One of the earliest examples of devices for remote control invented and patented by Nikola Tesla in 1893.
The first remote control for controlling a TV was developed by an American company Zenith Radio Corporation in the early 1950s. It was connected to the TV with a cable. In 1955 it was developed wireless remote control Flashmatic, based on sending a beam of light in the direction of a photocell. Unfortunately, the photocell could not distinguish the light from the remote control from light from other sources. In addition, it was necessary to point the remote control precisely at the receiver.
Remote control Zenith Space Commander 600
Universal remote control Harmony 670
Military affairs
- In World War I, the German navy used special boats to fight the coastal fleet. They were driven by internal combustion engines and controlled remotely from a shore station
over a cable several miles long, attached to a reel on the ship. The plane was used for their precise guidance. These boats carried a large explosive charge in the bow and sailed at speeds of 30 knots.
- The Workers 'and Peasants' Red Army used remote-controlled tanks in the Soviet-Finnish War of 1939-1940 and at the beginning of the Great Patriotic War. The teletank was controlled via radio from the control tank at a distance of 500-1500 m, thus creating a telemechanical group. The Red Army fielded at least two teletank battalions at the beginning of the Second World War. The Red Army also had remote-controlled boats and experimental aircraft. Meanwhile, the German tank battalions were completely radio-equipped, each tank had a walkie-talkie on board, which indicates the enormous superiority of German technology and industry at the beginning of the war.
- Detailed information about the use of remote controls for special-purpose vehicles in our time is mostly closed.
Aviation
Almost all avionics and other on-board equipment of the aircraft are controlled using remote controls in the cockpit; remote control is also available in ground equipment
Water transport
A significant part of ship equipment is controlled using remote control
Railroad and metro
Remote control panels are used to control train equipment, track equipment, station equipment (escalator, lighting, etc.)
Industrial production and construction
Some types of production and construction equipment can be controlled using a remote control
Research and production technical laboratories
Some types of laboratory equipment are controlled using a remote control
Space
- Remote control technology has also been used in space exploration. The Soviet Lunokhod was remotely controlled from Earth. Direct remote control of spacecraft over greater distances is impractical due to increasing signal delay.
- To control the equipment and engines of the spacecraft, there are remote controls in the cosmonaut cabin
Communications and other information technology systems
Repeaters, radio beacons, as well as communication radio stations, radars and other systems can be remotely controlled
Electric power industry
In the electric power industry, remote control panels are used to control power system facilities and manage energy consumption
Security systems and management of buildings and territories
Gates and barriers are often controlled from premises using remote controls; also, using the remote control, you can control external and internal lighting, CCTV cameras, etc.
Cultural and entertainment support
Remote control is widely used in cinemas, as well as in theatres, circuses and, in some cases, in providing public events in the open air
Home use
Remote control panels are used to control consumer electronic equipment, home electrical appliances and lighting
In general, a DJ's performance doesn't really depend on technical equipment, but for disc jockeys who give hundreds of concerts a year, equipment can really influence their creative abilities. If someone voluntarily exchanges his daily life on a set of musical instruments, he definitely has a chance to improve. We have compiled a list of equipment used by the most popular DJs and producers in the world.
Let's find out what equipment DJs use
I had to do a little digging to find out what DJs play when performing live. We have done our best to define this as accurately as possible and not mislead you. Having studied YouTube videos, interviews, photos from various sources, we managed to compile a collection of the most used DJ equipment.
Note that many performers periodically add new equipment to their arsenal (sometimes they are supplied with equipment by sponsoring manufacturers in order to test a newly released product), so the list presented in this article is not permanent and may soon change.
TOP 100 most popular DJs: CDJ Mafia
We found that most of the DJs in the TOP 100 according to DJ Mag use the same equipment, with the exception of headphones.
