE: On some mixers, the EQ is before the inserts. In this case, both channel strips will need the same EQ settings.
19. Use two mono channels to gain control over phase:
    • Make a Y adaptor with two male XLR connectors and one female XLR connector.
    • Wire one of the male XLR connectors with pins 2 and 3 traded, and mark this connector as such.
    • Plug the source into the female connector, and patch the male connectors to two adjacent channels.
    • Open the FADER of the channel with the unmarked connector for normal phase, and the channel with the marked connector for reversed phase.
20. Use two mono channels to place the left and right outputs out of phase:
    • Make and connect the Y adaptor in the tip above.
    • Set the PAN pot of the lower numbered channel hard left, and the PAN pot of the higher numbered channel hard right.
    • Set the EQ controls identically.
    • Use the faders to control the panning of the out-of-phase sound.
    • This puts sound into the rear of a matrixed surround sound system.
21. Encode matrixed surround sound: Follow this link.

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