Matrix mixer

Last updated January 03, 2022

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.

Matrix mixers may be incorporated into larger devices such as mixing consoles or they may be a standalone product. They always have routing and level controls and may also include other features. Matrix mixers are often used in a complex listening space to send audio signals to different loudspeaker zones. They may be used to provide the producer or director different blends of a mixing project for television, film or recording studio.

Basics

In professional audio, a matrix mixer is used to route audio signals from multiple sources to different destinations.^[1] It may be a standalone device or embedded within another, larger product such as a mixing console, digital audio workstation or digital signal processor.^[2]

An analog matrix mixer contains a number of simple electronic mixer circuits, the quantity being the number of inputs multiplied by the number of outputs. Each electronic mixer controls the level (gain) of one input going to one output. The level control is usually a rotating potentiometer (called a "pot"). Each row of electronic mixer circuits, one from each input, feeds a summing amplifier or combining amp at the output. A fader (a linear potentiometer) may be used to control the level of each output signal. Other controls may include a mute button for each input/output intersection, a mute button for each input, a mute button for each output, and buttons that invert the input signal polarity. The output signals of the matrix mixer may be digital, or they may be balanced or unbalanced analog. It is possible in a matrix mixer to combine an all-analog signal path with digital control of level.^[3]

Any audio console that lacks a matrix section may be connected to an external matrix mixer. Many audio manufacturers have produced matrixes incorporating digital signal processing (DSP) which offers additional tools such as compression, equalization, ducking, gating, and loudspeaker system management.

Live sound

In live sound mixing the front of house mixing console often includes a matrix mixer section for optimizing the blend of sound going to various locations in the performance space. Subgroups, auxiliary mixes, submixes or even the main outputs are routed through the matrix mixer to different loudspeaker zones, making the matrix essentially a "mix of mixes".^[4] A front-of-house matrix may be used at a concert to switch between the headliner's and the opening act's mixing consoles. A matrix mixer feature may be included on analog or digital consoles. For instance, the Midas Consoles XL4 concert mixing console has a built-in 8×8 matrix summing 8 subgroups into 8 matrix outputs; the same basic module is available separately as the Midas XL88 (see photograph). The digital Yamaha M7CL mixing console is another such product; it has a 19×8 matrix section summing 16 mixes as well as the main left/right/mono outputs (see screenshot). In the classic analog monitor mixer without faders, the console is set up as a large matrix mixer with the addition of equalization filters and other controls for each input.^[1]

The matrix mixer is useful for performance spaces with multiple loudspeaker zones such as main left and right loudspeaker arrays, a center loudspeaker cluster or array, under-balcony speakers for the rear seating area, stage-lip loudspeakers for the front seats, overflow rooms, green rooms, the foyer, and broadcast or live streaming to distant audiences.^[4] If there is no separate monitor mixer with its own operator, the matrix mixer could be used to send a different blend to stage monitors or sidefill loudspeakers.^[5] However, such a use of the matrix is limited by the likelihood that the musicians on stage would be disturbed by any changes made to the channel levels by the front of house operator. It is usually better to supply stage monitors with signal obtained from pre-fader auxiliary sends.^[6] Listeners outside of the main performance space will not hear amplified instruments such as electric guitar as well as those inside, so the matrix output going to their location would typically contain more of the amplified instruments. Also, the matrix may be used to send a different blend to any recording devices, especially a blend that is optimized for stereo playback whereas the live sound for the performance space may be presented in mono.^[4] The matrix mixer may be used to combine the main mix with audience ambiance microphones to obtain a more "live" blend for the recording mix.^[7]

Recorded sound

In the process of mixing for film or television, a matrix mixer may be used to give the film director, television director or producer a working mix of the project while the mix engineer puts it together. In the recording studio, the same method may be used to give the record producer a different blend during the mixing process. The matrix mixer may have also been used to route various audio input channels to specific recording channels.^[8]

Related Research Articles

In sound recording and reproduction, and sound reinforcement systems, a mixing console is an electronic device for combining sounds of many different audio signals. Inputs to the console include microphones being used by singers and for picking up acoustic instruments, signals from electric or electronic instruments, or recorded music. Depending on the type, a mixer is able to 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 preamplifier, also known as a preamp, is an electronic amplifier that converts a weak electrical signal into an output signal strong enough to be noise-tolerant and strong enough for further processing, or for sending to a power amplifier and a loudspeaker. Without this, the final signal would be noisy or distorted. They are typically used to amplify signals from analog sensors such as microphones and pickups. Because of this, the preamplifier is often placed close to the sensor to reduce the effects of noise and interference.

