Music, Sound, and Audio Technology

Picking the Right Audio Mixing Console for Your Production: Includes 4 Big Questions to Ask

By Bryant Falk
posted May 18, 2009, 12:29

Bryant Falk has been a producer and engineer for over 12 years working with such clients as The Ricki Lake Show, Coca-Cola, Sports Illustrated, Valley National Bank, and MTV�s The Shop. His company Abacus Audio (www.abacusaudio.com) handles many aspects of the audio production field from creative and production to mixing and final output.

Many times when we see a production in progress, there is that one guy or girl with headphones sitting in front of a box with tons of sliders and knobs. We then say, �Why don�t I have one of those on my shoot?� And then ask, �What kind do I need for my shoot?�

What we have here is a classic case of Mixer envy. So let�s figure this thing out.

That console you see with all those sliders is typically called a mixer. I also like to call it the Swiss Army knife for audio. It allows the audio engineer many ways to route his audio signals. In the old days, these items were extremely large and cumbersome. But through the advance of technology they have shrunk to very acceptable proportions.

The biggest questions to ask yourself when picking a mixer:

(1) How many people or places need a microphone at the same time?
(2) How portable does my �mixer rig� need to be?
(3) Will there be power, or do I need a battery operated mixer?
(4) Does my director need an audio feed?

These four questions will get the ball rolling in the right direction. Once you have more than two audio sources, you�re typically in Mixerville. For example, two lav mics and a boom. You could mix two lavs onto one channel and record the boom separately.

If the director needs an audio feed, you may want a mixer with sub outs that allow for many mixes at the same time. Otherwise, a splitter for the headphone output will be imperative. Also, a big plus is the ease you have in muting unwanted microphones during a shoot. With just a few button presses, you can have all the mics shut down except for the one on your lead giving a great monologue!

Portability plays a huge role in the decision making process. If your mixer must run on batteries, you are in a smaller category of options. From the Sure FP33 or M367 to Sound Devices and their popular 442 series. In the accompanying photos, Richard Topham, President of Pro Sound Services in New York City, gave me a tour around some common audio mixers. Battery requirements can vary from 9 volt to double A batteries. Many pro�s will opt to use a rechargeable battery pack. These plug into the external power and can be replaced with fresh battery packs when needed.

If you know you won�t be moving around much and can plug in a full size mixer, your options really open up. From advanced routing control for multiple monitor and recording devices to EQ adjustment and outboard gear that could be patched in, (compressors, limiters, etc.).

Whichever system you choose, keep in mind a mixer should be making your life easier and getting you cleaner signal into your recording devices. Also, be very aware of connectors. Having a great mixer but no way to connect into it is a waste of sound.

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Check out this article in the March 2008 print edition of StudentFilmmakers magazine, page 48.

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