Analog & Digital Consoles

Next up is patching in effects and channel processing like compressors and gates. Most analog systems that I run across have between two and eight channels of compression available, so it’s a good idea to plan ahead with a limited number.

With analog consoles, outboard processing is usually “inserted” into a channel via an insert jack. Some consoles have two send and return connectors that are usually 1/4-inch TRS (balanced) for inserting external gear, but more common is a single 1/4-inch TRS insert jack that provides an unbalanced send and return on a single plug.

A special “insert cable” that consists of a 1/4-inch TRS plug on one end that breaks out into two 1/4-inch TS plugs at the processing end is used to interface the outboard gear.

The cable is wired so the Tip of the TRS is the send to one of the breakout legs, the Ring is the return on the other breakout leg, and the Sleeve is wired to the sleeves on both breakout legs. I always carry some insert cables to shows as they seem to be the most forgotten item on the pack list.

Now it’s time to plug in the inputs and label the console. I also take the time to label the aux sends as well as the outboard gear so I know where they’re patched in.

A Bit Easier, But…
Digital consoles are a bit more simple to set up as most offer the necessary processing onboard. Before doing anything with a digital desk, I like to start from scratch, wiping it back to the factory settings. Some models have a default scene that can be recalled, some require a few clicks in the menu, and others may require a boot-up while holding down a few buttons to reset back to the default.

An insert cable with 1/4-inch TRS plug and two 1/4-inch TS plugs.

My reasons for starting with a clean slate are simple. I don’t know what the last user did and don’t want to get “bit” during my show trying to make an adjustment only to find out that the last user changed a setting that was not readily apparent, like switching all of the auxes to post fader.

Once the console is reset, I still start at the outputs and make sure there’s an EQ in-line with the loudspeakers. Many models have an EQ assigned to each output. but a few require assigning any needed processing to a specific output from a limited number of items onboard.

After outputs comes inputs, and I assign each channel the processing it requires. Again, some boards have a limited number of processing and effects, and these must be chosen and patched before they can be used. If the console has scribble strips, label each input and output as you go. I also like to label the console with tape, especially for items that don’t have scribble strips like user-assigned buttons. At this point it’s also a good idea to save the settings on the console in a scene.

If I’m using a remote app for mixing on a tablet, now is the time to make sure it’s working and then walk around the venue to see if it stays connected around the room.

Analog Tendencies
On most corporate gigs and small festival band gigs, the supplied analog console usually has between 24 and 32 inputs and four or eight subgroups. Larger shows may get a larger frame board with 40-plus inputs and VCAs. Since VCAs aren’t available on many shows, I use the subgroups to make my job a little easier by grouping like inputs together.

With four groups available on corporates, I normally place the podium mic into its own group, any presenter wireless into a group, table microphones for panel discussion into a group and Q+A audience mics in another. With four subgroups available on band gigs I split up the groups into drums, guitars, keyboards with horns (if any) and vocals.

It can help to add a bit of compression to a podium and lavalier mics used by presenters. With music it’s likely to add some compression to kick drum, bass guitar, lead guitar and vocals.