Back in the pre‑computer days, manufacturers saw the need for straightforward and affordable mixers to handle the stack of electronics and bring it all down to a simple stereo pair, or even just a mono output.
I’m trying to drive my Rupert Neve Designs 5057 Orbit summing mixer for some transformer saturation warmth, but I run into digital distortion before the levels are anywhere near to clipping the Orbit. What am I getting wrong?
I recently rewired my studio and patched a compressor and an effects unit into my mixer’s master inserts. Both processors were set to work with +4dB signals but the levels from the processors seemed low, so I switched them to their ‑10dB positions and the levels seem healthier. Have I done the right thing?
One input on my Peavey PV10BT mixer is running hot and clipping. Yet, when I hit the Solo button it sounds perfect on the headphones. What is going on?
I've been wondering whether my Soundcraft Signature MTK 12 was a defective unit, because it has the aux outputs polarity inverted with respect to the main output section. What is the purpose of such a design choice?
Talent and hard work have taken Marta Salogni from dive bars in Italy to working with A-list mixing and production clients in the UK in less than a decade.
My Soundcraft EFX12 mixer is pretty new, but when I try and use a channel with a microphone, and an insert cable running to an effects loop with various Moog pedals, I get almost no level from the mic. Can you help?
I have a slight level mismatch that I don’t know how best to resolve. I want to patch the Dangerous Music Compressor through the inserts on two of an Allen & Heath GL2400 mixer’s input channels. The problem is that the send signal from the mixer is a tad weak for hitting the compressor where it works best...
Will the audio quality from an Allen & Heath XB-10 paired with a JK Audio Innkeeper telephone hybrid be better than the Allen & Heath ZED-10, also paired with an Innkeeper?