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 mix-minus or clean feed is a particular setup of a mixing console or matrix mixer, such that an output of the mixer contains everything except a designated input. Mix-minus is often used to prevent echoes or feedback in broadcast or sound reinforcement systems.

A variable-gain or voltage-controlled amplifier is an electronic amplifier that varies its gain depending on a control voltage.

An aux-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 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.

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 "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.

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.

Digital mixing console Electronic device used to manipulate audio input signals using digital signal processing

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.

An audio signal is a representation of sound, typically using either a changing level of electrical voltage for analog signals, or a series of binary numbers for digital signals. Audio signals have frequencies in the audio frequency range of roughly 20 to 20,000 Hz, which corresponds to the lower and upper limits of human hearing. Audio signals may be synthesized directly, or may originate at a transducer such as a microphone, musical instrument pickup, phonograph cartridge, or tape head. Loudspeakers or headphones convert an electrical audio signal back into sound.

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.

An automixer, or automatic microphone mixer, is a live sound mixing device that automatically reduces the strength of a microphone's audio signal when it is not being used. Automixers lower the hiss, rumble, reverberation and other extraneous noise that occur when several microphones operate simultaneously.

Stage monitor system Speakers for live music performances

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 sound card mixer is the analog part of a sound card that routes and mixes sound signals. This circuit receives inputs from both external connectors and the sound card's digital-to-analog converters. It selects or mutes, amplifies these signals, adds them together, and finally routes the result to both external output connectors and the sound card's analog-to-digital converters. Different mixing schemes are in use, but the ones implemented in most IBM-PC compatible computers today are variants of a scheme defined in Intel's AC'97 Audio Component Specification.

References

1 2 "Matrix Mixer". Glossary. Sweetwater . Retrieved October 30, 2012.
↑ Ballou, Glen (2005). Handbook For Sound Engineers (3 ed.). Taylor & Francis US. pp. 199, 618. ISBN 0240807588.
↑ Ballou 2005, p. 1301
1 2 3 Eargle, John; Foreman, Chris (2002). Audio Engineering for Sound Reinforcement. Hal Leonard Corporation. pp. 84–85. ISBN 0-634-04355-2.
↑ Wilkins, Trev (2007). Access All Areas: A Real World Guide to Gigging and Touring. Taylor & Francis US. pp. 130, 176–178, 272. ISBN 0240520440.
↑ Davis, Gary; Jones, Ralph (1989). The Sound Reinforcement Handbook (2 ed.). Hal Leonard Corporation. p. 318. ISBN 0881889008.
↑ Eiche, Jon F. (1990). Guide to Sound Systems for Worship. Hal Leonard Corporation. p. 150. ISBN 079350029X.
↑ Stark, Scott Hunter (1996). Live Sound Reinforcement: A Comprehensive Guide to P.A. and Music Reinforcement Systems and Technology (2 ed.). Hal Leonard Corporation. pp. 114, 121, 269. ISBN 0918371074.

External links

"Mixer Inside The Mixer: Applications Of Console Matrix Sections". Craig Leerman, ProSoundWeb.
Neumann 24x4 48 GROUP MATRIX Summing Mixer Ben Taylor, VintageMaker Documentation

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[Sweetwater-1] 1 2 "Matrix Mixer". Glossary. Sweetwater . Retrieved October 30, 2012.

[2] Ballou, Glen (2005). Handbook For Sound Engineers (3 ed.). Taylor & Francis US. pp. 199, 618. ISBN 0240807588.

[3] Ballou 2005, p. 1301

[Eargle2002-4] 1 2 3 Eargle, John; Foreman, Chris (2002). Audio Engineering for Sound Reinforcement. Hal Leonard Corporation. pp. 84–85. ISBN 0-634-04355-2.

[5] Wilkins, Trev (2007). Access All Areas: A Real World Guide to Gigging and Touring. Taylor & Francis US. pp. 130, 176–178, 272. ISBN 0240520440.

[6] Davis, Gary; Jones, Ralph (1989). The Sound Reinforcement Handbook (2 ed.). Hal Leonard Corporation. p. 318. ISBN 0881889008.

[7] Eiche, Jon F. (1990). Guide to Sound Systems for Worship. Hal Leonard Corporation. p. 150. ISBN 079350029X.

[8] Stark, Scott Hunter (1996). Live Sound Reinforcement: A Comprehensive Guide to P.A. and Music Reinforcement Systems and Technology (2 ed.). Hal Leonard Corporation. pp. 114, 121, 269. ISBN 0918371074.

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