Even the cheapest consoles have some peripheral effects components, such as compression, reverb & delay, door handling, or a combination of effects. The next step is about how to insert sound effects into a mix of acoustic or drum channels.
Use aux to send:
The most common method is to use a mixer to mix and send. The difference between this and the application effect is whether it is post-attenuation or pre-attenuation when sending a signal to the effect. Thus, when you need to adjust the total level of a channel, the level sent to the effect also changes.
Taking TAPCO Blend 6 as an example, each channel provides two independent aux sends, the first of which is the transmission of a pre-fader, and the second (the "effector") is sent. A post-fader signal. On a mixer like Blend 6, this is just a mono transmission. However, the effect returned is a stereo signal. So with the effect you can create an input signal from mono that is a stereo reverb.
Application plug-in terminal:
The second way to connect effects is through the insertion terminal of your mixer. Unlike simple transmissions, plug-in terminals are normally assigned to separate channels. It actually interrupts an input signal from a channel—such as a microphone—and then routes it back to a peripheral's processor. The processed signal is then routed to the plug-in terminal and then sent through the mixer. Most of the plug-in terminals use a TRS plug and terminal (top including output) and a loop carrying a return signal to complete the process, and the basis of both is "big three core." One end of the plug-in cable is a 1/4-inch TRS connector and the other end is two separate TS connectors. It should be noted that in a special channel, when we need sound processing, the insertion is often used as a dynamic effect (compressor) or equalizer.
Mixers such as the Mackie SR24-4 and SR32-4 VLZ Pro also provide some insertion in the main output section, which greatly facilitates the connection of the master mix or limiter to the sound system.
If you don't want to move back and forth with an external effects processor's stand while performing live, you'll have to consider a mixer with built-in effects. It's easy to set up, and it offers the same quality as a stand-alone processor at a high price. The Alesis MultiMix 6FX is a small mixer with 99 built-in effects presets (with one built-in effects send and one external send). Another example is the Yamaha MG16/6FX, which also includes a dedicated effect transmitter knob for each channel (these are basically hard wired auxiliary transmissions). Its digital effects cover the lobby, interior and sound reverb presets with adjustable parameters. In addition, the MG16/6FX can also be connected to external devices using auxiliary transmission or channel insertion, and its versatile features are obvious.
Even the cheapest consoles have some peripheral effects components, such as compression, reverb & delay, door handling, or a combination of effects. The next step is about how to insert sound effects into a mix of acoustic or drum channels.
Use aux to send:
The most common method is to use a mixer to mix and send. The difference between this and the application effect is whether it is post-attenuation or pre-attenuation when sending a signal to the effect. Thus, when you need to adjust the total level of a channel, the level sent to the effect also changes.
Taking TAPCO Blend 6 as an example, each channel provides two independent aux sends, the first of which is the transmission of a pre-fader, and the second (the "effector") is sent. A post-fader signal. On a mixer like Blend 6, this is just a mono transmission. However, the effect returned is a stereo signal. So with the effect you can create an input signal from mono that is a stereo reverb.
Application plug-in terminal:
The second way to connect effects is through the insertion terminal of your mixer. Unlike simple transmissions, plug-in terminals are normally assigned to separate channels. It actually interrupts an input signal from a channel—such as a microphone—and then routes it back to a peripheral's processor. The processed signal is then routed to the plug-in terminal and then sent through the mixer. Most of the plug-in terminals use a TRS plug and terminal (top including output) and a loop carrying a return signal to complete the process, and the basis of both is "big three core." One end of the plug-in cable is a 1/4-inch TRS connector and the other end is two separate TS connectors. It should be noted that in a special channel, when we need sound processing, the insertion is often used as a dynamic effect (compressor) or equalizer.
Mixers such as the Mackie SR24-4 and SR32-4 VLZ Pro also provide some insertion in the main output section, which greatly facilitates the connection of the master mix or limiter to the sound system.
If you don't want to move back and forth with an external effects processor's stand while performing live, you'll have to consider a mixer with built-in effects. It's easy to set up, and it offers the same quality as a stand-alone processor at a high price. The Alesis MultiMix 6FX is a small mixer with 99 built-in effects presets (with one built-in effects send and one external send). Another example is the Yamaha MG16/6FX, which also includes a dedicated effect transmitter knob for each channel (these are basically hard wired auxiliary transmissions). Its digital effects cover the lobby, interior and sound reverb presets with adjustable parameters. In addition, the MG16/6FX can also be connected to external devices using auxiliary transmission or channel insertion, and its versatile features are obvious.
