Remote control panels for objects. Nowadays you need a mixing console Infrared droneless remote control: principle of operation

In general, the remote control unit (RCU, RCU) is a dart-less or dart device, used for the control of either a mechanism, an object or a process on the station. All DC devices are divided into groups:

• for the method of disconnecting the electrical supply: cable, autonomous;
• via a channel for transmitting ceramic signals: IR, ultrasound, radio, wire, mechanical drive;
• in terms of functionality: with one set of commands, universal for several devices of one device, programming (begins);
• for mobility and other signs.

The most widely expanded type of remote control at the moment is a mobile autonomous drone-less device that controls objects via an infrared channel (IC). This type of remote control device itself is victorious in everyday life, as long as wireless signals are transmitted to a TV, air conditioner, music center, player and other household equipment.

The first models of remote controls have a minimum of elements that can be controlled, only for defining the main functions. Over the years, the approach has changed: today, workers are installing a new set of heating elements, and the devices themselves that are being repaired replace their surroundings.

Installation of the remote control

The gadget comes in a small, thick plastic box. On the front part there are buttons, which allow you to select the command that controls it.

At the end of the device there are large openings for the lens of the IR transmitter, which directly sends the command to the signal. At the turn, under the lid, there is a niche for installing living elements. As a rule, there are two AAA batteries.

If you open the remote control by moving the upper part from the lower part, we need two more elements. The first one is a board with contact mounts and mounted electronics.
The other is Vikonana with a soft elastic material, an overlay with convex buttons for controlling the disks, which should be carried out.

Infrared dartless remote control: operating principle

The device of the remote control and the robot is based on one-way or two-way transmission of information between the remote control and the object of the treatment by changing the light in the infrared range. To receive and transmit signals, IR reception and transmission is required.

A circuit with a two-way transmission channel is used by remote controls connected to air conditioners: a signal is sent to the air conditioner, and the operating parameters of the unit and temperature data are rotated back.

The majority of the models are single-channel.

Sending and receiving commands

Let's take an operation that is most common in practice: remote drone-free TV viewing. First of all, to work on the remote control circuit, it means that the button is pressed. The principle is the same as that of a computer keyboard: scanning a matrix of button placements. Ale, on the account under the PC keyboard, on the PDK scan generator stays in the cleaning mode and only wakes up when you press buttons on the remote control. This is where you can economically obtain the elements of life.

Then the carrier signal (command) is encoded and transmitted using an IR LED. Before transmitting the main signal, the transmitting and receiving devices are synchronized, and the remote control code is verified on the receiving side. The transmission itself will operate for as long as the button that controls it is pressed.

It should be noted that the designers of electronic devices have nothing to do with the developed algorithms for encoding the signals they control and the selection of modulation frequencies. This leads to the fact that similar models of one transmitter are used to control different control panels.

Remote control diagram

Most circuits of DC TV remote controls and other household devices can be based on microcircuit, forms a signal after pressing the key, silyuvach signalі IR LED. The difference lies mainly in the design and arrangement of radio elements in the middle of the device body and on the other board.

The microcircuit contains a specialized microcontroller, in which the program code is written during the generation process. The recorded program will no longer change during use. The payment is also displayed quartz resonator to synchronize the receiving and transmitting frequencies. Submits the signal to enter the warehouse of microcircuits or viconations of the adjacent element.

To independently create such a device, in addition to the basic radio amators, you also need to create the program code for the microcontrollers.

Remote control for PC

The remote control for a personal computer may appear yellow when working with the interface of both the operating system itself and during the operation of other programs. For example, managing presentations in Power Point or created media content in Media Center. Sometimes such remote controls are also included with the PC kit.

Developers of remote controls for PCs, under TV, implemented 2 solutions: IR and radio remotes. On the right, it is stable when using in the infrared range, interacting with the device with direct visibility and at a distance of up to 10 m, which is sufficient for TV, but may appear ineffective for using a PC, especially at the time of the presentation tsіy. The radio remote control increases its range up to 30 m regardless of the signal strength overshoot.

The radio remote control's IR calls can only be heard without the presence of a small antenna. But in order to operate the computer, the PC needs one more element: a radio or IR signal receiver installed in a computer or laptop. This can be either a device or a module that connects to a USB port. Another option is shorter.

Universal and/or programming remote control

A universal remote control may be needed in two situations:

1. We have not found a replacement for the lost or old TV remote control or other household appliances that are out of order.
2. Without the use of different everyday equipment in one place, operating it from different remote controls is extremely handy, because the concept of “correct design” and “optimal ergonomics” is different for all printers.

There are two types of such devices: remote controls that memorize commands that are initiated, and programmed universal remote controls. In the first step, to enter the required codes, you need to use the standard TV remote control or other device. In other words, the list of available codes and models of equipment that can be used can be found in the instructions before installing the device. The difference is that, regardless of the thousands of models of devices that are supported by universal remote controls, the required device may not appear in that range.

The “learning” of remote controls that need to be memorized is carried out in the same way as the customer’s assistant and using the original remote control. If the remote control has fewer keys on its front panel, then first of all you should program only those that are necessary.

After adding a richly functional universal remote control, it is not possible to throw out the old ones. First of all, the stinks may be needed, since the new Raptovo is in good shape. Otherwise, on the universal one there may appear several necessary elements. And thirdly, they may need to be reprogrammed in case of failure or change life elements.

Smartphone as remote control

Another option for a remote control is practical for any device - a vikoristan like a regular smartphone. In this case, the transmission of signals in the IR range may or may not be implemented (technology IrDA). In the remaining case, the device operates via Bluetooth or Wi-Fi. The only difference is that the coating of devices must also support information exchange protocols, which are not implemented on all technologies.

The best option for a remote control is a smartphone with an IR port. Let's look at the butt of the model Xiaomi Redmi 3 and get rid of the old TV Daevoo. We need to install Google Play special supplement. It may be that, in order for the flow of ownership that is being supported, there will be a need for a model of the control object. For which phone with a shell? MIUI that's what it's called Mi Remote(Russka mova prisutnya).

Mixing console. What is it?