Below is the "standard" set of equipment used by real pros: Avicii, Tiesto, Nicky Romero, David Guetta, Skrillex, Afrojack, Alesso, Dash Berlin, Calvin Harris, Sebastian Ingrosso, Claude Vonstrok, Eats Everything, Hardwell, Dimitri Vegas & Like Mike, Nervo, Above & Beyond and many others:
- Mixer: Pioneer DJM-900 Nexus
- Decks: Pioneer CDJ-2000 Nexus
- Source: USB flash drive (Rekordbox)
About 70% of the TOP 100 DJs participants use identical equipment. The reason is clear - this is a universal equipment that is suitable for both club performances and festivals, it is easy to reconfigure in the DJ booth.
Things are much more interesting with the headphones of super-DJs; when choosing these accessories, stars are mainly guided by individual preferences and, probably, advice from colleagues. Below is a list of headphones used by the TOP 20 DJs according to the publications "DJ Mag" and "Resident Advisor":
- Sennheiser HD 25-1 IIs (Calvin Harris, Afrojack, Ben Klock, Loco Dis, Aly & Fila, Hardwell, Above & Beyond, Ricardo Villalobos, Seth Troxler, Maceo Plex, Ben UFO, Eats Everything);
- V-Moda Crossfade M-100s (Dash Berdin, Avicii, W&W);
- Urbanears Zinken (Alesso, Axwell, Sebastian Ingrosso);
- Phillips A5-Pro (Armin van Buuren);
- AKG 267s (Tiesto);
- Beats By Dre Mixr including custom colors (David Guetta, Nicky Romero, Skrillex, Dimitri Vegas & Like Mike);
- Sol Republic Tracks HD (Steve Aoki);
- Pioneer HDJ-2000 (Nervo).
This is interesting: unique DJ equipment + setups
Who among the members of the CDJ Mafia - the most popular and influential DJs in the world - uses unique equipment without repeating after other disc jockeys? Below is a selection of 13 performers.
Zedd: All-In-One Controller
Zedd is one of the touring DJs who uses an all-in-one controller. This year he acquired the MK2 model. It is possible that he will soon switch to Kontrol S8.
- Headphones: Beats By Dre Mixr
- Mixer: N/A – connects to a house mixer
- Controllers/Decks: Traktor Control S4 MK2
- Other: Zedd recently revealed that he was deaf in one ear. I wonder if he will change his headphones after this? An in-ear model would probably suit him.
Armin van Buuren: CDJ Setup with expanded functionality
Armin has been DJing for decades. Therefore, it is no wonder that he is well versed in this matter. During performances, the DJ uses visual effects, from which the audience is completely delighted.
- Headphones: Phillips A5-Pro
- Mixer: Pioneer DJM-900
- Controllers/Decks: 4 Pioneer CDJ-2000 Nexus with USB
- Other: Armin uses 2 CDJs to send the SMPTE signal to the VJ software. He also has a chat program on his laptop to communicate with his VJ during his performance and notify the latter what track he intends to play.
Flostradamus: DJ setup (with Midi Fighter 3D!)
The king of remixes, Flostradamus, has an amazing show included in the Ableton program, as well as a lot of sound and lighting effects.
- Headphones: Beats by Dre
- Mixer: Pioneer DJM-900 Nexus
- Controllers/Decks: Novation Launchpad, APC-40, CDJ-2000s Nexus (from time to time), Midi Fighter 3D
- Other: In addition to using Midi Fighter 3Ds, Flostradamus was spotted with Chroma Cables and DJTT - looking pretty cool!
Deadmouse: Equipment for Live Performance
Joel Zimmerman quite often claims that his performances are significantly different from the DJing of the rest of the TOP 100 participants, because his equipment is completely different from anyone else's DJ kits. We will not deny that the DJ is indeed constantly improving his equipment. The photo above shows the scope with which he is ready to take on “live production” - his DJ set is equipped with modular synthesizers, a table for a mixing console, Virus TI and Kontrol X1 (the DJ had all this in 2011). Recently, Deadmouse was spotted with another, even more bizarre device, the Microsoft Perspective Pixel.
