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12

It's a common misconception that the point of stereo speakers is mostly to be able to pan individual signals to have different strength in the two output channels and thus achieve “locations in the stereo spectrum”. Sure that can be done, and in the 60s it was sometimes done extremely, but it was neither the original idea nor is it considered good practice ...


10

Jam Hub is your saviour !It's an all in one piece of gear with inputs,mixer and headphone facility to do exactly what you need.With a different mix for each member, if needed.


10

Even though you don't use them, there are plenty of 'stereo' sources (I'll mention the difference between most of these and a true stereo image later) and plenty of effects with 'stereo' outputs, often derived from a mono input. A sampled piano may pan low notes to the left, high notes to the right. A guitar effects pedal might send a different delay to ...


8

Mixing consoles don't have space to house top-notch (and expensive) discrete preamps. The Soundcraft preamps may be, well decent – that is, sufficient for any typical source: condenser mics and active DIs already pump the line with considerable levels, whereas dynamic mics and passive DIs are mostly used with instruments that are so loud that you don't need ...


7

The short answer is no, and don't do that. :-) Your mixer contains a very important component, which is the mic preamp. The compressor wants to use line-level signal as input and output. Even if you injected phantom power between the compressor and the mic, then you're still trying to make the compressor work with mic-level signal. Nothing should come ...


7

The problem is that the mixer is fully monaural (mono) and your headphones are stereo. Your mixer’s output is not designed to work with headphones. A TRS cable connecting the drum module to the mixer will not help because the mixer will only see mono. The quickest, easiest way to play along to music on your iPhone is to plug the iPhone into the drum module'...


7

Let's say you've recorded a couple of vocals, a set of drums, two guitars, bass and keyboards. Using only one track for each, that's seven different tracks. (Keys are usually stereo, drums could be seven separate tracks of their own). Most stereo systems use two tracks, left and right. If we listen on cans, that's about all we need. First a balance of volume ...


7

What you're looking for is called direct monitoring. There are several options: Maybe you can turn on direct monitoring in your recording program. This is sometimes also called input monitoring or software monitoring This might be useful if you want to hear your voice with software effects like reverb and compression. The main limitation is your system ...


6

You are looking for a headphone amplifier. Many models have more than a single stereo output. Professional models often have more than one output (channeL) in the same module, and sometimes allow you to either feed the same signal to all the channels or have a separate signal for every channel (as you would do with a mixer that supports auxiliary outputs). ...


6

It's most likely, with equipment made later than 1990 (and that's being pessimistic), that it doesn't matter at all. If you really want to be cautious, just take care with power amps connected to big loudspeakers. Turn these on last, but before beginning to play music. Turn the volume down to start, then bring it up to the level you need. This protects the ...


6

You can definitely do something like that. One potential problem is not having independent monitor level controls for every channel in the additional mixer (let's call it mixer 2). If that matters to you, you can run monitor outputs through a simple two-channel passive mixer (mixer 3), for example. You can use separate effects. Using the same effect and ...


6

Being able to record 8 channels at once means you can just about record a drum kit in one take... they need a lot of mics, even if you're going to sub-mix to multitrack. If you have an 8-track recorder... then that's it. Done. Mix your drums, or bounce to stereo so you can record another instrument. If you try to use two 8-tracks to give you 16 at once, ...


6

It seems to me what you really want is an audio interface so you can simultaneously run your guitar and mic into a digital device for recording/sharing. I have one with two input channels that take both guitar cord and XLR mic cable, and a USB output which also serves to power the unit. It only has level controls, no EQ or pan, but is bundled with mixing ...


6

You have a few different options. Mix completely "in the box", i.e. all mixing happens in software in the DAW. Your audio interface has enough input channels to bring all audio things into the DAW for mixing, processing with plugin effects and combining with software instruments. Output the main mix and maybe monitor mixes. DAW software such as ...


6

Most modern audio electronics are designed to be linear. That means that ideally, it shouldn't matter how much signal level you have: the output level simply scales along with the input level, with no change in the signal quality. In practice, that's never quite true. The most prominent factors are: If you get over the clipping threshold, it... well, clips. ...


5

The problem you are looking at is that the 1/4" jack input is set for Line Level, and the Mic is producing the lower Mic level. The Impedance transformer is merely adjusting the impedance levels to match, not boosting the mic signal. To have the same volume control when putting the mic through the line level input, you will have to pre-amp the mic signal ...


5

What i know about the audio interface and the mixer is that they both turn analog signal into digital signal. That's not right. Not all mixers have the ability to turn analog signals into digital signals. Some mixers are all analog (no digital capability); some mixers are all digital (no analog capability); some mixers might have the ability to convert to ...


5

There are many stereo sources that can benefit from stereo channels on a mixing board. Among them are keyboards with a stereo out, computers/software samplers/synths, any instrument going through an effect or multi effect with a stereo out and also any stereo audio source that might be incorporated into a performance, such as pre-recorded backing tracks. ...


4

Here's what I have done with more than two mixers and I suggest trying this. Assuming your mixers (like most of them) both have Tape In and Tape Out RCA inputs, just run RCA from Tape Out of one mixers into Tape In of the other. The Tape In should have its own fader/control pot. This will let you keep all of the channels in each mixer free. You should be ...


4

Entirely feasible. In my studio, there's a small mixer for all the keyboards, which is fed in stereo to two channels of the main mixer. Or could go to a single stereo channel. That way, I save 8 channels and substitute them for one, or two, on the main. There are many smallish mixers, stereo, which have monitor mix facilities as well as eq. Often there are ...


4

Ok, I was about to say sorry, and that I'm an idiot and "why I didnt come up on it earlier!", but no. The solution is not intuitive, because it is not consistent with how other up/down button works (on the insert for example)... The answer is to hold down a left mouse button on the up/down button of the send until you'll get the contextual menu with options....


4

You should be able to assume that L and R are basically the same (within the operating tolerances of the unit) if - The 'Pan' control for the channel is centred You're not using any of the stereo effects


4

To avoid the effect of Phase Cancellation, as pictured below: This happens when you record with multiple microphones and their phases are cancelling each other. You should use it when visually you notice that one signal is cancelling the other, inverting one of the channels should solve the issue.


4

Two things: 1) yes, within limits, the impedance of two identical objects wired in parallel will be half the impedance of each one. 2) As to "not powerful enough," all that means is you can't go full-blast for the given scenario. The only important thing to watch is not to let the net impedance go lower than the lowest rated impedance for your source (...


4

It is quite common for presenters to use stereo sources when the mixer is used for presentations in schools, halls, and businesses. Often presenters will play pre-recorded songs or videos which are in stereo. And while I recognize that it is unlikely they'd need 4 channels for this, it's equally unlikely that they'd need 12 channels for mics. Many smaller ...


3

re charles' comment, i would always treat headphones the same as other speakers - they are speakers - and leave them til the end when starting up. the jack won't wear out. and if you're not careful you could blow your ears out if your headphones are on when you turn on the amp/source/etc. (so don't put the headphones on until everything is running and turned ...


3

With an analogue mixer and a 2 input computer audio interface there's no way of processing each of the independent mixer's channels in the DAW. The issue is not that the mixer is analogue (most of the entry level mixers with embedded audio interface are analogues mixers), but that you don't have any way of feeding each of the 10 channels independently to ...


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