This device, whose main function is to provide several sound signals per one. All current mixing consoles, in addition to these functions, should be listed below:

Correction of signals (equalization, compression, special effects);
routing (the remote control is the heart of any concert hall or studio, from which parts can be distributed to other equipment);
power (such a mixer can be connected directly to acoustic systems);
recording on a computer or external device.

How to get in touch with everyone who is different?

Types of mixing consoles

All mixing consoles are intelligently divided into DJ, concert, studio, and other types. All have their own specificity, and this most important official cannot but be trusted.

DJ consoles have fewer channels than concert consoles, and they also have special functions:

The fader is between a pair of stereo switches, which allows you to mix them with one hand;
a special equalizer that adds frequencies to the direct sense;
an effects processor with a looper or a special input with a tone corrector for connecting vinyl processors (or, as they are called, turntables).

In the photo - DJ mixing console

These functions, which cover everything, will be useful for concert and studio activities, but it is not possible to hold a disco with another mixing console.

DJ controllers have become even more popular. These DJ mixing consoles are combined with a multi-channel (meaning two stereo pairs) sound card and covered with a special program from a computer. If the sound is lacking from a computer, the ultimate DJ mixer won't make any sense. A better purchase would be a DJ controller.

In the photo - DJ controller

For concert consoles, special respect is given to the reliability and ease of operation of the operational robot during frequent outings. Such a remote control is due to its advanced architecture - the ability to connect various additional equipment and route the signal to different sound amplification zones. To the concert consoles there are zone and monitor consoles, as well as various splitters, which are in high demand during the hours of great concerts.

In the photo - a concert mixing console

Today's studio consoles value the quality of sound and the ability to save adjustments. Nowadays, digital remotes are being used everywhere, which allow you to turn one dial to an unfinished track and continue playing it at any time. Studio consoles often pay attention to subjective parameters such as production and listenability, which characterize the balance of instruments during the production of a finished recording.

The photo shows a current studio mixing console.

Radio remote controls in the singing sense are similar to DJ remotes (it’s not for nothing that people in the broadcast studio are more often called DJs, not presenters). However, these consoles have a number of additional functions, for example, the ability to play back and forth between the broadcast and the studio or listeners to call, launching phonograms from the fader channel, special dynamic processing with ceramic compressors . All this is absolutely not needed in the studio or on the concert stage.

On the light? radio mixing console

It is important to divide the number of channels of a mixing console into portable, portable and stationary.

Portable remote controls are compact devices, usually in the budget class, so you need to install a minimum of items on them in advance. Let them play in places where you don’t need a lot of channels and don’t need to connect musical instruments. The peculiarity of portable remote controls is the use of circular potentiometers, since these devices are small in size and size, they are easy to carry, and do not take up a lot of space in a home studio.

In the photo - a portable mixing console

Before speaking, you can watch our video about the 5 most important representatives of these mixing consoles on the channel:

Portable mixer consoles are the same as professional models that are used for various purposes: concerts, studio recordings, etc. Such devices have more channels than portable models. Concert activity often suffers from active mixers due to the resulting stress. They have everything that is typical for clear mixing and recording.

In the photo - a portable mixing console

Stationary mixer consoles are professional devices with a large number of channels. They are performed during the period of great concerts and in recording studios of the professional level. More and more often, digital mixer consoles are being used, which allow you to record multi-channel sound on a computer, have a wide range of sound processing capabilities, remember all the adjustments for a specific studio project, and, to a large extent, make it easier for sound engineers.

In the photo - a stationary mixing console

Main characteristics of mixer consoles

Number of channels: what do you need to know?

Although the remote control is called 10-channel, it does not mean that it has 10 microphone inputs. Stereo output (for example, for connecting a stereo player) – two channels. There is also an additional, non-regulating input TAPE (CD) IN, which supplies a linear stereo signal to the master bus: it also requires two channels. Thus, a 10-channel mixing console can have 4 mono microphone inputs, 2 stereo inputs for connecting stereo speakers and an additional input for connecting a programmer to the master section.

Types of channels

As we noted above, mixing consoles have microphone and line inputs. Stinks can be either balanced or unbalanced. Most consoles have balanced inputs, which provide greater distortion immunity and, as a result, less noise. Therefore, you should use balanced ones (they are also called symmetrical), especially XLR connectors.

Mixing console interface

All signal exchange at the mixing console can be divided into channels and channels.

Before the central control there are subgroups that allow you to combine the selected channels for further processing. The rear section accommodates headphone output, switching (AUX input and output, output to monitors), and integrated DSP processors. Obligatory indicator of inflammation. Professional consoles have a microphone for conversations with the sound engineer, a special output for connecting a signal, and much more.

Do you need a mixer for your home studio?

Now that we know everything about mixing consoles, it’s probably a good idea to ask us: “I have a home studio. How can I buy a mixer there?”

The minimal inventory of a home studio should include:

Microphone;
- sound card;
- headphones;
- studio monitors;
- MIDI keyboard;
- Switching and racks.

What kind of remote control do you need? Our testimony? НІ. A mixing console is not required for recording: you can’t just edit the recording, but rather, for everything, mix it up. It’s important that you don’t use your studio to take clear photos on your own :) :)

Why do we respect it so much?

1. Current sound cards have microphone boosters, which cause similar front boosters in remote controls. The booster costs no less than 100 dollars, the 10-channel remote control has at least 4 microphone front boosters, and there are also stereo inputs. The price for a remote control does not increase above 400 dollars. A completely normal 10-channel remote control can be purchased for 120–150 dollars (this will include the effects of the processor, which also costs 100 dollars). It’s logical, what kind of environment would you choose? on the use of audio interfaces and other supports.

Cards, up to speech, can have up to 16 (and up to 32) input channels and allow recording whatever the signal.

3. For 99% of the sequences, the sequencer (special program) has the data. The 1% that is lost falls on expensive analogue mixing consoles. The cost of such remote controls starts at 500,000 rubles, they require a lot of expensive additional processing, and are not at all home sound recording. It’s unfortunately impossible to play on an 8-channel remote control for 10,000 rubles and get a wonderful result.

