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Best Audio Mixers and Digital Mixing Consoles

What is an audio mixer?

Pro audio mixing consoles are electronic mixing devices that blend and control signal routing and change the levels (lower or boost). They can also control or add timbre (tone or EQ), dynamics and a wide array of special effects to all or individual audio signals (channels) and mixes.

A mixer can mix analog or digital signals, depending on the type of mixer. These individual processed signals are mixed to produce the combined mono, stereo output signals for recording or a sound reinforcement system such as a public address system or live band system.

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Assistive Listening Systems & Loop/T-coil Technology

Wireless hearing assistance transmission systems with Assistive Listening Devices (ALD’s) have been a standard component in venue sound installations for decades, encouraged by the Americans with Disabilities Act legislation passed in 1990.

ALD’s with headphones and neck loops provide an enhanced listening experience for a wide variety of listeners in venues such as houses of worship, and has many other applications, including language translation, audio description, program audio (TV and music), and guided tours.

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The Myths of Microphone Reach

In any sound system situation, be it in a church sound system or part of a portable PA setup, questions most often asked are “How far away will my microphone pick up?’” and “Which microphone has the best reach?” Both of these questions are based on a misunderstanding of how microphones work. This post attempts to debunk the myth of microphone reach.

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Critical Distance and Microphone Placement

A microphone is the first component in any speech recording or transmission system. Its function is to convert acoustic sound waves into an equivalent electrical signal. This signal can then be recorded, transmitted, amplified, or modified. However, a microphone cannot effectively sort out desired sound (direct speech) from undesired reverberation (reflected speech). Also, a microphone cannot improve the acoustic environment in which it is placed.

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Realistic Maximum Sound Pressure Levels for Dynamic Microphones

Shure SM58 Dynamic Microphone

Microphone users often ask “What is the maximum sound pressure level that a dynamic microphone can handle without distortion?” Using the Shure SM58 as an example of a typical dynamic microphone, Shure Engineering performed experiments to answer this question. Like most technical matters, the answer is not simple…

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Mic Level vs. Line Level

Some mixers have switches on the rear panel for setting each input or output jack for mic level or line level. These switches refer to the signal level or intensity that the input is designed to accept.
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Microphone Polar Patterns

Patti Smith singing into a Shure SM58

A microphone’s directionality or polar pattern indicates how sensitive it is to sounds arriving at different angles about its central axis. The polar patterns illustrated below represent the area around the microphone that produces the same signal level output if a given sound pressure level (SPL) is generated from that point. How the physical body of the microphone is oriented relative to the diagrams depends on the microphone design. For large-membrane microphones such as the Audio Technica AT4040, the upward direction in the polar diagram is usually perpendicular to the microphone body, commonly known as “side fire” or “side address”. For small diaphragm microphones such as the Shure SM58, it usually extends from the axis of the microphone commonly known as “end fire” or “top/end address”.

Some microphone designs combine several principles in creating the desired polar pattern. This ranges from shielding (meaning diffraction/dissipation/absorption) by the housing itself to electronically combining dual membranes.

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The Analog Impedance Meter – Tools of the Trade

One of my favorite field tools is a basic analog impedance meter. It can be used to troubleshoot a host of sound system problems, either stand-alone or with some additional gadgets. The TOA ZM-104A has been around for many years and many experienced audio people have one. Mine has served me well and has the scars to prove it. It will be the example meter used in this article, although in principle the tests can be conducted using any similar device. Here is an overview of the meter characteristics and some of the basic tests that it can run.

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Six Reasons to Use an Omnidirectional over a Unidirectional Microphone

Shure SM63LB

Pity the poor, misunderstood omnidirectional microphone. Though it has many redeeming characteristics, it now plays second violin to the unidirectional microphone. This change has occurred over the last 40 years and is primarily due to the ever increasing desire for louder PA systems and even louder monitors in house of worship sound systems and other live sound venues. It is generally true that an omnidirectional microphone will provide less gain before feedback than a similar quality unidirectional microphone if both mics are located within Critical Distance*. However, once a microphone is located outside of the Critical Distance, its directionality becomes much less crucial to gain before feedback.   In the article below, we will examine a few points that would make an omnidirectional microphone the preferred choice.

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