Richie Hawtin: DJ equipment Traktor + Push
Ritchie is meticulous about the choice of technical equipment - his main equipment is a Traktor Pro connected to Ableton Live(synchronized with MIDI clock), thanks to which the DJ can create mixes in real time throughout the performance. Dubfire has a similar DJ setup.
- Mixer: Allen and Heath Xone:92
- Controllers: Kontrol X1 MK1 (2x), Ableton Push
- Sound card: RME Fireface UFX
- Headphones: Variable, and last year I used AIAIAI TMA-1 Studios and Pioneer HDJ-2000s
- Other: Khotin believes that there should always be a lot of fruit near DJ equipment. In fact, he surrounds himself with grapes during his performance.
Maceo Plex: external effects ensemble
Maceo's deep sounds are enhanced by a variety of external effects. By the way, the sets of online parties "Boiler Room" only half reveal the versatility of Plex's DJ game. He seemed used to producing live shows using Ableton, Akai MPK, Kontrol F1 and iPad equipment, but the DJ still preferred a CDJ with exciting effects.
- Mixer: Allen and Heath Xone:92 or DJM-900 Nexus
- Decks: CDJ-2000 Nexus
- Single effects: Boss delay pedals (2x), RMX-1000 (sometimes 2x - one for each deck to avoid having to send/return a signal)
- Headphones: HD 25-1 IIs.
Tale Of Us prefer Traktor
This Berlin duo presents fantastic dark techno stories in their sets. Tale Of Us take a diverse approach to DJing. Traktor Control Vinyl is used as the main equipment.
- Mixer: Allen and Heath Xone:92
- Decks: Traktor Control Vinyl and sometimes CDJ-2000 Nexus
- Controllers: Kontrol X1 MK1s (2x)
- Headphones: HD 25-1 IIs
- Other: These guys seem to have found something that really suits them - DJTT Chroma Cables.
Andy C: the main thing is reliability
Andy C is one of the most prominent pioneers of DJing in the Drum and Bass scene. He is successful not because he uses some cutting-edge technology, but solely because of his excellent mixes, which he has released over the years.
- Mixer: Allen and Heath Xone:92
- Decks: 3 Technics 1200s/1210s
- Headphones: HD 25-1 IIs
- Other: concrete plates under the decks and a mixer to isolate the turntable - this is especially important at festivals, where DJ booths do not always absorb the bass of house systems well.
Flying Lotus: Hardware with Ableton
Label creator Brainfeeder Stephen Ellison uses the simplest and most unpretentious equipment, focusing on visual effects in the process of creating a powerful live show. More information in the video.
- Mixer: N/A, via RCA connects to sound card laptop
- Controllers: Akai MPD 32
- BY: Ableton Live.
Paul van Dyck: production palette
Like other DJs, Paul van Dyk also uses a lot of equipment to make his performances flawless. Above, watch the DJ perform at the Creamfields dance festival, his DJ setup is clearly visible in the video.
- Mixer: Allen and Heath Xone:DX
- Controllers: Akai APC 20, M-Audio AxiomPro 25 (2x), Vestax VCM-600
- Headphones: Sony MDR V6/7506
- Other: Paul has 2 laptops on stage - probably one for performing live and one for mixing audio and video - both running Ableton Live software.
DJ setup for Pretty Lights
The glitch-hop music from Colorado-based musician Pretty Lights has become one of the most sought after at festivals around the world. Derek Smith plays his compositions using a mirror setup and two laptops equipped with Ableton Live. The DJ’s arsenal also includes MPCs, analog synthesizers, and more.
- Mixer: Pioneer DJM-900 Nexus
- Headphones: in-ear, brand unknown
- Controllers: Akai MPD 32 (2x), Maschine Mikro MK2 (2x).
Porter Robinson's new worldwide live show
You may remember that Porter's rise to fame involved learning how to DJ using a kit Traktor Control S4. Last year he showed a more exciting show, far from aggressive electro house. Porter's equipment list includes the following equipment:
- Controllers + samplers: Livid Ohm (4-channel mixer), Roland SPD-SX, Akai keyboard
- Synthesizer: Roland System 1.
