This is assignment 3 of coursera course : Introduction to Music production.

1. -SAMHITA SHILEDAR

2. I’m Samhita Shiledar from India!
I recently completed my Chemical engineering and working in same field
now. I play piano and sing Indian Classical Music.
This lesson is for week 3 of Introduction To Music Production at
Coursera.org
My ppt is about Channel Strips.
‘Channel strip: Teach the signal flow through a channel strip in a DAW or
analog mixing board, describe in detail every component of the
channel strip including its usage and position in the signal flow. ’
Hope you guys enjoy ;)

3. Specifications
 In my presentation, I will be explaining channel strip
in the analogue desk AUDIENT ASP 8024

4. WHAT IS CHANNEL STRIP?
 CHANNEL STRIP allows the output of an audio device
to be amplified by a line level and integrated into some
other systems as well
 Set of controls for each sound mixer channel makes up
what called the channel strip.
 The channel strip contains a lot of information, and
the visual position of the various functions often
doesn’t correspond with the actual flow of the signal.

6. Input Section
Mic Pre Amp
Insert
Aux Send
EQ
PAN
MUTE/SOLO
Volume faders

7. INPUT SECTION
Input section is divided into three parts:
1. Channel Path
2. Tape return path
3. Mic/ line and tape returns signal section
We have an XLR input for mic input, and we have a line
input for a line level source.

8. Channel Path
Channel Path:
Deals with the recording signal
The meter swap (MTR) switch allows
you to display mic/line signals coming
into the desk on 20 segment meter.
Tape input signal would be then
displayed on smaller 3 segment meter
Preamplifier allows you to use the
Mic/line signal into the desk.

9.  Press the Mic/line switch to select the
input.
 Phantom power switch is ON for
condenser microphones. Always
remember to reduce the gain of
speakers while turning phantom
power on. And similarly while
disconnecting

10.  Phase reverse switch is situated
on the channel path. It reverses
the phase of signal being
recorded and not the signal
coming back from our
recording device
 High pass filter can be used to
get rid of any low frequency

11. Insert on
tape return
path
Insert on
Channel
path
 Insert points are used to place
dynamic processing such as a
compressor into a path. It
places into the recording path.
This means that output from
your processing device would
be recorded and can not be
undone. Thus if you are
unsure of processes, you can
insert on tape return path.
Here settings are applied after
the track is being recorded.
 The insert points are a
convenient way to bypass a
process without having to find
bypass button on unit itself.

12. Tape return path
Tape return path:
Deals with the signal after
being recorded
Tape trim: Tape input has a
trim control of plus minus
15dB. This allows you to trim
levels which have been
recorded too hard. You
should always aim to get
good signal to noise ratio on
your recording device. Else
tape trim is used.

13. Mic/ line and tape returns signal
section
 Mic/ line and
tape returns
signal section
3 segment meter
20 segment
meter
 Measures the signal
when it is recorded
and after it is being
recorded.
 20 segment meter
shows the tape input
signal. It is the return
signal from the
device into the desk
after it is being
recorded
 3 segment meter
gives the indication
of the mic line signal
coming into the desk

14. Mic Preamp
This is going to be our input level.
We can use this to set levels, just like you do on your
audio interface when recording.

15. Signal metering
A 20 segment peak reading led bargraph provides
channel metering in the long fader path, and a 3
segment led bargraph indicating signal present,
normal level, and overload, in the short fader path. The
meter functions can be reversed if required.

16. Inserts for channel paths
Both the mic/line path and monitor/mix paths have
their own balanced inserts with individual “insert in”
switches.

17.  Multitrack Buses: Multitrack buses are assigned via
12 individual switches in combination with a shift
button allowing access to buses 13-24. The assignment
section can be accessed from either the short or long
fader paths, pre or post pan.

18. Auxillary Master Section
 Control overall level of aux outputs. A balanced or
mixed bus can be created by using controls on the
channel strip.
 Overall created by auxillary master controls
Auxiliary sends
Mute

19. Auxiliary Buses

20.  Auxiliary Buses: A total of 14 Auxiliary send buses can
be accessed via 8 controls. Controls 1 to 6 can be
reassigned to buses 7 to 12, and are switched in pairs to
the short fader path and also pre / post the relevant
fader. This leaves 2 controls permanently assigned to
Auxiliary A and B buses, individually switched to the
short fader path. These are normally used for artists
foldback purposes, although they can be switched post
fader if required for extra sends

21. A flexible Auxiliary bus combining facility on the
Master module allows the 2 independent signals within
a channel to access the same Effects device. Should
extra sends be needed a single button push will allow
the short fader to become a post long fader send
accessing the 24 track assignment buses, with or
without panning. This flexibility and more, is achieved
clearly and simply by having consistently positioned
and labelled controls, together with informative backlit
indication of which signal source is in which signal
path.

22. EQ Section
 Equalisers: During the mix phase the short fader path
is often used to provide extra inputs to the mix, any or
all of which may require EQ and Effects processing.
 EQ section:
 Equalisers are what would be referred to as tone
controls.
 EQ is mainly associated with long fader signal path.
 IN switch places the equalizer in circuit.
 SF switch places the equalizer into short fader signal
path.
 Aim is to treat the signal before it is recorded.

23. EQ IN
SF Switch
Shelving EQ
Parametric EQ

24.  EQ is split into two parts:
1.Shelving EQ:
Has high frequency boost / cuts at 10kHz to 18 kHz
Low frequency boost or cuts at 50Hz and 100 Hz
2.Parametric EQ
Has high frequency boost cuts and low frequency boost cuts
 Frequency Sweep: Controls the centre frequency of high
mid and low mid EQ.
 Q factor: adjust the width of the frequency to be attenuated

25. HF boost/cut
10kHz to 18 kHz switch
LF boost/cut
50Hz and 100 Hz switch
HMF boost/cut
LMF boost/cut

26. Frequency sweep
Q factor

28. Routing section
 It is situated directly below the input section of each
channel.
 While recording, this allows us to route the channel
path to the recording device.

29. Short fader controls
 Short fader controls:
Fader, mix, pan, cut, solo
and long fader link
controls for the short
fader path.

30. Long fader controls
 Fader, mix, pan, cut, solo
and fader flip for the long
fader path.
 Normally the tape return
signal, that is the signal
coming back from your
device is fed to the long
fader signal path.
 When flip switch is
pressed, it will feed the
short fader signal path.
Long fader will then
become the channel path
input.

31. THANK YOU! 

32. REFERENCES:
 http://www.dummies.com/how-to/content/home-
recording-mixer-basics-channel-strip.html
 http://www.youtube.com/watch?v=2Qez7VsawLI&feat
ure=share&list=PL83AA8CC2E6E3BD9F
 http://www.youtube.com/watch?v=R_zfCSeTKPo&fea
ture=share&list=PL83AA8CC2E6E3BD9F
 http://audient.com/tours/asp8024/index.html
 http://documentation.apple.com/en/logicpro/userma
nual/index.html#chapter=27%26section=12%26tasks=
true
 http://www.wikipedia.org/