Even the cheapest consoles have some peripheral effects components, such as compression, reverb & delay, door handling, or a combination of effects. The next step is about how to insert sound effects into a mix of acoustic or drum channels.
Use aux to send:
The most common method is to use a mixer to mix and send. The difference between this and the application effect is whether it is post-attenuation or pre-attenuation when sending a signal to the effect. Thus, when you need to adjust the total level of a channel, the level sent to the effect also changes.
Taking TAPCO Blend 6 as an example, each channel provides two independent aux sends, the first of which is the transmission of a pre-fader, and the second (the "effector") is sent. A post-fader signal. On a mixer like Blend 6, this is just a mono transmission. However, the effect returned is a stereo signal. So with the effect you can create an input signal from mono that is a stereo reverb.
Application plug-in terminal:
The second way to connect effects is through the insertion terminal of your mixer. Unlike simple transmissions, plug-in terminals are normally assigned to separate channels. It actually interrupts an input signal from a channel—such as a microphone—and then routes it back to a peripheral's processor. The processed signal is then routed to the plug-in terminal and then sent through the mixer. Most of the plug-in terminals use a TRS plug and terminal (top including output) and a loop carrying a return signal to complete the process, and the basis of both is "big three core." One end of the plug-in cable is a 1/4-inch TRS connector and the other end is two separate TS connectors. It should be noted that in a special channel, when we need sound processing, the insertion is often used as a dynamic effect (compressor) or equalizer.
Mixers such as the Mackie SR24-4 and SR32-4 VLZ Pro also provide some insertion in the main output section, which greatly facilitates the connection of the master mix or limiter to the sound system.
If you don't want to move back and forth with an external effects processor's stand while performing live, you'll have to consider a mixer with built-in effects. It's easy to set up, and it offers the same quality as a stand-alone processor at a high price. The Alesis MultiMix 6FX is a small mixer with 99 built-in effects presets (with one built-in effects send and one external send). Another example is the Yamaha MG16/6FX, which also includes a dedicated effect transmitter knob for each channel (these are basically hard wired auxiliary transmissions). Its digital effects cover the lobby, interior and sound reverb presets with adjustable parameters. In addition, the MG16/6FX can also be connected to external devices using auxiliary transmission or channel insertion, and its versatile features are obvious.
Use aux to send:
The most common method is to use a mixer to mix and send. The difference between this and the application effect is whether it is post-attenuation or pre-attenuation when sending a signal to the effect. Thus, when you need to adjust the total level of a channel, the level sent to the effect also changes.
Taking TAPCO Blend 6 as an example, each channel provides two independent aux sends, the first of which is the transmission of a pre-fader, and the second (the "effector") is sent. A post-fader signal. On a mixer like Blend 6, this is just a mono transmission. However, the effect returned is a stereo signal. So with the effect you can create an input signal from mono that is a stereo reverb.
Application plug-in terminal:
The second way to connect effects is through the insertion terminal of your mixer. Unlike simple transmissions, plug-in terminals are normally assigned to separate channels. It actually interrupts an input signal from a channel—such as a microphone—and then routes it back to a peripheral's processor. The processed signal is then routed to the plug-in terminal and then sent through the mixer. Most of the plug-in terminals use a TRS plug and terminal (top including output) and a loop carrying a return signal to complete the process, and the basis of both is "big three core." One end of the plug-in cable is a 1/4-inch TRS connector and the other end is two separate TS connectors. It should be noted that in a special channel, when we need sound processing, the insertion is often used as a dynamic effect (compressor) or equalizer.
Mixers such as the Mackie SR24-4 and SR32-4 VLZ Pro also provide some insertion in the main output section, which greatly facilitates the connection of the master mix or limiter to the sound system.
If you don't want to move back and forth with an external effects processor's stand while performing live, you'll have to consider a mixer with built-in effects. It's easy to set up, and it offers the same quality as a stand-alone processor at a high price. The Alesis MultiMix 6FX is a small mixer with 99 built-in effects presets (with one built-in effects send and one external send). Another example is the Yamaha MG16/6FX, which also includes a dedicated effect transmitter knob for each channel (these are basically hard wired auxiliary transmissions). Its digital effects cover the lobby, interior and sound reverb presets with adjustable parameters. In addition, the MG16/6FX can also be connected to external devices using auxiliary transmission or channel insertion, and its versatile features are obvious.
