An aux-send (auxiliary send) is an electronic signal-routing output used on multi-channel sound mixing consoles used in recording and broadcasting settings and on PA system amplifier-mixers used in music concerts. The signal from the auxiliary send is often routed through outboard audio processing effects units (e.g., reverb, digital delay, compression, etc.) and then returned to the mixer using an auxiliary return input jack, thus creating an effects loop. This allows effects to be added to an audio source or channel within the mixing console. Another common use of the aux send mix is to create monitor mixes for the onstage performers' monitor speakers or in-ear monitors. The aux send's monitor mix is usually different from the front of house mix the audience is hearing.
Purpose
The routing configuration and usage of an aux-send will vary depending on the application. Two types of aux-sends commonly exist: pre-fader and post-fader. Pre-fader sends are not affected by the main fader for the channel, while post-fader sends are affected by the position of the main fader slider control for the channel.
In a common configuration, a post-fader aux-send output is connected to the audio input of an outboard (i.e., an external [usually rack-mounted] unit that is not part of the mixer console) audio effects unit (most commonly a temporal/time-based effect such as reverb or delay; compressors and other dynamic processors would normally be on an insert, instead). The audio output of the outboard unit is then connected to the aux-return input on the mixing console (if the recording console has one), or, alternatively, it can be looped back to one of the console's unused input channels. A post-fader output is used in order to prevent channels whose faders are at zero gain from "contaminating" the effects-return loop with hiss and hum.
Mixing consoles most commonly have a group of aux-send knobs in each channel strip, or, on small mixers, a single aux-send knob per channel, where one knob corresponds to each aux-send on the board. The controls enable the operator to adjust the amount of signal that will be sent from its corresponding channel into the signal bus routed to its corresponding aux-send output. The largest, most expensive mixers have a number of aux-send knobs on every channel, thus giving the audio engineer the flexibility to create many live sound and/or recording applications for the mixer.
This Alto S-8 mixer has two knobs for controlling the aux-send mix (the third and fourth knobs from the bottom).
A benefit of using an aux-send is that it enables the signals from multiple channels on a mixing console to be simultaneously routed to a single outboard device. For instance, audio signals from all the channels of a sixteen-channel mixing console can be routed to a single outboard reverb unit so that all channels are heard with reverb.
The aux-sends from a group of inputs can also be routed to an amplifier and then sent to monitor speakers so that the onstage musicians can hear their singing or playing through monitor wedge speakers on the stage or through in-ear monitors. The benefit of using the pre-fader aux-send function is that the volume of the vocals or instruments in the monitor mix does not have to be the same as the "front-of-house" mix for the audience. Musicians whose voices are barely present in the "front-of-house" mix, such as backup vocalists, can have their sound clearly and loudly sent through a monitor speaker so that they can hear themselves singing and ensure that their pitch and timing is correct.
A mixing console or mixing desk is an electronic device for mixing audio signals, used in sound recording and reproduction and sound reinforcement systems. Inputs to the console include microphones, signals from electric or electronic instruments, or recorded sounds. Mixers may control analog or digital signals. The modified signals are summed to produce the combined output signals, which can then be broadcast, amplified through a sound reinforcement system or recorded.
A DI unit is an electronic device typically used in recording studios and in sound reinforcement systems to connect a high-output impedance, line level, unbalanced output signal to a low-impedance, microphone level, balanced input, usually via an XLR connector and XLR cable. DIs are frequently used to connect an electric guitar or electric bass to a mixing console's microphone input jack. The DI performs level matching, balancing, and either active buffering or passive impedance matching/impedance bridging to minimize unwanted noise, distortion, and ground loops. DI units are typically metal boxes with input and output jacks and, for more expensive units, “ground lift” and attenuator switches.
A sound reinforcement system is the combination of microphones, signal processors, amplifiers, and loudspeakers in enclosures all controlled by a mixing console that makes live or pre-recorded sounds louder and may also distribute those sounds to a larger or more distant audience. In many situations, a sound reinforcement system is also used to enhance or alter the sound of the sources on the stage, typically by using electronic effects, such as reverb, as opposed to simply amplifying the sources unaltered.
In audio engineering, a fade is a gradual increase or decrease in the level of an audio signal. The term can also be used for film cinematography or theatre lighting in much the same way.
A DJ mixer is a type of audio mixing console used by disc jockeys (DJs) to control and manipulate multiple audio signals. Some DJs use the mixer to make seamless transitions from one song to another when they are playing records at a dance club. Hip hop DJs and turntablists use the DJ mixer to play record players like a musical instrument and create new sounds. DJs in the disco, house music, electronic dance music and other dance-oriented genres use the mixer to make smooth transitions between different sound recordings as they are playing. The sources are typically record turntables, compact cassettes, CDJs, or DJ software on a laptop. DJ mixers allow the DJ to use headphones to preview the next song before playing it to the audience. Most low- to mid-priced DJ mixers can only accommodate two turntables or CD players, but some mixers can accommodate up to four turntables or CD players. DJs and turntablists in hip hop music and nu metal use DJ mixers to create beats, loops and so-called scratching sound effects.
In audio processing and sound reinforcement, an insert is an access point built into the mixing console, allowing the audio engineer to add external line level devices into the signal flow between the microphone preamplifier and the mix bus.
A bass amplifier is a musical instrument electronic device that uses electrical power to make lower-pitched instruments such as the bass guitar or double bass loud enough to be heard by the performers and audience. Bass amps typically consist of a preamplifier, tone controls, a power amplifier and one or more loudspeakers ("drivers") in a cabinet.
