Funktion-one F81 - Gain structure basics for live sound console users; 1:; 2:

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Gain structure basics for live sound console users

1: Ensure that all inserts, gates, compressors or plug-ins are bypassed before initially setting your

gain structure! See Outboards effects set-up later...

2: Adjust your input channel mic/line gains for PFL (pre-fade listen) levels around +4dBu/0VU

(analogue), -18dBFS (digital) or the top green indicator (DJ)

You may need to trim input gains if the input levels change dramatically during the set.

Remember that musicians tend to play louder with an excitable audience in place so allow at

least 6dB of spare gain control

If your signals are too hot, even with the gain control below the 9 o’clock position, use a less

sensitive input, perhaps line instead of mic, or the console pad switch

If your mic signals are too weak, even with the gain control above the 3 o’clock position, recheck

your patch and make sure any input pad or insert points are switched out. It’s also worth

checking your mic specifications –in case the mic needs phantom power

3: Once you have a healthy PFL level, adjust the relevant subgroup or fader for AFL (after-fade

listen) levels around +4dBu/0VU (analogue), or -18dBFS (digital) with the channel routed and

faded up to the nominal 0dB fader mark

Note that, for professional analogue consoles, this assumes that the nominal 0dB fader mark is

10dB below full fader level and that there is gain make-up between the sub-group fader output

and the AFL point. Non-professional consoles may not have this gain make-up so you may need to

run at lower AFL levels (around -6dBu) to maintain pre- subgroup fader headroom

4: Channel faders will eventually be set to the levels required for artistic balance. Large numbers of

channels routed to the same subgroup or output will raise overall mix bus levels and you may

have to drop channel fader levels by 2-3dB every time you double the number of channels routed

to the same mix bus to maintain headroom

5: Adjust your master/output faders for the required sound level

6: Readjust channel gain controls for suitable pfl levels if specific input levels change, or after

tweaking any channel strip effects or eqs

Note that short-term transients and peaks in live music - plus mix summing - can easily use up your

headroom. Don’t be tempted to drive channel rms levels much beyond +4dBu/0VU/-18dBFS if you want

to minimise peak clipping and signal degradation further down the signal path.

Again, remember that you can always push the system harder using the master fader, once you’ve

developed a clean mix.

Outboard effects set-up

Assuming you have set the relevant console channel with everything bypassed as above, switch in your

inserts. If the outboard gear isn’t too noisy or mushy, use the 18dB-below-clip rule.

Outboard gain structure

1: With your outboard equipment’s input gain set to a nominal level (about 1o’clock if it’s an

analogue knob), set the relevant insert send control on your console so that your outboard gear’s

general level is indicating around 18dB below its own maximum (usually -18dBFS on digital gear).