Bassnectar and its MIDI controllers
Bassnectar is very obsessed with his DJ equipment. Do you want to know how much? The musician tried 60 types of different controllers.
- Mixer: Pioneer DJM-900
- Controllers: 60 Livid models (based on DJTT), Midi Fighter Pro Cue Master.
More and more electronic devices are appearing in our lives, without which we can no longer imagine life. One of them is the remote control. Due to their small size, they are often lost, and due to their fragility, they break (as a result of falling or water). And so that if you lose or break the original remote control for your TV, you don’t have to look for exactly the same one, you can take a universal one that fits most existing models.
From this article you will learn how to choose and how to properly use a universal remote control for televisions (TV).
The principle of operation of a universal TV remote control
This remote control works on the principles of capturing the signal of the device that needs to be controlled, recognizing it and, using a built-in database of certain codes, gaining access to control a specific TV model.
Depending on how the setup occurs universal remote control for TV, they are:
- programmable;
- trained.
And according to design they are divided into:
- similar to regular remote controls;
- universal remote control key fob – multi-brand model (suitable for 90% of TV brands).
Such remote controls differ not only in design, but also in functionality, since a small key fob can only perform basic functions: on/off, volume control, silent and AV modes, menu settings, channel switching, numbers and timer .
How to set up a universal TV remote control?
If you bought a trained remote control that already has built-in control programs, then you only need to enter the model of your TV on it and you can use it.
But, if you took a programmable one, then you need to act like this:
- Turn on the TV
- Press and hold the SETUP or Set button on the remote until the red LED indicator will not light up continuously.
- Point the remote control at the TV screen and press the Vol + button (i.e. increase the volume). It is correct when the indicator reacts (blinks) to each button press. With each press, the remote sends a signal to the TV to complete the task using a different code.
- When the remote finds the code for your TV, a volume bar will appear on the screen. Press the SETUP (Set) button to memorize.
After this, you need to check whether the universal remote control can control your TV; if not, then the setup must be repeated.
There is another way to set up a universal TV remote control, but for this you will need an original remote control (which can sometimes be problematic).
The setup procedure is as follows:
- Press the buttons on the universal remote control in a certain combination.
- At the same time, you press the same buttons on the original remote control.
- The universal remote control will remember the signal and will work the same way.
It's very easy to set up a multi-brand TV remote control. To program it, you just need to point the remote control at 
TV and press the mute button or any other button (switch channels or turn on/off). After the command begins to be executed (a scale appears on the screen), this means that the signal is captured and the button must be released.
The most important criterion for choosing a universal remote control is the availability of codes for your TV model.
They usually say that by purchasing a universal television (TV) remote control, all problems are solved and you can replace several remote controls at once. But very often, universal programmable remote controls for TVs “forget” everything over time and stop working. This usually happens with cheap Chinese-made remote controls. In this case, programming must be done again.
What is a mixer? The word itself is familiar to many, but only those involved in sound processing have an accurate idea of this device, its purpose, and its varieties. This equipment is the basis of the sound processing system. Using a mixer, high quality reproduction of incoming signals is obtained. It is also needed when implementing ideas in the field of musical creativity, for their effective implementation.
The mixer is a digital or electronic device, with which audio data is processed. It mixes multiple input signals and outputs the result. The entire process of working with signals can be divided into several stages:
- accepting them from sound sources (audio equipment, musical instruments, microphones and other sources);
- balancing;
- processing;
- mixing (summation) at the output into the final signal.
At the balancing stage, sounds are distributed over the frequency range, harmonized, and panning occurs. They are then treated with various effects. At the last stage, a summed signal is obtained, which is then amplified and reproduced.
Other names for this sound processing equipment are mixing console or mixing console.