Panning is the distribution of an audio signal into a new stereo or multi-channel sound field determined by a pan control setting. A typical physical recording console has a pan control for each incoming source channel. A pan control or pan pot is an analog control with a position indicator which can range continuously from the 7 o'clock when fully left to the 5 o'clock position fully right. Audio mixing software replaces pan pots with on-screen virtual knobs or sliders which function like their physical counterparts.
A channel strip is a device that allows the output of an audio device to be amplified to a line level and integrated into some other system. An audio channel strip may be a stand-alone unit or one of many units built into a mixing desk. It usually includes a microphone preamp with a switchable phantom power voltage to power condenser microphones and some form of audio equalization. Some designs also offer other facilities including audio compression, de-essing, noise-gating and limiting.
Re-amping is a process often used in multitrack recording in which a recorded signal is routed back out of the editing environment and run through external processing using effects units and then into a guitar amplifier and a guitar speaker cabinet or a reverb chamber. Originally, the technique was used mostly for electric guitars: it facilitates a separation of guitar playing from guitar amplifier processing—a previously recorded audio program is played back and re-recorded at a later time for the purpose of adding effects, ambiance such as reverb or echo, and the tone shaping imbued by certain amps and cabinets. The technique has since evolved over the 2000s to include many other applications. Re-amping can also be applied to other instruments and program, such as recorded drums, synthesizers, and virtual instruments.
In professional audio, a digital mixing console (DMC) is a type of mixing console used to combine, route, and change the dynamics, equalization and other properties of multiple audio input signals, using digital signal processing rather than analog circuitry. The digital audio samples, which is the internal representation of the analog inputs, are summed to what is known as a master channel to produce a combined output. A professional digital mixing console is a dedicated desk or control surface produced exclusively for the task and is typically more robust in terms of user control, processing power and quality of audio effects. However, a computer can also perform the same function since it can mimic its interface, input and output.
The Yamaha M7CL is a digital mixer that was manufactured by Yamaha Pro Audio. Two models with onboard analog input exist: the M7CL-32 and M7CL-48. These models have 40 - and 56 -input channels respectively, counting mono channels. Mixes, masters, groups, DCAs and individual channels can then be routed to an output via any number of the board's 16 configurable output XLR ports. The eight faders of the master control section can control multiple functions by way of "layers" in the same manner as the Yamaha PM5D. The board features Yamaha's "Selected Channel" technology, and Centralogic, unique to the M7CL. It can be augmented with more inputs or outputs via expansion cards, and can be fitted with third-party cards such as ones made by Aviom (A-Net), AuviTran (EtherSound), Audinate, AudioService (MADI), Dan Dugan (automixer), Riedel Communications (RockNet), Waves Audio, and Optocore. The M7CL-48ES recently joined the line-up with built-in EtherSound for digital networking using EtherSound stage boxes.
Live sound mixing is the blending of multiple sound sources by an audio engineer using a mixing console or software. Sounds that are mixed include those from instruments and voices which are picked up by microphones and pre-recorded material, such as songs on CD or a digital audio player. Individual sources are typically equalised to adjust the bass and treble response and routed to effect processors to ultimately be amplified and reproduced via a loudspeaker system. The live sound engineer listens and balances the various audio sources in a way that best suits the needs of the event.
VENUE is a brand of live sound digital mixing consoles introduced by Digidesign in February 2005. The family now includes 5 different consoles and a number of ways they can be configured. They can all be connected to Pro Tools, the audio editing software also created by Avid/Digidesign, to provide recording and 'Virtual Soundcheck' facilities. One of the system's key marketing points is its use of the same AAX DSP/TDM plugins as Pro Tools, an industry standard digital audio workstation (DAW). This is designed to enable the sounds recorded by the artist in the studio to be easily recreated on stage, and to allow for greater flexibility in signal processing without heavy and mechanical-shock-sensitive racks of external processors. There is also a PC-based offline editor for creation and editing of show files, although there is no audio processing in the editor.
A Virtual Mixer is a software application that runs on a computer or other digital audio system. Providing the same functionality of a digital or analog mixing console, a virtual mixer takes the audio outputs of many separate tracks or live sources and combines them into a pair of stereo outputs or other routed subgroups for auxiliary outputs.
Yamaha Pro Audio, Inc. is a division of the Yamaha Corporation that offers a complete line of beginner professional audio products for the live sound and sound reinforcement markets. It has a long history of introducing significant products for the professional audio market such as the PM-1000 modular mixing console, the REV1 and SPX90 digital signal processors, and the 01, 02R, 03D, PM1D, PM5D, QL5, M7CL, CL5, and PM10/7 Rivage digital mixing consoles.
Audio signal flow is the path an audio signal takes from source to output. The concept of audio signal flow is closely related to the concept of audio gain staging; each component in the signal flow can be thought of as a gain stage.
A stage monitor system is a set of performer-facing loudspeakers called monitor speakers, stage monitors, floor monitors, wedges, or foldbacks on stage during live music performances in which a sound reinforcement system is used to amplify a performance for the audience. The monitor system allows musicians to hear themselves and fellow band members clearly.
In sound recording and reproduction, audio mixing is the process of optimizing and combining multitrack recordings into a final mono, stereo or surround sound product. In the process of combining the separate tracks, their relative levels are adjusted and balanced and various processes such as equalization and compression are commonly applied to individual tracks, groups of tracks, and the overall mix. In stereo and surround sound mixing, the placement of the tracks within the stereo field are adjusted and balanced. Audio mixing techniques and approaches vary widely and have a significant influence on the final product.
A matrix mixer is an audio electronics device that routes multiple input audio signals to multiple outputs. It usually employs level controls such as potentiometers to determine how much of each input is going to each output, and it can incorporate simple on/off assignment buttons. The number of individual controls is at least the number of inputs multiplied by the number of outputs.
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