Re: Wide-eyed n00b mixer question

Wally wrote:

Peter Larsen wrote:

The Soundblaster EPM range has two stereo input channels, excellently
usable for returns.

I'm gravitating towards the EPM12 at the moment.

Based on specs only it is at the top of my wishlist too.

My thinking is to
have all sound sources going into the normal inputs

One microphone to one mic input (to one track)

, doubling
channels up for stereo sources, and try to keep the two stereo
channels for aux returns. However, this leads me to ask another n00b
question...

That's what the stereo inputs are there for, plus for using a submixer if
you run out of channels plus for the cd-player with the intermission muzak
if you do sound reinforcement with it.

What's the deal with the mixer having mono aux sends if using a
reverb that has stereo inputs?

Y cables are available in the marketplace, get them ready made .... there
are more fun soldering chores than to diy them. Feed the mono signal to both
inputs and get a stereo return.

Should I not be able to decide where an instrument is in the
soundfield when I send it to the reverb?

If all else fails look at the real world, the reverb of all things on stage
are all over the room, there is no issue. In the unreal world what could be
relevant would be to use a separate verb for each track and either pan it
with the track or opposite to it, it is a great way to get all 96 input
channels in use on a modern desk. But you're in the real world with the EPM
.... what was the context btw. - SR or recording?

If that's the case, does
this mean that I'd have to use both of a channel's aux sends, with
levels adjusted to approximate the instrument's main pan setting? The
channels themselves would be panned hard left and right, but the
stereo sources are MIDI, and pan would be set via MIDI. My thinking
is that I should be able to approximate that pan setting in the
signal that goes to the reverb, and I can't see a way to do that on
the EPMs other than using both aux sends.

!!!! Keep it simple so that the music doesn't get lost !!!!

Also it is a VIRTUE
not to have a digital sound processing module inside a simple analog
mixer. Two reasons: RFI and the cost of it subtracts from the quality
of the rest.

Or it adds cost - which means you're buying an effects box that you
may or may not like, and can't get rid of unless you dump the whole
mixer. Not very modular.

If only it DID add cost and not detract from analog sound quality, but
market forces dictate that it almost can not add cost, so if it is there it
subtracts from general component quality.

For the mixer neither of us could afford: search ebay for picomixer .... you
won't whine when you see what it went for and when you start thinking of the
work it is to replace faders and switches on such a beast, it ended up
costly, but I am not sure it also ended up expensive.

Kind regards

Peter Larsen


.

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