ABSTRACT
A large mixing console arguably represents the most demanding area of analogue audio design. The technical problems that must be overcome in a professional mixing console are many and varied, and often unique to console design. A large number of signals flow in a small space and they must be kept strictly apart until the operator chooses to mix them; crosstalk must be exceedingly low. A mixing console has a number of input channels that can be summed into groups, and these groups again summed into a stereo mix as the final result. The structure and signal flow of a mixing console depends very much on its purpose. Each channel has both a microphone and line-level input, with a wide-ranging gain control. The master section contains the summing amplifiers for the stereo mix bus, which feed a stereo fader and suitable output amplifiers.