Even the cheapest consoles have some peripheral effects components, such as compression, reverb & delay, door handling, or a combination of effects. The next step is about how to insert sound effects into a mix of acoustic or drum channels.
Use aux to send:
The most common method is to use a mixer to mix and send. The difference between this and the application effect is whether it is post-attenuation or pre-attenuation when sending a signal to the effect. Thus, when you need to adjust the total level of a channel, the level sent to the effect also changes.
Taking TAPCO Blend 6 as an example, each channel provides two independent aux sends, the first of which is the transmission of a pre-fader, and the second (the "effector") is sent. A post-fader signal. On a mixer like Blend 6, this is just a mono transmission. However, the effect returned is a stereo signal. So with the effect you can create an input signal from mono that is a stereo reverb.
Application plug-in terminal:
The second way to connect effects is through the insertion terminal of your mixer. Unlike simple transmissions, plug-in terminals are normally assigned to separate channels. It actually interrupts an input signal from a channel—such as a microphone—and then routes it back to a peripheral's processor. The processed signal is then routed to the plug-in terminal and then sent through the mixer. Most of the plug-in terminals use a TRS plug and terminal (top including output) and a loop carrying a return signal to complete the process, and the basis of both is "big three core." One end of the plug-in cable is a 1/4-inch TRS connector and the other end is two separate TS connectors. It should be noted that in a special channel, when we need sound processing, the insertion is often used as a dynamic effect (compressor) or equalizer.
Mixers such as the Mackie SR24-4 and SR32-4 VLZ Pro also provide some insertion in the main output section, which greatly facilitates the connection of the master mix or limiter to the sound system.
If you don't want to move back and forth with an external effects processor's stand while performing live, you'll have to consider a mixer with built-in effects. It's easy to set up, and it offers the same quality as a stand-alone processor at a high price. The Alesis MultiMix 6FX is a small mixer with 99 built-in effects presets (with one built-in effects send and one external send). Another example is the Yamaha MG16/6FX, which also includes a dedicated effect transmitter knob for each channel (these are basically hard wired auxiliary transmissions). Its digital effects cover the lobby, interior and sound reverb presets with adjustable parameters. In addition, the MG16/6FX can also be connected to external devices using auxiliary transmission or channel insertion, and its versatile features are obvious.
Even the cheapest consoles have some peripheral effects components, such as compression, reverb & delay, door handling, or a combination of effects. The next step is about how to insert sound effects into a mix of acoustic or drum channels.
Use aux to send:
The most common method is to use a mixer to mix and send. The difference between this and the application effect is whether it is post-attenuation or pre-attenuation when sending a signal to the effect. Thus, when you need to adjust the total level of a channel, the level sent to the effect also changes.
Taking TAPCO Blend 6 as an example, each channel provides two independent aux sends, the first of which is the transmission of a pre-fader, and the second (the "effector") is sent. A post-fader signal. On a mixer like Blend 6, this is just a mono transmission. However, the effect returned is a stereo signal. So with the effect you can create an input signal from mono that is a stereo reverb.
Application plug-in terminal:
The second way to connect effects is through the insertion terminal of your mixer. Unlike simple transmissions, plug-in terminals are normally assigned to separate channels. It actually interrupts an input signal from a channel—such as a microphone—and then routes it back to a peripheral's processor. The processed signal is then routed to the plug-in terminal and then sent through the mixer. Most of the plug-in terminals use a TRS plug and terminal (top including output) and a loop carrying a return signal to complete the process, and the basis of both is "big three core." One end of the plug-in cable is a 1/4-inch TRS connector and the other end is two separate TS connectors. It should be noted that in a special channel, when we need sound processing, the insertion is often used as a dynamic effect (compressor) or equalizer.
Mixers such as the Mackie SR24-4 and SR32-4 VLZ Pro also provide some insertion in the main output section, which greatly facilitates the connection of the master mix or limiter to the sound system.
If you don't want to move back and forth with an external effects processor's stand while performing live, you'll have to consider a mixer with built-in effects. It's easy to set up, and it offers the same quality as a stand-alone processor at a high price. The Alesis MultiMix 6FX is a small mixer with 99 built-in effects presets (with one built-in effects send and one external send). Another example is the Yamaha MG16/6FX, which also includes a dedicated effect transmitter knob for each channel (these are basically hard wired auxiliary transmissions). Its digital effects cover the lobby, interior and sound reverb presets with adjustable parameters. In addition, the MG16/6FX can also be connected to external devices using auxiliary transmission or channel insertion, and its versatile features are obvious.
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