4. Many people look at mixing consoles with USB on board. Unfortunately, for studio recording these remotes are absolutely rubbish. It’s impossible to digitize only the master section, but it’s not possible to write channel-by-channel with them. In other words, you won’t be able to hear a minus phonogram through such a remote control and write vocals on the side track: a ready-made mix will be recorded. But for small performances, here’s the trick: you don’t need a sound card, you connect directly to the laptop and get much better sound than through the built-in sound card. The greater the tension, the greater the difference.
However, everything is overhauled and you shouldn’t put an end to the use of mixing consoles in your home studio for monitoring.

The remote control may be brown, so:

You will have an additional output for headphones (another one is available on the sound card).

Please note that if you need to connect more than two pairs of headphones, there are special boosters for headphones. Their vikoristannya is more practical.

You can connect not one, but two pairs of monitors via the remote control.

For serious studios there are special monitor mixers. They allow you to route the signal with great flexibility.

In the photo - a special monitor mixer console

It is possible for the monitoring mode to use equalization and evaluate the need for frequency correction in the real clock.

If you decide, you can calmly rehearse with your friends before recording, without having to worry about how to fit everything into your sound card.

We hope that our article was a boon for you. If you have food, write to the post office and we will give you the best cost-free consultation on any food related to concert and studio property.

ENTRY

Mixing console, mixing console (remote control, mixer, mixing board, mixing console, mixing desk) - devices, applications for mixing (mixing), processing and routing of audio signals.

Based on the technical implementation, the remote control appears analogі digital.

Digital, in its own way, can be divided into softwareі physical (hardware). The remaining part is rather clever, since in both types of devices there are calls on the same or several processors and software, the difference lies mainly in the fact that the software mixer of the vicorist standard computer from the connection common control methods for computer programs (mouse and keyboard) , and physical specialized processors with controls more similar to those of analog remote controls. It is also possible to use different types of controllers that have physical regulators to control software consoles.

Explore and hybrid solutions - not analogue remote controls with digital ones.

Regardless of any specific technical solutions, all mixing consoles are based on fundamental principles and fundamental architecture, which allows you to quickly navigate the configuration of the audio path, which we consider , basically, these are fundamental principles, regardless of the method of their implementation.

CHANNELS, PANORAMIC CONTROLS AND GROUP BUS

Let's look at the basic function of any remote control - mixing and regulating the level of several signals, if signals from different devices interfere with each other.

The number of possible audio signals that are mixed is indicated by the number remote control channels. Do not confuse the number of channels and number console inputs, the skin canal can have a number of inputs for different devices, but only one of these inputs can be processed at one time. The little one shows a simplified block diagram of the remote control, each of which has two inputs from monophonic channels.

The remote control channels can be monophonicі stereophonic.

Let's take a look at the typical structure monophonic remote control channel.

Name the monaural channel and there are two inputs that are designated mic (microphone input)і line (line input), which are distinguished by the level of sensitivity and input support.

The microphone inputs of professional remote controls can be phantom-free with a standard voltage of 48 volts, and the power button for the skin channel is closed, and even more so for a group of channels. The levels of the signals of the devices extend over a wide range, therefore, to ensure the level of the signal of the device with the further path at the input channel, we smoothly adjust the sensitivity of the input, which is indicated by the term gain, more recently - input sensitivity. Next to it, a button flashes in response to the signal pad, which attenuates the input signal by a specified amount, about 20 dB.

At this point in the tract there is a remixer mute, which allows you to completely turn on the channel, but the jumper itself is located at the bottom of the console channel, sounding above the channel fader. This is followed by a low-volume filter, or sometimes two.

If only one filter is used, it is always the High Pass Filter, a high-pass filter that cuts off the frequency range of the signal from below. On folding remote controls, it is possible to adjust the frequency at once, or, at the same time, to adjust the steepness of the filter rolloff. More simply, simply turn on the filter at the specified frequency (set the range 50 - 100 Hz) and the slope of the slope (set the range 12 - 18 dB/oct). Options are used more often if there is a Low pass filter at the input.

There was a signal to go to the equalizer. Remote equalizers can be very complex, from the simplest two-stage ones, just with high and low frequency controls, to four and even six-stage parametric ones.

After the equalizer, the signal enters the dynamic processing block. In analog consoles, the dynamic processing unit is located in the skin canal only in the most expensive studio models, and in consoles of the middle and lower price categories. Digital remote controls have this problem since software implementation is much cheaper. Also, digital consoles have the ability to change the order of processing devices in the path - the dynamic processing block can be turned on both before and after the equalizer. For analogues, the equalizer always comes before dynamic processing of the signal. The skin from the channels of the skin and viscosity contains the regulator of level, ranks channel level regulator, or fader.

Another element that binds to the skin canal is the emergence of a sound signal, which is simply called Rozriv, or insert. These are used for connecting additional external devices to the path that are not included in the remote control, i.e. “Positive ownership”, outboard equipment. The breakdown does not depend on any ceramic elements on the remote control, other than special sockets for connecting external devices. These roses are equipped with mechanical lanyard switches, so that when an external device is connected to them, recommutation occurs automatically, the signal passes through the device connections and turns into the remote control channel.

For mid- and low-price consoles, check the connection on one dual-channel JACK type jack, which has an unbalanced input and output to the output path, and to connect the required specially made cable , at one end there is a stereo jack type connector, and at the other – two separate sockets of the type supported by the device that is connected.

In expensive consoles, the output is often implemented on two sockets, one for the balanced input and output, in which the output of the lancet is activated when the input socket is turned on.

The channel can be opened before or after the equalizer channel to connect an external device. In analog consoles, the choice of position is determined by rearranging the jumpers on the channel board in the middle of the console, and requires disassembling the console. It is often necessary to select the output before or after channel processing with a special jumper placed on the top panel of the channel. For digital remote controls, the break point in the path can be selected in a special menu.

And the remaining element that enters the warehouse channel is an individual output to the channel, i.e. direct out. VIN allows you to output a channel signal to a special output, which, if necessary, allows you to connect a signal from an individual console channel to an external device. Such output, as well as distortion, can be present in the path before or after the equalizer. And, as with different types, in analog consoles the position of the path is indicated by internal jumpers, and in digital ones - in a special menu. On some studio consoles, the output direct is located after the channel fader. The specifics of different methods of increasing this output will be discussed later.

At times stereophonic channel of the remote control, the panoramic control is replaced by a balance control, which changes the balance between the levels of the right and left channels of the device, without replacing them with panorama.

