It looks like a very ordinary mixer, but in reality, it is as difficult to control as the devil (this is the kind of devil that does not give money), it will destroy all the carefully prepared audio tracks. Drop it. If the gain process is set up indiscriminately, that is, the gain from the signal input to the various parts of the line at the final output of the signal, it will cause unexpected distortion, "click" sound, and many other annoying strange sounds.
However, simply reducing the signal level is not the key to solving the problem. If the gain on the signal level is too small, the inherent noise level of each device will be audible, and you will hear a lot of noise as if you had a very large gain. The trick at this point is to use enough gain to keep the sound clean and vibrant, without causing distortion or "click" sound, without damaging the sound quality and clarity of the sound.
Treating a typical sound signal, if you use the following method, it will be difficult to operate, that is, use a microphone to pick up the signal, then pass the microphone preamp, some channel faders, an auxiliary send, an effect processor, the main fader, Finally, it is input to the input of the recorder.
If you want to make the recording work more concise and more effective, you should pick up the sound signal from the microphone (or the sound level of the electronic instrument output line) and input it directly into the recorder. Then gradually adjust the equipment in the next steps. Gain process.
- Microphone. The signal line starts at the source of the sound, so if your microphone doesn't work, then nothing is going on.
Dynamic microphones can withstand large input levels without distortion, but if you are using a sensitive condenser microphone, be sure to keep the signal clean and clear. The impact of loud sounds from snare drums, guitar amps, singers, and other more dynamic sound sources can cause distortion in the microphone, which can be heard.
Many condenser microphones have an attenuation switch of at least 10dB, so when you hear a "beep" in the midrange range or a noise in the high frequency range, turn this switch on (the low frequency range of the microphone is usually the case) It’s all due to the singer’s “blowing” of the microphone).
How to set the correct gain process
If the distortion persists, move the microphone a little further away from the high sound source. If the microphone can't pick up the sound at this time, it may be that you have chosen the wrong type of microphone - this microphone is not suitable for your current work.
- An instrument with line output. What are the problems with simply adding the sound of a bass, guitar, keyboard, or other sound source module to the mix?
The problem is a lot. Since the electronic instrument has a built-in preamplifier, if you suddenly turn the volume too loudly, you will hear a slight scream. When this happens, you should adjust the line output level of the electronic instrument to 75% of the maximum volume level.
- Microphone/line preamplifier. What we are going to talk about is really the kind of thing that will get you into trouble. How to set up the microphone/line preamp on your mixer.
If you screw all of these gain knobs to their maximum values, you will definitely hear very severe distortions and “clicks”, especially if the rear-stage amplifier you choose is a cheaper product. . When the mixer's fader is raised to a higher position or the volume of the amplifier is louder, all the annoying sounds will jump out.
To avoid this, the most effective solution is to set the magnitude of each gain to 75% of the maximum gain value. If the situation still does not improve after you do this, turn on the channel attenuation switch on the mixer (assuming this feature is available on your mixer). If there is no such button on your mixer, reduce the power of the previous stage until the distortion disappears.
- Channel faders. The next step in the gain adjustment is the fader of the mixer. Obviously, it is very important to use a fader to balance the preamplifier of the microphone/line. Here, I can recommend a better adjustment scheme for you:
Place the fader at 75% of the maximum level. Then, slowly raise the amp/line preamplifier until the signal level is appropriate (we will discuss the recording level later).
Listen carefully to see if there is a "beep" or distortion. In the most ideal case, the sound is very powerful and energetic when you adjust the position of the fader and the preamplifier of the mic/line to 75% of the maximum volume.
If you have to adjust the fader or the amp/line preamp to almost the maximum volume during operation (you may be recording a whisper or other extremely faint sound), then You must listen very carefully to confirm that the sound is satisfactory. Who should you upgrade to this situation, preamplifier or fader? The final answer depends on the degree of distortion in your device and the judgment of your ears as you continue to experiment.
- Group faders. You can group several signals for an auxiliary mix, such as combining the background vocals of several tracks into a single stereo track, or sending a single track to a stereo input. End - add other signals.
Still, we have to abide by the "75%" rule mentioned above. If you are experiencing sound distortion, you can reduce the faders, group faders, and mic/line preamps for each channel separately until the sound distortion problem is resolved.
There are 3 gains to adjust here, you have to constantly adjust and listen carefully.
- Effects processor. When you connect the effects processor to the line through the secondary sender, the situation becomes more complicated.
First, use the "75%" rule to adjust the auxiliary send level knob to 75% of the maximum level. Then check if the input level of the effect is broken. This is not a simple matter, at least more complicated than letting the effect sound. Because all effects will have different reactions to the input signal.
For some devices, you will find that the level indicator has hit the red overload zone and the sound is still very clean. For other devices, the level indicator just touched the red area, the sound is no longer necessary (speaking too much, but at least the sound is distorted). Until you fully master the characteristics of an effect, you can properly adjust the input level and use it safely.
If you find that the input level is too low, that is, the "click" and "digital" sounds are already audible, adjust the input level to approximately 75%. At this time, you should be careful not to let the red overload indicator light up too much. When you set the appropriate level, don't think about the lights anymore. Just listen with your ears.
Home studio recording expert Joe Meek’s point of view on this issue is: “If the sound sounds good, then it’s good!”
- Analog recorder. Mixing work on an analog recorder is a more tolerant job. In most cases, you can allow the pointer to hit the red overload zone, and the sound is the best. This seems to be a bit contrary to the famous sayings we have heard on weekdays, but as long as you try it yourself, you will understand.
However, depending on the characteristics of your recorder and the characteristics of the tape used, the above-mentioned "Red Overload Zone" rule may also bring you terrible sound distortion. But then again, following this rule usually gives you a very powerful and energetic voice. How to use it, let your ears make a ruling.
- Digital recorder. Compared to analog recorders, digital recorders do not have the slightest tolerance. If you are using a digital multitrack or DAT to record, the level pointer hits the red area, or if you exceed a certain point, then your recording will fail.
There is a rule that always applies, a very simple rule: be sure to keep the level below the red overload line!
There are two basic ways to keep your voice from being distorted. The first method is to limit the level of the track, or to thoroughly grasp the volume range of the sound source, and then set the maximum level of the track. The second method requires you to have plenty of time and great patience to play back and forth over and over again until all the volume has reached the required level.
There is a more courageous way to set the input level just below the overload point and then start praying. Obviously, the more familiar you are with the dynamic range of the instrument, the more effective the means you can use.
- The last tip. You have to learn to believe your ears, not to trust the meter. In fact, you can't guarantee that the volume indicator or the LED indicator on the music device is completely correct, but you must be able to hear the flaws in the sound. Those who die and hold the indicator can't record a good voice (think about it).
Also note that using the equalizer on the preamp or mixer will affect the gain of the device, so in practice, you must perform one step (such as boosting certain bands), verify it. What happened to the sound.
Finally, remember that when the recording indicator lights up, the musician's performance will become more powerful and powerful. So when you check the volume and set the basic level, don't fully believe the sound size of the player at this time. When the recording is official, the volume is likely to be 2 dB to 5 dB larger than this. The simple solution is to leave a certain amount of margin in advance, and you will benefit from it.

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