Mixers: Tips for Purchasing

I clearly remember the first time I entered a recording studio. The recording console looked so huge and intimidating. How could one ever use all those buttons and knobs? Several years later, I found myself working very comfortably behind that same console. The recording console had not changed, but I had.

Now I realized each control had a purpose, and there really weren't too many buttons. In fact, I often wished I had more controls. What was the difference? Training and experience had given me the confidence to operate that large recording console.

You are probably asking what that story has to do with deciding how many inputs you need for your new mixer. Well, the answer is you shouldn't be too concerned about the size of your new or potential mixer. If your requirements indicate your organization could benefit from having a much larger mixer than you presently have, don't be afraid. After some training and experience, you will be glad your organization invested in an appropriate mixer.

Let's get back to the question. How many inputs does your new mixer need in order to meet your sound needs of today and be flexible enough for tomorrow? That question can only be answered by asking several other questions. Those answers will help define the needs, now and for the future.

SPEAKING NEEDS

Ask:

• What microphones does my organization need to meet the speaking requirements?
• Is there a single podium or a pulpit and a lectern?
• Does the speaker (talker) desire-a wireless microphone?
• Are any other speaking microphones needed?

The bottom line is you need to carefully analyze your particular situation. Depending on the answers to the previous questions, your organization may need from one to five microphones just for speaking!

MUSICAL NEEDS

Ask anyone and everyone who is involved in the music program:

• Ask the choir or soloists, what problems do you have when you sing?
• Do the special-music groups have the necessary equipment?
• What are the musicians' future needs?

Yes, it takes time and energy to get this information, but it will help you plan for your present and future needs.

There are still other areas of needs. Is your event being recorded or broadcast, or would you like it to be in the future? That presents more microphone needs. Since the person listening on the radio is not at the broadcast site, s/he will not hear any sound that is not picked up by a microphone. That means a microphone may have to be used on almost every instrument if the radio listener is to hear properly reproduced and balanced sound. The actual requirements are dependent on the music style and the acoustics of the room. And don't forget the audience microphone(s). Your listeners may want to hear the audience participation.

Now that you have a good idea of the possible number of microphones needed, there are several other decisions which present themselves. Let's say you have found a need for 12 different microphone locations. However, you can't imagine using any more than 6 microphones during the same event. You have two options. The first is to purchase a 12 input mixer so each input jack has a dedicated mixer input. This option has many advantages. Each jack can be labeled and each mixer input will have a corresponding label. This makes the operation much more simple and foolproof. Anyone with a little training will be able to plug a microphone into the jack labeled 10 and know that he has to turn up input number 10 on the mixer.

Figure 1

The other option is to purchase a 6 input mixer. Now, the extra 6 input cables and plugs will have to lay behind the mixer (Figure 1). When one of those extra lines are needed, one of the cables presently plugged in will have to be unplugged. The new cable is plugged into that position. The advantage of this system is cost. A 6 input mixer is less expensive than a 12 input mixer. But on the negative side, it can be more confusing to operate. The labels on the microphone jacks will not always match the labels on the mixer. For instance, input 6 on the mixer may have microphone cable 10 plugged into it. The sound operator should always check to see which cables are plugged into the mixer so he isn't caught with a microphone that is plugged into a dead line.

Another option to having the extra cables lay behind the mixer is to have a patch panel (Figure 2). A patch panel allows you to have as many input lines as you need. These input lines can then be patched into any mixer input with a patch cable. This system gives the sound technician a good understanding of how the input microphone lines are arranged into the mixer. It also results in clean, organized system wiring. However, patch panels can be expensive and they take time to wire. You may be able to purchase a mixer with more inputs for the same cost as the patch panel. In a way, you will be using the mixer as a patch panel. You will also have more inputs to use at your next program. Invariably, more microphones will be needed than you planned for.

Figure 2

We have usually found it to be short sighted to purchase a mixer that will only fit the needs right now. As the group grows and needs change, we all too often hear customers comment that they should have heeded our advice and purchased a larger mixer. We would like to help you in your decision making process. We will ask questions which can help you determine what your needs really are. We want you to have a sound system which does the job now and will continue to satisfy the needs of the future.

by Ron Huisinga © 1996 Internet Sound Institute (www.soundinstitute.com). This article is for personal use only. Any commercial reproduction is not permitted without permission. To obtain permission, contact ISI at hopi@soundinstitute.com

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