The microphone properties, the speaker properties, and the room properties all contribute to the level in which the audio system can produce sound without producing feedback caused when the reverberation field crosses over into the microphone field. One aspect of gain setting is gain-before-feedback. This enables precise volume mixing on the faders. Ideally, you want strong signals with a high signal-to-noise ratio where the signals are all in close relativity to each other. This is another reason you should get a high S/N as soon as possible. If there’s an initial low S/N, by the time the signal reaches the mixer, that noise can sound substantial in relationship to the desired sound. Equipment can be set up so the signal from the stage first goes into a rack component or other off-board processor and that equipment has gain control. This happens with a high signal-to-noise (S/N) ratio which means the true source (guitar, vocal, etc.) is so strong in the audio signal that natural noise is overpowered. The mixer needs a strong CLEAR signal for optimal mixing. Turn on the audio system and open a mic channel. Noise also comes from microphones as even air particles hitting the diaphragm will produce a sound. Noise can be picked up within the signal path either via interferences on instrument cables or any time the signal goes through a connection. It’s also why a guitarist needs to turn up the volume on their guitar. This is why vocalists need to put their mic to their mouth. The signal sent to the console needs to be a strong clear signal. It cuts 20 dB from the signal and places it into a manageable range. When this is the case, the Pad option should be used. Some signals come into the console so strong they can still be heard with the gain at zero. It would be like turning a faucet valve so less water comes out although the water pressure behind the valve stays the same. For example, a hot signal from an instrument would need less of that signal to come into the console. trim) control allows the FOH tech to allow for more or less of the signal to come into the console. For example, if a vocalist sings softly, they will send a weaker signal compared to if they were singing loudly. Though we talk of these levels generically, there is some fluctuation of the signal strength such as 5 to 50 mV for a microphone level signal. The signal comes in at microphone level (a few millivolts), gain is applied, and the result is boosted to line level (a couple of volts) via the channel preamp. Typically, the audio that comes into a channel from the stage is coming in via a mono balanced connection. Is there only one right method for setting the channel gain? Let’s explore. Someone reading that last sentence just went ballistic. Audio mixer channel gain can be set in three ways.
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