Stereo channels of analog consoles have a very simplified structure - they have multiple microphone inputs, simple equalizers are often used, and other elements repeat the devices of the mono channel.

The signal is implied by the so-called sums it up or else collecting bus, mixing bus. Each of the buses, at its output, has its own regulator of the level already supplied to the signal. Injection tires can be, in their own right, single- or double-channel. One of the buses that forms the signal that goes to main outputs of the remote control (main outs, master outs), called main bus, or master bus.

For buses that communicate with more than one channel, the skin channel of the remote control has a panoramic regulator, which allows you to smoothly change the level of the signal that enters the skin channel of the bus.

Obviously, for a monophonic channel of the console, the total level of sound pressure that occurs when two new signals are created on both channels of the stereo bus, in fact, for one, then adjusting the level of the distribution of the monophonic signal between the channels is bichannel and tires are supplied according to a special pan law, which makes it possible to deprive the constant bassiness of the sound signal of the drum regardless of the position of the panoramic control (and, obviously, regardless of the position of the drum to the sound that is created in the stereo base). Traditionally, in analog consoles, the attenuation of equal signals is set to 3 to 6 dB on the channels of a stereophonic bus when the panoramic control is in the central position, but this value can be set in digital consoles in the range from 0 to 6 dB.

This little picture shows the physical position of the panorama control of a monophonic channel horizontally, and the signal level vertically. The two curves correspond to the equal signals in the right and left channels of the master. Apparently, with the extreme left position of the panoramic regulator, the signal that is on the right channel of the busbar will be at zero, and in the left - the maximum value, and by the way - with the extreme right position, the maximum level of the signal will be in the right channel, and in the left channel In a more modern way zero. At the central position of the panoramic regulator on the master's two channels there is a signal equal to equal, but attenuated by 3 dB. The shape of the curves is arranged in such a way that, regardless of the position of the panoramic regulator, the subjective thickness of the dzherel is lost. Some digital consoles have the ability to select not only the amount of attenuation of the signal at the central point of the control position, but also the shape of the curve from logarithmic to linear, but from a practical point of view such ability is not required.

Around the main station, the consoles start ringing and there are a number of busbars identical to them. These tires are called group, there are power regulators of the output level, power outputs, and their importance from the master bus is that the outputs of the group buses can be connected to the master bus. Group buses have three purposes: first, the grouping of input channels with the possibility of adjusting the level of the signal of the entire group with one regulator, which preserves the mutual balance of the equal channels that enter before the group, and the other - possible signal processing ів, it is necessary to enter the group with one device, since for all buses of the remote control there is a breakdown of the path insert, which, to the best of their ability, repeats similar ones in the console channels, and the third is switching the outputs of group buses on a multi-channel recording device.

Let's take a look at the structure of the console with one stereophonic master and several group buses.

As you can see from the picture, four group buses are added to the circuit, and three jumpers are added to the skin channel, which allows you to switch the output of the panoramic regulator to the channel on the buses in pairs. When the first jumper is pressed, the signal to the channel is lost on the bus, when another is pressed - on buses 1 and 2, when the third is pressed - on buses 3 and 4. The switches operate independently. We can switch the signal to just a couple of groups, only to the master bus, to all buses at once - in any combination. If we need to send the signal only to one bus in pairs, then we just need to move the pan control to one of the extreme positions: the extreme left position allows the signal to be switched only to the left side of the stereo master, and to the unpaired and group tires, position to the far right - only on the right side of the master and pair of group tires. Therefore, on the panoramic controls of many remote controls, using the L and R (left-right) marks, you can add the words odd and even (paired - unpaired). Obviously, a pair of group buses can be used to create a full-fledged stereo group bus, you just need to set the pan control to the position where you want the sound. The outputs of the group buses have their own power fader adjusting the level at the bus outputs, and the possibility of switching the group output to the master bus, call it in this way, as shown in the little one - the outputs of the unpaired buses are switched to the left side of the master bus, the outputs of the boys are switched to right. The remixer, which turns on the output of the group bus to the master, is called group to mix or bus to master, or simply mix, there is no common name for it, the skin distributor uses the same terminology. This switching is typical for studio consoles, but there are also occasional variations when the circuit bus ends with a powerful panoramic control, which allows you to smoothly distribute the signal between the left and right sides of the master. Obviously, the extreme left position of such regulators for unpaired tires and the extreme right for male ones is to reduce such connections to the previous option.

Here it is important to note that for analog and most physical digital remote controls, the number of buses is a constant value, determined by the operator, then for software and other digital physical remote controls, the number of buses created is determined by each person for the project. Okremo. For remote controls with a fixed number of buses, this number is displayed in the remote control configuration, so, for example, you read in the documentation that the remote control has a 24: 8: 2 configuration, which means that it has 24 channels and, 8 group buses, and a stereo two-channel master . That part of the console that contains the fader that regulates the output of the master bus is called the master section, in most studio consoles it is located in the center, the left side of it is the channel faders, and the right hand side is the d rupovi. Through such development of such configurations, the name “split” was derived.

VICTORISTAN OF GROUP TIRES AT STUDIO

Traditionally, in studio consoles, the outputs of group buses were used for switching them from the inputs of multi-channel recording devices, initially with the inputs of analog multi-channel tape recorders, and later with the development of digital technology, with the inputs interfaces of digital recording systems. Due to the fact that the studios had a small number of recording channels, the consoles also had a large number of group buses, ideally this number was equal to the number of inputs on the recording device. The number of group buses in great studio consoles could reach 48 or more. Such architecture is clearly small. On the right, when integrated, such a large number of groups is simply not needed, and the price of such a solution was even high. Another drawback was that the path was clearly overloaded - the signal was passing through the channel, then through the group, and then on to the recording device, passing through a large number of buffer boosters and other electronics of the console. For the development of listening in the first balance of an already recorded signal, a large number of channels would be required, ideally a number of channels that could be recorded simultaneously, plus a number of channels for the recording device. The size of the console became an important factor in this situation - the great split consoles exceeded the widths of several meters.

VICORISTAN DIRECT OUT AT STUDIO

Another solution was to record “direct outputs” of direct out channels of the console. Let's take a look at the report and the decision.