One of the main characteristics of the remote control is maximum number of available channels. There are two types of inputs:
- balanced, reducing the level of existing interference in the incoming signal;
- unbalanced.
The former are used much more often on consoles.
It turns out that the mixer, receiving sound from various sources, combines it in the required proportions into one whole at the output. In this case, signals are routed during their recording, summation and amplification.
Mixing consoles various models differ in their structure. But at the same time, there are elements that are mandatory for everyone. These include sections of inputs and outputs.
The general view of the remote control is shown in the photo below.
The input section is represented by a certain number of channels (almost always their number is proportional to 2). This number determines the maximum possible number of accepted sources sound signals, which then regulate and strengthen.
Receiving channels can be either stereo or mono. The latter usually correspond to 2 slots.
Any channel consists of the following blocks:
- input amplifier, which allows you to set its optimal level, and has a sensitivity regulator;
- power supply“phantom” type (present on most models), designed for connecting microphones with capacitors and some other types of devices;
- equalizer, which adjusts the frequency of the incoming signal;
- router– a block that distributes incoming audio signals to Aux buses (additional);
- pan control, designed to determine the location of the incoming signal among stereo sounds;
- volume fader, which allows you to determine the level of the incoming audio signal in the generalized balance of all cells.
Equalizers different models have different number adjustment strips. For professionals, their number reaches six.
On additional Aux buses, the signal can be processed by an effects processor (built-in or external). They can also be used to direct sound to a separate line. The number of tires ranges from 2 to 12. For any of them, 2 operating modes are available: Pre and Post. With their help, you can set a balance between the ratio of the level of the incoming sound signal and the location of the volume fader.
Some models may have an Insert jack located after the preamplifier. It simultaneously represents the input-output system of this channel.
Console outputs can consist of the following elements:
- universal tires (subgroups);
- cells performing additional features;
- output level controls (general) and Aux buses.
Line outputs on the mixer can be present for any input channel. They are needed to send the signal to the recording device. Linear outputs can be controlled or uncontrolled - this is determined by the purpose of the remote control.
Types of mixers
Mixers are divided according to various criteria. Their different types have their own operational advantages and disadvantages. So, based on operating principle, devices are divided into:
- digital;
- analog.
Equipment of the first type converts incoming signals into digital format, and then they are processed by processors. An analog device may have a built-in amplifier unit (active) or without it (passive).
Classification by functionality distinguishes the following types of mixing consoles:
- concert;
- universal;
- monitor;
- broadcast (radio television);
- studio;
- DJ's
The panels have various device and the number of inputs and outputs. Studio and concert equipment (professional) have more than 32 input jacks, while budget models have fewer. DJ consoles have fewer outputs, an effects unit, and a crossfader (a device that smoothly connects incoming audio signals). To coordinate with telephones, on-air consoles may have special cells. Because of this they are called " telephone hybrids».
A variety of mixers allows you to select equipment with the required functionality. Amateur equipment will satisfy the simplest needs, while professional equipment allows you to achieve the highest possible sound quality at the output.
Scope of application
Mixing consoles have found their application in all areas where high-quality audio signal processing and subsequent amplification are required. Consoles are used:
- recording studios;
- television and radio stations;
- at concert events;
- music lovers at home.
The widespread use of mixers is due to the desire of listeners to enjoy high-quality music. After processing the incoming signals, the devices produce beautiful-sounding melodies. In order to competently use this type of device, to know why the inputs and outputs on it, and various regulators are intended, it is necessary to study the description of its design and operation contained in the instructions for the model being used.
Mixing console. What is this?
This is a device whose main task is to summarize several sound signals into one. But modern mixing consoles, in addition to this function, perform a number of others:
Signal correction (equalization, compression, special effects);
routing (the console is the heart of any concert venue or studio, wires go from it to other equipment);
amplification (such a mixer can be connected directly to acoustic systems);
recording to a computer or external storage device.
How to understand all this diversity?
Types of mixing consoles
All mixing consoles are conventionally divided into DJ, concert, studio, radio broadcasting and others. Everyone has their own specifics, and this one most important factor cannot be ignored.
