The mixing console is the centerpiece of the recording studio, operationally
and visually. The choice of mixing console defines a commercial studio – we
talk of an 'AMS-Neve' studio (often simply 'Neve'), or an 'SSL studio'. There
are other mixing consoles, but these are definitely the top two. Neve has a
long tradition in recording dating back to the 1960s. Many Neve consoles manufactured
from the early 1970s onward are still in use and are respected for their sound
quality. SSL is a younger company, but they single-handedly defined the modern
mixing console as the center of studio operations including control over tape
machines, automation and recall. Whereas Neve have had a number of rethinks
over the years on how a mixing console should work, SSL have been very consistent
and there are many engineers who won't work on anything else, largely because
they would have a tough learning period to go through.
The first thing that a newcomer to recording has to realize is that we are
not in home studio territory any more. These consoles are expensive – $300,000
or more. They are expensive because they are designed to do the job properly
without compromise, allow efficient use of studio time, and attract business
to the studio. As a learning music recording engineer, it should be ones ambition
eventually to work in studios on Neve or SSL consoles. Anything else would be
Firstly, let's consider the functions of a multitrack music recording console:
- Record from many microphones and line input sources simultaneously.
- Record to multitrack, or mix live sound sources into stereo.
- Allow previously recorded tracks to be monitored while overdubs are made.
- Mix a multitrack recording into stereo.
With these points in mind, let's run through the console. Each channel module
contains the following:
- Microphone input
- Line level input
- Multitrack monitor input
- Insert point
- Auxiliary sends
- Noise gate
- Small fader & pan
- Large fader & pan
- Automation controls