Direct Out - this is a direct output to the recording device, the signal that comes directly from the remote control channel. There are three options for implementing such an output. Let's take a look at the reports of the skins from them.

The first option, which is the most common, is called Pre EQ if the signal to the direct signal comes immediately after the sensitivity level regulator to the remote control input, before the channel equalizer.

In this case, the channel equalizer and fader do not interfere with the signal going to the direct output. The level of the signal whose output is determined by the position of the sensitivity regulator to the input of the remote control. The equalizer does not apply to this signal.

Another option - post EQ, If the signal to the direct output comes after the channel equalizer, its level, as at the front end, is indicated by the sensitivity level control, and the equalizer is already at the channel.

The third option, post fader— if the signal to the direct output comes after the channel fader, then all elements of the channel path are added to a new one.

In this way, if you go direct to connect a multi-channel recording device, we can significantly change the number of group buses that are used for the signal, and shorten the signal path. Groups in this situation only come into play when we need to send to one channel of a multi-channel device a recording of a number of already mixed signals from the input channels of the console, which in a current studio situation It tends to happen rarely, and the number of groups of the studio console can be adjusted without harm to the functionality of up to eight , and up to four in inexpensive models.

Many studio analog consoles have channel outputs direct go by name to tape(per page) and can be used in two modes - as described above direct, and alternatively – as the output of the group bus. Which type of channel has a button on the remote control direct, which allows you to address a physical rose direct or on direct out This channel, or the output of the group. Vibir addressed to direct out channel of the group is very awkward. For example, if the console has 8 group buses, then when you press the direct button of the first channel, the signal from the output of the first group will be received on that direct out, the signal from the other channel will be from the other group, etc. On the direct out of the ninth channel, the signal of the first group is again found, the tenth - of another group, etc. Thus, the signal from the output of the first group bus can appear on the direct out of the first, ninth and 17 channels, and from the eighth group bus - on the direct out of the eighth, 16 and 24 channels. With a larger number of channels and buses, this cycle is likely to increase.

This seemingly foldable system allows you to record multiple channels with a minimum of re-switching cables in the studio and significantly saves an hour. Most digital and software remotes can have extensive routing from any remote output to any physical connector on the panel near a special menu, but usually the routing is similar to analog remotes.

ADDITIONAL BUS EFFECTS - AUX

There are additional AUX buses in the consoles and group masters. Its significance, as described above, mainly lies in the fact that the level of the signal that is supplied to the bus from the channel is indicated by a special AUX regulator in the remote control channel. The number of such controls per channel depends on the traditional number of additional AUX buses; in analog consoles there are up to 12 controls and buses. AUX buses on studio consoles can be monophonic, stereophonic or multi-channel. Typically, auxiliary AUX buses are used for two purposes - connecting to the outputs of signal processing devices and creating an auxiliary mix with an alternative balance for monitoring auxiliary audio. These two tasks will require different operating modes for the AUX channel controls.

In the first case, when connected to the output of the AUX bus of an external device, the effects equal to the signal that is sent to the additional bus, in addition to the AUX control, are also controlled by the channel fader. Changing or increasing the level of the signal generated by the channel fader, it is imperative to increase or change the level of the signal that is sent to the processing device. Thus, the signal selection for the AUX bus is selected after the channel fader, post fader, and the AUX regulator itself determines the relationship between the direct signal and the effect.

In another case, when creating an alternative mix, the equal signal sent to the AUX bus does not have to change when changing the position of the channel fader, and the selection of the signal to the AUX bus is sent to the channel fader, so the connection is called at pre fader.

On expensive analog studio consoles, the pre fader/post fader mode is switched to the AUX control in the channel. In cheap models there are some regulators, in budget models there is a choice of everything, and the AUX channel regulators are always in one of the modes - pre or post, which is indicated by the corresponding writing on the AUX channel regulator.

As well as at the outlet of the bus bar, the output of the AUX bus is connected to the lower level control. When substituting for group buses, the output of the AUX bus cannot be connected to the bus.

IN-LINE CONCEPT

At various stages of the recording process, various options are required for routing signals from the device to the multi-channel recording device.

Let's look at routing at the tracking stage.

The number of signals that are being recorded are connected to the console inputs. Further, individual signals from the skin sensor are sent directly to the inputs of the multi-channel recording device. There are two different ways to settle for this - with the help of group buses or direct exits, we looked more closely. Other tasks at this stage include monitoring the signal that is recorded in the hardware with the ability to change the balance without changing the level of signals that are sent to the recording device. In this way, we can change the balance when listening to any changing signal that goes to the remote control from the outputs of the recording device. For this purpose, you can select remote control channels that are not occupied by devices. This situation requires a large number of channels - the number of channels may be equal to the number of outputs of the recording device plus the number of recording devices. Moreover, later, when combined, all these channels are not needed, since the ability to use the same channels during tracking is insignificant. To change the performance of the remote control, special simplified input channels have appeared, designated only for monitoring the signal that is recorded at the tracking stages. These channels have a sensitivity control, two aux controls, a panorama control, and a level control. Traditionally, “split” consoles have been equipped with right-handers in the master section, above the group faders; a few controls made it possible to place two such channels in one middle of the console. When tracking on these channels, find a signal from the outputs of a multi-channel recording, which is why the smell is called tape return. Sounds can be created in a hardware-based mix with self-balance, regardless of the position of the input channel controls that are selected for recording. And their aux regulators allow you to connect external processing devices to them (the signal of which is not lost to recording), and form a complete mix with an independent balance for the speakers. When mixed, the signal from a multi-channel recorder is switched to the main inputs of the console, and now allows you to select all the capabilities of the input channels.

Later, the additional channels were moved from the input channels, and another fader appeared in the skin channel of the console, and it was possible to switch the signal level controls on the additional AUX buses from the main channel to the auxiliary one, and to switch to There are several equalizer options from the main path to the secondary path. This configuration gave rise to the name in-line, if in one center of the remote control you have two independent, but possibly unequal, channels.

A number of models have had a setback - if any of the console channels are operated in the group controller mode, simply connect the channel input to the group bus output, without selecting the bus number, with constant addressing of the bus output to the channel input - the first channel can be connected until the output of the first group bus, the other - another bus, etc. However, such a configuration did not emerge in a wide range.

