SOUND CHECK
CHANNEL CONNECTIONS AND SUB-MIXING
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phones and instruments. Each microphone or instrument must be connected to one of the mixing
and then amplified by the system. The mixer can be operated on the stage or from a remote
NOTE: Most snake cables are not designed for speaker connections.
The Sound check
the system operator. If you miss something during the sound check, the sound may suffer during
thing to also check here is feedback in the monitors from the microphones. Good positioning of
in cases where a performer has multiple microphones such as drummers, set each drum mic
if something needs to be adjusted or a performer or microphone needs to be heard solo again.
Remember the sound check is not a rehearsal but a system check. It is always a good idea for
check. If a monitor system is being used, the operator’s microphone should only be directed
through the monitors when addressing the on stage performers, especially if something needs
to be checked during the show.
or line inputs. The XLR Mic inputs and balanced 1/4” Line inputs on each channel can be used
GAIN control. Adjust
the instrument. Then use the PAN controls on the two channels to pan hard left and right for
master section can be used.
mixing easier to manage.
The 4 bus section on the C48 mixers can be used for main outputs, surround outputs, side
fills, outputs to a multi-track recorder, etc. but the most common use is for sub mixing. Sub
grouping is the process of assigning multiple channels to a sub group fader in the master section.
This is usually done to decrease the number of faders needed to adjust a group of channels.
mix fader. If the drums need to be adjusted in the main mix, only one group fader needs to be
so it is important to get a balanced mix of the entire drum kit during the sound check. The drum
sub group faders higher than the master L-R faders. Using the L-R fader or sub group fader to
Floor Tom
Snare
Tom
Kick
1
2
3
4
5
channels 2-6 assigned to sub-mix group faders 1 and 2
The diagram depicts a standard live sound system
1. Stereo EQ and power amp for the main speakers on the Left/Right outputs.
2. Stereo power amp for two monitor mixes on the MON 1 and MON2 outputs.
3. Bridged power amp for a subwoofer on the MONO/SUB output.
4. Power amp for side fill or back of room fill on the Group output 4.
5. External effects processor connected to EFF 1 SEND and RETURNS 3.
6. Vocal mics.
7. Four drum mics on channels 2-6, assigned to subgroups 1 & 2 for sub mixing.
8. Mic’d guitar amp.
9. Direct Out from bass amp.
10. Stereo keyboard on 1/4” LINE inputs.
6 7
8 9
10
The main amps and speakers should contain an
The six independent monitor mixes use the MON 1
through MON 6 sends. On the channel these sends
are pre-EQ, pre-fader.
be used for a main mono mix, a center mix or as a
subwoofer output.
The sub group outputs can also be used as side or
at the back of the room. Set up a set of back fill loud-
speakers to fill in and add a digital delay to the main
speakers to correct the time delay from front to back.
When the 9 band graphic EQ sliders are in the center
the EQ sliders are raised or lowered from this position,
slider up and down to hear the difference.
harsh try reducing the 1kHz or 2kHz slider, if the mix
is too boomy try lowering the 250Hz or 500Hz slider.
To reduce feedback in the low frequency range, try
lowering one of the 63, 125 or 250 Hz sliders. High
frequency feedback is usually reduced by lowering the
2kHz or 4kHz slider.
To help with feedback reduction, the microphones
should be placed further back on the stage than the
main speakers.
MASTER OUTPUTS
9-BAND EQ
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