The input strip is usually separated into these sections:
- Input Jacks / Microphone preamps
- Basic input controls
- Channel EQ (High, Mids and low)
- Routing Section including Direct Outs, Aux-sends, Panning control and Subgroup assignments
- Input Faders
- Subgroup faders
- Output controls including Master level controls, EQ and/or Matrix routing
On the Yamaha Console to the right, these sections are color coded for quick identification by the operator. Each signal that is input into the mixer has its own channel. Depending on the specific mixer, each channel is stereo or monaural. On most mixers, each channel has an XLR input, and many have RCA or quarter-inch Jack plug line inputs.
Basic input controls
Below each input, there are usually several rotary controls (knobs, pots). The first is typically a trim or gain control. The inputs buffer the signal from the external device and this controls the amount of amplification or attenuation needed to bring the signal to a nominal level for processing. This stage is where most noise or interference is picked up, due to the high gains involved (around +50 dB, for a microphone). Balanced inputs and connectors, such as XLR or Tip-Ring-Sleeve (TRS) quarter-inch connectors, reduce interference problems.
There may be insert points after the buffer/gain stage, which send to and return from external processors which should only affect the signal of that particular channel. Insert points are most commonly used with effects that control a signal's amplitude, such as noise gates, expanders, and compressors.
Auxiliary send routing
The Auxiliary send routes a split of the incoming signal to an auxiliary bus which can then be used with external devices. Auxiliary sends can either be pre-fader or post-fader, in that the level of a pre-fade send is set by the Auxiliary send control, whereas post-fade sends depend on the position of the channel fader as well. Auxiliary sends can be used to send the signal to an external processor such as a reverb, which can then be routed back through another channel or designated auxiliary returns on the mixer. These will normally be post-fader. Pre-fade auxiliary sends can be used to provide a monitor mix to musicians onstage, this mix is thus independent of the main mix.
Channel equalization
Further channel controls affect the equalization (EQ) of the signal by separately attenuating or boosting a range of frequencies, e.g., bass, midrange, and treble. Most large mixing consoles (24 channels and more) usually have sweep equalization in one or more bands of its parametric equalizer on each channel, where the frequency and affected bandwidth of equalization can be selected. Smaller mixing consoles have few or no equalization controls. Care must be taken not to add too much EQ to a signal that is already close to clipping; additional energy will overdrive the channel.
Some mixers have a general equalization control (either graphic or parametric) at the output.
Subgroup and mix routing
Each channel on a mixer has an audio taper pot, or potentiometer, controlled by a sliding volume control (fader), that allows adjustment of the level, or amplitude, of that channel in the final mix. A typical mixing console has many rows of these sliding volume controls. Each control adjusts only its respective channel (or one half of a stereo channel); therefore, it only affects the level of the signal from one microphone or other audio device. The signals are summed to create the main mix, or combined on a bus as a submix, a group of channels that are then added to get the final mix (for instance, many drum mics could be grouped into a bus, and then the proportion of drums in the final mix can be controlled with one bus fader).
There may also be insert points for a certain bus, or even the entire mix.
Master output controls
Subgroup and main output fader controls are often found together on the right hand side of the mixer or, on larger consoles, in a center section flanked by banks of input channels. Matrix routing is often contained in this master section, as are headphone and local loudspeaker monitoring controls. Talkback controls allow conversation with the artist through their wedges, headphones or IEMs. A test tone generator might be located in the master output section. Aux returns such as those signals returning from outboard reverb devices are often in the master section.
Metering
Finally, there are usually one or more VU or peak meters to indicate the levels for each channel, or for the master outputs, and to indicate whether the console levels are overmodulating or clipping the signal. Most mixers have at least one additional output, besides the main mix. These are either individual bus outputs, or auxiliary outputs, used, for instance, to output a different mix to on-stage monitors. The operator can vary the mix (or levels of each channel) for each output.
As audio is heard in a logarithmic fashion (both amplitude and frequency), mixing console controls and displays are almost always in decibels, a logarithmic measurement system. This is also why special audio taper pots or circuits are needed. Since it is a relative measurement, and not a unit itself (like a percentage), the meters must be referenced to a nominal level. The "professional" nominal level is considered to be +4 dBu. The "consumer grade" level is −10 dBV.