SIGNAL CONTROL SYSTEMS

Control systems based on the commutation principle can be divided into two types. destructiveі non-destructive.

Before non-destructive type of principle PFL — pre fader listen, which does not change the signal at all outputs of the console, except the monitor one, and which allows you to listen to the individual signal that goes to the active input of the channel. Such systems are used in concert control panels to ensure the ability to listen to the surrounding music without interrupting the concert or broadcast. The system is activated by a special button (call without fixation) PFL, when the signal is weakened, it is taken up to the channel fader (that is, after all the processing that is done in the channel, including ripping), is fed to the control monitors, especially for the video recording of the level and the sound engineer’s headphones instead of the wound. She listened to the selected dzherel. The signal from other console outputs is not changed.

The advantages of this method are:

1. the ability to control without changing the signals at the outputs,

2. Possibility of listening to the signal when the fader channel is closed,

3. Possibility of precise setting of the sensitivity control to avoid over-stimulation.

Disadvantages for this method:

1. the position of the device at the stereo base, signals from devices connected to the device via aux buses are not controlled,

2. It is also impossible to control the mutual balance of several coins.

All these shortcomings are saved, destructive the principle of inducing a control system, titles Solo In Place - SIP. Its power lies in the fact that when you press the button Solo(sometimes it is called SIP) all other channels are turned on, in addition to the one in which the button is pressed. This makes it possible to have an almost individual signal from the jingle with complete processing, mixed in the panorama and equal in the mix. It is possible to listen to any number of channels at once. In order to ensure that any channel (or group of channels) is not turned on when the “solo” button is pressed, it is possible to turn on any of the channels from system commands - this mode is called solo defeat. This is necessary if the input channel contains a signal from external processing devices, in which case we can listen to the signal from the channel selected by the “solo” button simultaneously with the signal from the external processing device. The downside of this solution is the change of signals at all outputs of the console - the signal from the connected channels does not go to the outputs of the head and group buses, nor to the AUX buses, so this system can only be used in studio consoles. Great studio consoles often have offending systems, or there is a global switching of the control system's operating modes from destructive SIP to non-destructive PFL.

Voltage Controlled Amplifier- Pіdsiluvach, kerovanie stress. For this device, the gain coefficient is determined by the amount of voltage that is supplied to the input that controls it. In many remote controls of high and average price categories, such devices are used to regulate the level of the signal at the outputs of the remote control channels. In this mode, the channel fader controls the amount of voltage that goes to the VCA, which also determines the level of the signal at the output of the channel.

This system allows you to combine a number of channel faders into a control group, without having to disturb the group bus, allowing you to adjust the level of the group while preserving the balance of the equal channels in the middle of it.

The positive side of this solution is the presence of a group bus, which will cover the signal path. The negative thing is the impossibility of completely processing this group with external devices. The possibility of such grouping in analog consoles is based on group buses, and digital consoles can emulate a similar mode - grouping several faders in a group with separate faders, without creating a group bus. These group faders are located in order of the primary group controls and are called VCA group. Analog consoles can have 4 to 8 of these faders. In this case, the skin channel fader has a special jumper that connects the VCA control circuit of that channel to one of the other groups.

AUTOMATION SYSTEMS

With all the variety of schemes and methods of automating the operation of remote controls, they all work like a mixed bag.

There are two types of remote control automation. staticі dynamic.

Static automation- this is a photograph of all the controls on the remote control, added at the same time. To access the saved settings of the remote control, on digital remote controls it is enough to download the output file, updating the saved parameters is a simple step.

In analogue consoles, the updating of parameters must be done manually before recording static automation - the skin regulator must be set to the correct position before the indicators of the automation system are shown. These indicators show which direction the knob must be turned to update its position at the time of saving. This system was called Total Recall. With great analog consoles, this process can take several years.

Dynamic automation- allows you to write a number of remote control controls into the device’s memory. In analog consoles, the channel faders have more dynamic automation, while the controllers have more static automation. Dynamic fader automation in analog consoles requires motorized faders if you want a solution without motorization if the values ​​of the VCA voltages are memorized, and the physical position of the fader does not reflect the amount of change. listen to the signal at the output channel. The actual values ​​can be read on a special indicator next to the channel fader or on a special display. Due to the absolute lack of visibility of the process, such systems did not become widespread.

Controlling automation systems is unique to each individual operator, and you can also see some hidden modes. There are, at a minimum, three modes of robotic automation from automated controllers. read, writeі update(Different producers have different names for these modes; there is no tired terminology here).

In mode read The controller reads the automation system signal before recording, and moves accordingly.

In mode write A record of changes in the position of the regulator is made after erasing the previous information.

In mode update A change in the position of the regulator is recorded without deleting the previous record, allowing you to directly change the information of the automation system.

The technical equipment of a DJ is not particularly lacking, but for disc jockeys who give hundreds of concerts on the river, the knowledge they have can really benefit from their creativity. If you voluntarily exchange your everyday life for a set of musical instruments, you definitely have a chance to improve your skills. We have put together a list of properties that the world's most popular DJs and producers profit from.

It’s clear what kind of possessions DJs are profiting from

I had a chance to do a little digging to understand what the DJs play when they perform live. We have done our best to measure this more accurately and not to lead you into deception. Having studied YouTube videos, interviews, photos from various devices, we were able to put together a collection of DJ equipment that is the most popular.

It is significant that many Vikonavians periodically replenish their arsenal with new equipment (sometimes sponsors-producers come to their possession in order to try out a well-released product), so the ideas in this statistical list are not permanent and may be inadvertent change.

TOP 100 most popular DJs: CDJ Mafia

We have learned that most of the DJs from the TOP 100 of the “DJ Mag” version are victorious, however, but only own headphones.

Below the ideas of the “standard” set of skills, which are used by the following professionals: Avici, Tiesto, Nicky Romero, David Guetta, Skrillex, Afrojack, Alesso, Dash Berlin, Calvin Harris, Sebastian Inrosso, Claude Vonstrok, Eats Everything, Hardwell, Dimitri Mike, Nervo , Above & Beyond and many others:

• Mixer: Pioneer DJM-900 Nexus
• Decks: Pioneer CDJ-2000 Nexus
• Dzherelo: USB flash drive (Rekordbox)

Close to 70% of the participants in the “TOP 100 DJs” are profiting from identical possessions. The reason is clear - it has universal equipment, suitable for both club performances and festivals, which can be easily reconfigured by DJs.