DJ consoles usually have fewer channels than live consoles, but they have special functions:
A fader between a pair of stereo sources, allowing you to mix them in one motion;
a special equalizer that literally kills frequencies;
an effects processor with a looper or a special input with a tone corrector for connecting vinyl players (or, as they are also called, turntables).
Pictured is a DJ mixing console.
These functions will most likely be useless for concert or studio activities, but you won’t be able to hold a disco with another mixing console.
DJ controllers have become very popular now. These are DJ mixing consoles combined with a multi-channel (usually two stereo pairs) sound card and controlled by a special program from a computer. If the only sound source is a computer, then there is no point in buying a regular DJ mixer. A better purchase would be a DJ controller.
In the photo - DJ controller
Concert consoles place increased emphasis on reliability and convenience. operational work with frequent trips. Such a remote control must have a developed architecture - the ability to connect a variety of additional equipment and route the signal to different sound reinforcement zones. Concert consoles include zone and monitor consoles, as well as various splitters that solve narrow problems during large concerts.
In the photo - a concert mixing console
Modern studio consoles value, first of all, the level of sound quality and the ability to save settings. Digital remotes are now widely used, allowing you to return to an unfinished track with one touch and continue mixing it at any time. With studio consoles, attention is often paid to such subjective parameters as mixability and audibility, which characterize the balance of instruments when producing a finished recording.
In the photo - a modern studio mixing console
Broadcast consoles are in some ways similar to DJ consoles (it’s not for nothing that people in broadcast studios more often call themselves DJs than presenters). However, these consoles have some additional functions, for example, the ability to communicate off-air with the studio or listeners calling on the phone, starting a soundtrack from the fader channel, and special dynamic processing with controlled compressors. All this is absolutely unnecessary in the studio or on the concert stage.
In the photo? radio broadcast mixing console
Depending on the number of channels, mixing consoles are divided into portable, portable and stationary.
Portable remote controls – compact devices, as a rule, of a budget class, performing the minimum tasks assigned to them. They are usually used where many channels are not needed and there is no need to connect musical instruments. A special feature of portable consoles is the use of circular potentiometers, thanks to which the devices are light in weight and dimensions, are easy to carry, and do not take up much space in the home studio.
In the photo - a portable mixing console
By the way, you can watch our video about the 5 most interesting representatives of these mixing consoles on the channel:
Portable mixing consoles are semi-professional and professional models that are used for various events: concerts, studio recordings, etc. Such devices have more channels than portable models. In concerts, active mixers with a built-in power amplifier are often used. They have everything that is typical for quality mixing and recording.
In the photo - a portable mixing console
Stationary mixing consoles are professional devices with a large number channels. They are used for large concerts and in professional-level recording studios. Increasingly, there are digital mixing consoles that allow multi-channel audio recording to a computer, have the broadest sound processing capabilities, are able to remember all the settings for a specific studio project, and greatly facilitate the work of sound engineers.
In the photo - a stationary mixing console
Main characteristics of mixing consoles
Number of channels: what do you need to know about it?
Just because a remote is called 10-channel doesn't mean it has 10 microphone inputs. Stereo input (for example, for connecting a stereo player) has two channels. There is also an additional, unregulated TAPE (CD) IN input that feeds a linear stereo signal directly to the master bus: it also requires two channels. Thus, a 10-channel mixing console can have 4 mono microphone inputs, 2 stereo inputs for connecting stereo sources and an additional input for connecting a turntable to the master section.
Types of channels
As we noted above, mixing consoles have microphone and line inputs. They can be balanced or unbalanced. Most remote controls have balanced inputs, which contributes to greater noise immunity and, as a result, noise reduction. Therefore, you should use balanced (also called symmetrical), mainly XLR connectors.
Mixing console interface
All signal control in the mixing console can be divided into channel and general.
