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Even though the "Garage Band" setup, with everything plugged into flute amps at full volume (including mics and keyboards), has helped many musicians progress and go coming from amateurs to experienced amateurs, even professionals, it's simple to rehearse in a more practical way that's even more consistent with professional standards. It would be a good idea to stop the "do it yourself" method as soon as possible, which, even though it lets you assemblage relatively quickly without having to carry heavy PA equipment, will not likely suffice for many situations and won't correspond to the real world regarding sound technicians and live gigs in bigger venues. Testing rooms often have equipment that lets you practice in a more qualified manner and which won't damage your ears. For your reasonable budget, it's also possible to set the same thing up "at home"...
How many inputs do I need?
The first question to ask yourself is whether all will be sent through the sound system, which is usually the case using a real stage, or if only certain sources will be extreme by the sound system. In most cases, due to lack of equipment, the second method is chosen, at the expense of a real sound take a look at, to prepare for a show... So you try to get the most out of just what exactly you've got, depending on the situation. Singers will of course be the primary on the list to go into the sound system, as well as any keyboards or wind instruments in the band. Let's say that the guitars and also drums won't be using the sound system. A group with: 2 singer-guitarists, another singer, a bassist, a keyboardist using not one but two instruments, a saxophonist and a drummer using electronic piles will need a mixer with at least eight channels, if, perhaps the keyboards use "mono" connections... When choosing a appliance, you should choose one with at least one third "more" channels than you usually use. In this case, a twelve channel mixer would have been a reasonable minimum and sixteen channels a comfortable investment for the future! One tends to feel like their over-sizing this type of equipment... nonetheless things could get very tight as soon as more musicians subscribe the band or if you want to connect the whole group (including guitar/bass amps) into the mixer as you would do in a considerable venue.
How many outputs?
The choice among 16-input mixers is sort of wide and it won't be difficult to find the right one for you. However , you also need to decide how many outputs you'll be needing. A pair of stereo results is of course the minimum. But the singer will probably increase having a monitor, same for the drummer, whose electronic plats don't produce much of an acoustic sound without jump. The keyboardist would also probably like one very since he probably doesn't want to haul around a keys amp just to hear himself better. If you want to eventually be capable to add some effects to vocals, it's a good idea if the console comes with a auxiliary out, post-fader. To sum up: a main stereo output, not less than two independent monitors, ideally three, in aux outside, pre-fader, and an aux out post-fader. So half a dozen outputs that will be controlled with your mixer. To illustrate most of these examples we'll use a Yamaha MG166CX. This small analog mixer has 8 mono channels, six of which employ a small compressor on the "mic" input, and four pairs involving stereo inputs, two of which are equipped with an XLR suggestions for "mics" and two with RCA inputs. Can switchable global phantom power for any condenser mics or simply DI boxes. Finally, the MG166CX also has integrated electric effects with reverb, chorus, flanger, and delay. Simply being within range of an average budget, rackable and particularly light-weight to carry, it's one of the ideal rehearsal studio toronto mixers.
Where must i plug in?
Let's take a more detailed look at the connections of your machines. Microphones will of course be connected into the XLR inputs of your channels. For "line" sources, use asymmetric "Jack" advices. Note that the insert inputs on channels 1 to eight, allow the use of an external dynamic effect (compressor, limiter, noise-gate... ). Channels 9/10 and the rest are stereo (. So you'll be connecting the electronic drums output one of these, and why not, the keyboard outputs. However , Yamaha even offers foreseen the possibility or necessity of connecting an additional XLR mike. But in this case, the "stereo" channels become "mono"! The exact Yamaha MG166 is not a "real" 16 channel machine, but... A 12 mic channel + 4-line-level direct mixer. You'll need to take this into account when making your choice!
There is no establish order to cabling channels on a mixer since they're interchangeable. Employing a live setting, it's sometimes conventional to find via left to right, drum channels, bass, guitar, and next all the others depending on their location on the stage, to really succeed for the technician know what is where. In rehearsal, the following of course doesn't make any sense. In our case, most of channels are not identical. It's probably wiser to keep the exact channels with compressors for singers and why not as well the drums, via "line" or XLR. In the second case you'd need to use two DI boxes whose function is to balance the signal, adapt impedance, along with match levels, as we did, at the end of the example, pertaining to keyboard outputs. In the case of a rehearsal room, where wires and cables and cable-length are often quite limited, the use of a direct common box is not necessary and may even be regarded as a luxury. However , in the instance of "humming" and "buzzing" problems, our little "magic box" is likely to solve the problem...