Much better than the headphones of super-DJs, when choosing this accessory, it is important to match the eyes with individual ones and, most importantly, with those of colleagues. Here is a list of headphones used by TOP 20 DJs according to “DJ Mag” and “Resident Advisor”:

• Sennheiser HD 25-1 IIs (Kelvin Harris, Afrojack, Ben Klock, Loko Dis, Aly & Fila, Hardwell, Above & Beyond, Ricardo Villalobos, Seth Troxler, Maceo Plex, Ben UFO, Eats Everything);
• V-Moda Crossfade M-100s (Dash Berdin, Avich, W&W);
• Urbanears Zinken (Alesso, Axwell, Sebastian Inrosso);
• Phillips A5-Pro ​​(Armen van Buuren);
• AKG 267s (Tiesto);
• Beats By Dre Mixr including custom colors (David Guetta, Nicky Romero, Skrillex, Dimitri Vegas & Like Mike);
• Sol Republic Tracks HD (Stiv Aoki);
• Pioneer HDJ-2000 (Nervo)

Here's what: unique DJ equipment + setup

Who among the members of the CDJ Mafia - the most popular and most successful DJs in the world - has a unique skill that is not similar to other disc jockeys? Below is the total of 13 Viconavians.

Zedd: All-In-One Controller

Zedd is one of the representatives of touring DJs, an all-in-one vikory controller. Why did I get the MK2 model? It is not disabled, so you can never switch to Kontrol S8.

• Headphones: Beats By Dre Mixr
• Mixer: N/A – connects to house mixer
• Controllers/Decks: Traktor Control S4 MK2
• Otherwise: Zedd recently revealed that he was deaf in one ear. What's the difference between the headphones? Of course, an in-ear model would suit me.

Armin van Buuren: CDJ Setup with expanded functionality

Armin has been DJing for dozens of years. It is not surprising that we can understand this matter well. During the hour of DJ performances, the visual effects stagnate, such as the hall being completely taken over.

• Headphones: Phillips A5-Pro
• Mixer: Pioneer DJM-900
• Controllers/Decks: 4 Pioneer CDJ-2000 Nexus with USB
• Otherwise: Armin uses 2 CDJs to send the SMPTE signal to the VJ program. There is also a chat program on your laptop, so that when it comes out you can click on your widget and tell the rest which track you want to play.

Flostradamus: DJ setup (with Midi Fighter 3D!)

In the arsenal of the king of remixes, Flostradamus has an extraordinary show included in the Ableton program, as well as a lot of sound and light effects.

• Headphones: Beats by Dre
• Mixer: Pioneer DJM-900 Nexus
• Controllers/Decks: Novation Launchpad, APC-40, CDJ-2000s Nexus (inodi), Midi Fighter 3D
• Otherwise: In addition, Flostradamus vikorista Midi Fighter 3Ds, from Chroma Cables and DJTT – it looked amazing!

Deadmouse: Possession for Vistupu Live

Joel Zimmerman Dosist often confirms that his performances are very different from the DJing of many TOP-100 participants, because his equipment is not at all similar to those of DJ sets. It’s unnoticeable that the DJ is steadily upgrading his equipment. In the photo you can clearly see how he is ready to take on “live production” – his DJ set is equipped with modular synthesizers, a table for a mixer console, Virus TI and Kontrol X1 (all of which the DJ had in 2011). Recently, Deadmouse was associated with another, even chimerical Microsoft Perspective Pixel device.

Rich Houtin: DJ-equipped Traktor + Push

It is important to carefully select the technical equipment - the main equipment is Traktor Pro, connected to Ableton Live (synchronized with MIDI clock), any DJ can create mixes in real time at the time of play. Dubfire has a similar DJ setup.

• Mixer: Allen and Heath Xone:92
• Controllers: Kontrol X1 MK1 (2x), Ableton Push
• Sound card: RME Fireface UFX
• Headphones: Variable, and last year vikoristuv AIAIAI TMA-1 Studios and Pioneer HDJ-2000s
• Otherwise: It is important to note that the DJ-possession will always contain a lot of fruit. Vlasna, it smells like grapes at the hour when I emerge.

Maceo Plex: ensemble of external effects

The original sounds of the world remain silent without any external effects. Before the speech, the online events “Boiler Room” only half reveal the richness of Plex’s DJ game. It seemed like it was time to put on a live show with the help of Ableton, Akai MPK, Control F1 and iPad, but still the DJ gave priority to the CDJ with squealing effects.

• Mixer: Allen and Heath Xone: 92 or DJM-900 Nexus
• Decks: CDJ-2000 Nexus
• Single effects: Boss delay pedals (2x), RMX-1000 (2x inputs – one each for the skin deck, to eliminate the need to boost/rotate the signal)
• Headphones: HD 25-1 IIs.

Tale Of Us gives Traktor advantage

This Berlin musician presents fantastic dark techno stories in his sets. Tale Of Us practice different approaches to DJing. I mainly own Traktor Control Vinyl.

• Mixer: Allen and Heath Xone:92
• Decks: Traktor Control Vinyl and CDJ-2000 Nexus
• Controllers: Kontrol X1 MK1s (2x)
• Headphones: HD 25-1 IIs
• Otherwise: These guys seem to have found something that really suits them - DJTT Chroma Cables.

Andy C: smut – reliability

Andy C is one of the most prominent pioneers of DJing in the Drum and Bass scene. The wine is successful not because it capitalizes on some super-modern technology, but rather because of its miraculous mixes, which it produces over a long period of time.

• Mixer: Allen and Heath Xone:92
• Decks: 3 Technics 1200s/1210s
• Headphones: HD 25-1 IIs
• Otherwise: concrete plates under the decks and a mixer for isolating the player - this is especially important at festivals, where DJ booths do not always fade the bass of house systems.

Flying Lotus: mastering Ableton

Creator of the label Brainfeeder Stephen Ellison explores the simplest and most unsightly possessions, focusing on visual effects in the process of creating a painstaking “live” show. More information on video.