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Each channel of a mixing console typically contains: Microphone XLR input. Line input 1/4" TRS (thick jack). Very often microphone and line inputs are performed on budget remote controls to save space on the so-called COMBO connector. You can connect both XLR and Jack to it. An Insert, which ensures that the signal is sent to an external processing device (most often a compressor) and received back from this device. GAIN sensitivity control, allowing you to configure the mixer input channel to work with any sources. Equalizers. Budget models have a two- or three-band equalizer. More expensive and professional models usually involve parametric adjustment, changing not only the level of each adjustable frequency, but also the frequency itself. This option is convenient for concert and studio work, as it allows you to make more accurate and deep signal correction in the mid-frequency range. Send, which makes it possible to mix a processed signal from a channel into the signal external device processing. Panorama control, responsible for controlling the signal level that will be sent to the common left and right channels. Switching, in which the activity and signal route are determined using buttons. Volume control. On budget models it is made with circular potentiometers, on professional consoles with vertical faders: the longer it is, the more accurately the signal level can be set. |
TO general management include subgroups that allow you to combine selected channels for further management. The general section contains a headphone output, switching (AUX sends and returns, monitor outputs), and built-in DSP processors. A level indicator is also required. Professional remote controls have a built-in microphone for conversations with the sound engineer, a special output for connecting lighting, and much more.
Do you need a mixer in your home studio?
Now that we know almost everything about mixing consoles, let’s answer the main question that we get asked: “I have a home studio. Does it make sense to buy a mixer for it?
The minimum composition of a home studio usually includes:
Microphone;
- sound card;
- headphones;
- studio monitors;
- MIDI keyboard;
- switching and racks.
Is a remote control needed in this case? Our answer? NO. A mixing console is not needed for recording: not only will it not improve the recording, but, most likely, it will worsen it. Of course, if you don’t use your studio to take “clear” photos against its background :) :)
Why do we think this?
1. Modern sound cards contain microphone preamplifiers of quality that are usually higher than those of similar preamplifiers in consoles. The preamplifier costs no less than $100, the 10-channel console uses at least 4 microphone preamplifiers, and also has stereo inputs. However, the price of the remote control does not rise above $400. A completely normal 10-channel console can be purchased for $120–150 (it will even come with an effects processor, which also costs $100 or more separately). What is the logical choice under such circumstances? in favor of audio interfaces and separate preamplifiers.
Cards, by the way, can have up to 16 (and even up to 32) input channels and allow you to record any signal source.
3. Mixing in 99% of cases will take place in a sequencer ( special program). The remaining 1% comes from expensive analog mixing consoles. The cost of such remotes now starts from 500,000 rubles, they require a lot of expensive additional processing, and this is not home recording at all. Unfortunately, it is impossible to mix on an 8-channel remote control for 10,000 rubles and get great results.
4. Many people are considering mixing consoles with USB on board. Unfortunately, these remotes are absolutely useless for studio recording. They digitize only the master section, and you cannot write channel by channel with them. In other words, you will not be able to listen to a backing track through such a remote control and record vocals on a separate track: a ready-made mix will be recorded. But for small performances this is a godsend: you don’t need a sound card, you connect directly to your laptop and have sound many times better than through the built-in sound card. The more power, the more noticeable the difference will be.
But all of the above does not put an end to the use of mixing consoles in a home studio for monitoring.
The remote can be useful because:
You will have an additional headphone output (another one is required on the sound card).
Note that if you need to connect more than two pairs of headphones, there are dedicated headphone preamps. Their use is more practical.
You can connect not one, but two pairs of monitors via the remote control.
For serious studios, there are special monitor mixers. They allow signal routing with great flexibility.
In the photo - a special monitor mixing console
It will be possible to use equalization in monitoring mode and assess the need for frequency correction in real time.
Finally, you can calmly rehearse with your friends before recording, without thinking about how to plug it all into your sound card.
We hope our article was useful to you. If you have questions, write to the mail and we will give the best free consultation for any questions related to concert and studio equipment.
