19
Busing, Submixing and Channel Muting
As we’ve seen, the MPL 1204 uses a system of four buses—pathways through
which signal can be routed. The four MPL 1204 bus faders control the overall
level of the signal being output through the four buses. When the “L/R” switches
above each bus fader are pressed in, the signal from that bus is also routed to
the Main and Control Room outputs. In this case, buses 1 and 3 are
automatically routed to the left side of the Main and Control Room outputs and
buses 2 and 4 are automatically routed to the right side of the Main and Control
Room outputs. This four-bus system (which can eventually mix down to a single
stereo output) gives you a great deal of flexibility in terms of signal flow.
For example, you may want to connect the MPL 1204 to a four-track cassette or
open-reel tape recorder. One good way to do this is to route each of the four
individual bus outputs to a tape input, and to bring each of the four tape outputs
back to individual channels. With this setup, to record onto track 1, you’d route
one or more instrument or microphone channels to bus 1 (via the channel “Mute
3/4” switch); to record onto track 3, you’d route them to bus 3, etc. To connect
the MPL 1204 to an eight-track digital recorder (such as the Alesis ADAT™ or
Tascam DA88™ system), simply use signal splitters or patchbay mults to
combine the signal from buses so that bus 1 is routed to tape inputs 1 and 5;
bus 2 to tape inputs 2 and 6; bus 3 to tape inputs 3 and 7; and bus 4 to tape
inputs 4 and 8. See the “Applications” section on page 23 in this manual for
more information on using the MPL 1204 as a recording mixer.
Another important plus is that you can use each bus to set up a submix within
your overall mix. For example, let’s suppose that you’re using the MPL 1204 to
do live sound and you have eight microphones on the drum kit—separate mics
for the bass and snare drums as well as for the hi-hat, another mic for each of
three tom-toms, and an overhead pair for picking up cymbals. To get all this
signal into the MPL 1204, you’re going to have to use eight mono channels.
During a sound check, you’ll usually start with the drums, working to get the
blend of the eight different drum mics just right. After that’s done, the next step
is typically to start bringing in the other instruments. During the gig, however,
you may need to raise or lower the overall level of the drums, but you surely
won’t want to upset the blend you so carefully set up. This won’t be easy to do if
you have to move eight faders at once! The solution is to use the busing system
provided by the MPL 1204—route the eight drum channels to one pair of buses
and all other instruments to the other pair. Now you can adjust the overall level
of the entire drum mix by moving just two bus faders!
You can also use the MPL 1204 bus switches to mute particular channels (that
is, remove them temporarily from the overall mix without having to change their
fader position). To do this, keep bus faders 3 and 4 down at their “
∞
” position
(no signal) and use buses 1 and 2 for your overall mix. Then, to mute a signal,
all you have to do is press that channel’s “Mute 3/4” switch; the signal will be
rerouted to buses 3 and 4 (which are off) and will be removed from the mix you
hear. To restore the signal (that is, unmute it), all you have to do is press that
channel’s “Mute 3/4” switch again—since its fader hasn’t been moved, the sound
will come back at the same level as before.
∞
∞
0
0
+10
dB
+10
dB
MUTE
3/4
BUS INSERTS
UNBALANCED 75
Ω
+4dBu
MIXER LINKING
4
1
2
3
∞
∞
0
0
+10
dB
+10
dB
Summary of Contents for MPL 1204
Page 1: ...MIXER SAMSON MPL 1204 ...