• Mixer: N/A, connects via RCA to laptop sound card
• Controllers: Akai MPD 32
• PZ: Ableton Live.

Podloga van Dyck: a colorful palette

Like other DJs, Paul van Dyck also uses a great deal of skill to make his performances unpretentious. What’s more amazing is the DJ’s performance at the Creamfields dance festival, the video clearly shows his DJ setup.

• Mixer: Allen and Heath Xone:DX
• Controllers: Akai APC 20, M-Audio AxiomPro 25 (2x), Vestax VCM-600
• Headphones: Sony MDR V6/7506
• Otherwise: Paul has 2 laptops on stage - amazingly, one for live recording, the other for audio and video mixing - the insults are working on the Ableton Live PZ.

DJ setup for Pretty Lights

Music in the style of glitch-hop by Colorado musician Pretty Lights has become one of the most popular at festivals around the world. Derek Smith performs his compositions behind a mirror setup on two laptops equipped with Ableton Live. Also in the DJ’s arsenal are MPCs, analog synthesizers, and more.

• Mixer: Pioneer DJM-900 Nexus
• Headphones: in-ear, brand unknown
• Controllers: Akai MPD 32 (2x), Maschine Mikro MK2 (2x).

Porter Robinson's new worldwide live show

You, melodiously, remember that Porter’s path to fame was accompanied by learning to DJ for additional installation Traktor Control S4. Last year they showed a squealing show, far from aggressive electro-house. Porter's list of equipment includes the following equipment:

• Controllers + samplers: Livid Ohm (4-channel mixer), Roland SPD-SX, Akai keyboard
• Synthesizer: Roland System 1.

Basnectar and Yogo MIDI Controllers

Basnectar is even obsessed with his DJ equipment. Do you want to know how much? The musician has tried 60 types of different controllers.

• Mixer: Pioneer DJM-900
• Controllers: 60 Livid models (based on DJTT), Midi Fighter Pro Cue Master.

What is a mixer? The word itself is known in many ways, but more precisely, the manifestations about this device, its significance, vary from person to person who are involved in the production of sound. This possession is the basis of the sound-generating system. Using a mixer, maintain a high level of output signal luminosity. It is necessary when implementing ideas in the field of musical creativity, for their effective implementation.

A mixer is a digital or electronic device that processes sound data. It mixes a number of input signals and sends the result to the output. The entire process of working with signals can be intelligently divided into several stages:

• acceptance of their sound (audio equipment, musical instruments, microphones and other devices);
• balancing;
• sample;
• mixing (subsuming) at the output of the end signal.

At the balancing stage, sounds are distributed across a frequency range, harmonized, and panned. Then they are affected by various effects. At the last stage, a signal is output, which is then activated and created.

Another name for this sound-producing device is a mixing console or mixing console.

One of the main characteristics of the remote control is maximum number of available channels. There are two types of logins:

• balance, which can be used to change the signal level of any obvious distortions;
• unbalanced.

First things get stuck on consoles more often.

It turns out that the mixer, receiving sound from different devices, connects them in the required proportions to the same output. In this case, the routing of signals is carried out during the hour of their recording, provision and amplification.

Mixing consoles of various models differ in their design. It is immediately painful for the skin element. You can see them sections of inputs and outputs.

The hidden view of the remote control is shown below.

The input section is represented by a large number of channels (almost always their number is proportional to 2). This number indicates the maximum possible number of sound signal horns, which can then be adjusted and activated.

Receiving channels can be either stereo or mono. The rest of the calls have 2 sockets.

Any channel consists of the following blocks:

• boosting the input signal which allows you to set the optimal level, and also has a sensitivity regulator;
• Dzherela Zhivilnya“phantom” type (present on most models), intended for connecting microphones with capacitors and other types of devices;
• equalizer adjusts the frequency of the input signal;
• router– the block that distributes sound signals to the Aux buses (additional ones);
• pan control, assigned to assign a place to the signal that comes in the middle of stereo sounds;
• gain fader allows you to determine the level of the input audio signal in the adjusted balance of all mediums.

Equalizers of different models may have a different number of adjustment parameters. For professionals, their number is about six.

On additional Aux buses, the signal can be processed by an effective processor (either internal or external). Also, their sound can be directed to the surrounding line. The number of tires ranges from 2 to 12. For each of them, 2 operating modes are available: Pre and Post. Using this, you can set a balance between the level of the audio signal you are looking for and the adjustments of the volume fader.

On some models there may be an Insert socket that is removed after the front booster. It represents the “input-output” system of its channel at the same time.

Console output can be composed of the following elements:

• universal tires (subgroup);
• middle, which adds additional functions;
• regulators of the level of output (output) and Aux buses.

Linear exits on the mixer they can be on any input channel. The smell is needed to strengthen the signal to the recording device. Linear outputs are either ceramic-coated or non-coated, depending on the purpose of the remote control.

Different types of mixers

Mixers are divided according to different criteria. Different types of power have their operational advantages and shortcomings. So, going out operating principle, devices are divided into:

• digital;

• analog.

The first type of equipment converts the signals it receives into digital format, and then they are processed by processors. The analog device can be used either with a power block (active) or without (passive).

Classification for functional possibilities We see the following types of mixing consoles:

• concert;

• universal;

• monitor;

• broadcast (radiotelevision);

• studio;

• DJ's

The panels have different devices and number of inputs and outputs. Studio and concert models (professional) have more than 32 input sockets, while budget models have fewer. DJ consoles have fewer outputs, an effect block and a crossfader (a device that smoothly connects sound signals to suit). To work with telephones, broadcast consoles can have special settings. Through this they are called " telephone hybrids».

The versatility of mixers allows you to choose between functional capabilities. Amateur technology allows you to satisfy the simplest sounds, while professional technology allows you to achieve the maximum possible sound quality at the output.

Galuz zastosuvannya

Mixing consoles have found their use in all areas that require high-quality processing of the audio signal at a higher level. Consoles are vikorized:

• recording studios;
• television and radio stations;
• at concerts;
• music lovers at home.

The wide range of mixers is due to the desire of listeners to enjoy high-quality music. After processing the input signals, you will see melodies that sound wonderful. To properly operate this device, knowing that there are different inputs and outputs to different regulators, you must read the instructions in the instructions for the model description of its design and operation.