DE202005000536U1 - 10 channel stereo "in-ear monitoring" mixing desk for use in events technology enables musicians to preamplify any microphone and instrument input signals and to individually drive them onto independent stereo channels - Google Patents

Abstract

The device enables musicians to preamplify any microphone and instrument input signals when using the "in-ear monitoring " process and to individually drive them onto the same number of independent stereo channels (e.g. 10), whereby the mixing ratio of each individual channel is implemented as freely adjustable to the sum of all remaining channels.

Description

2.1 General information

following described invention finds its application in the rule in the Event technology, the technical implementation partly on Analog technology or based on microprocessor technology. It deals This is a multi-channel mixer which is a so-called in-ear monitoring System includes. The mixer was used in the field of amateur and professional musician developed and intended his use mainly on the stage and in the rehearsal room or studio.

2.2 State of the art

In-ear monitoring This means that every musician has a monitor via headphones Provides around him his personal Feed sound. To illustrate this a little example:

A usual band consists of keyboardist, guitarist, drummer, bassist and two Girls who bring in the singing. Of course the bassist wants more his bass, the singers Hear your great voices, not to mention the guitarist

In most cases The individual musicians with conventional monitor boxes will be yours Signals from the Saloon Mixer get furnished. It is necessary for this at least one monitor box per musician as well as the corresponding amplifier the stage to place.

However, this has significant disadvantages. On the one hand, it is essential that the musician hears himself well on stage, on the other hand, no noise should enter the hall from the stage monitors. Furthermore, the microphones represent an enormous danger for feedback. A detailed description is omitted here, but can be read in the utility model [ DE 201 07 831 U1 - paragraphs 2.2 to 2.3].

There are for this Different in-ear systems from different manufacturers already exist on the market whether by radio or wired. Unfortunately, these systems are all Single or one-man systems - one uniform Concept for the whole band, orchestra etc. is missing.

Furthermore These systems do not allow connection of external devices such as Hall or Echo and you are always dependent on the possibilities the used hall mixer.

Further disadvantages can be found in the utility model [ DE 201 07 831 U1 - paragraph 2.3].

2.3 Technical solution

The The basis of this mixer concept is a uniform system to create, with the help of which the entire band / orchestra an individual monitor control receives.

in the Following the individual components of the mixer are shown and then further described in detail. The mixer has the following Sockets, regulators and operating elements (see drawings):

1

Amplifier-Output

2

Eingangsbuchse

3

Direct-Out (Durchgeschleiftes Eingangssignal)

4

Rec-Out (Spuraufnahmeausgang)

5

Effekt-Return

6

Effekt-Send

7

Pegelsteller CD-Input

8

CD-Input

9

DC-Netzanschluß

rear wall

1

Amplifier Output

2

input jack

3

Direct-Out (looped input signal)

4

Rec-Out (track recording output)

5

Effect return

6

Effect send

7

Level control CD input

8th

CD Input

9

DC power supply

1

Eingangspegelsteller (Gain) 3 Band Equalizer FX-Send Pegelsteller

2

DisplayTaste Effekt-Select Taste Bybass Taste

3

In-Ear-Monitor Ausgang (Kopfhörer) Lautstärke-Regler(Volume) Mix/Sum-Regler(Verhältnis eigenes Signal zur Summe aller übrigen Signale)

4

Rec-Select(Summnausgang 2) Kopfhörerausgang Lautstärke-Regler(Volume)

5

Mastercontrol-Drehregler

6

Rec-All(Summnausgang 1) Kopfhörerausgang Lautstärke-Regler(Volume)

7

Gruppenschalter für Rec-Select

8

LCD-Display

front

1

Input Level Gain 3 Band Equalizer FX Send Level Control

2

Display key Effect Select key Bybass key

3

In-Ear Monitor Output (Headphones) Volume Knob (Volume) Mix / Sum Knob (Ratio of your own signal to the sum of all other signals)

4

Rec-Select (Headphone Output 2) Headphone Output Volume Control (Volume)

5

Master Control Knob

6

Rec-All (Headphone Output 1) Headphone Output Volume Control (Volume)

7

Group switch for Rec-Select

8th

LCD display

The mixer's enclosure is extremely compact in 19 "rack format with only 4U (height units), plus the power supply, which is housed in a separate 19" (2-inch) chassis with 2U (height units) and a suitable connection cable to the mixer is connected. The mixer has 10 input channels, which are fully stereo capable, so you do not have to load two inputs for transmitting and mixing a stereo signal as is the case with most mixing consoles. Furthermore, the mixer has a direct-out output, which allows a direct looping of the input signal. From here, for example, you can go to a PA mixing console or to a multicore connection terminal.

There every 10 channels functionally equivalent In the following, the signal sequence is based on a channel until described summation point.

The audio signal to be processed is output at the input socket ( 2 ) fed to the mixer by means of a suitable connector. The input jacks are designed as so-called XLR combo jacks, which allow the connection of a 6.3 mm jack plug (mono / stereo) or an XLR connector.

This already reduces the use of additional adapter cables or adapter plugs. Thereafter, the input signal to the desired level by means of the input level control ( 1 ). This can both attenuate and amplify the signal. Through a selection dialog in the display, the master control knob ( 5 ) select the appropriate signal source, eg sym / unsym. Microphone, stereo signal or sym / unsym. Mono signal.

The switching is done with electronic switches, which is an advantage over conventional mechanical switches, as they can not be worn and always ensure excellent contact. The level of the channel is displayed in the display in the form of a bar graph graphic VU meter. Next, the signal in different frequency ranges with a 3-band equalizer ( 1 ) are adapted to the requirements.

Here, both increases and reductions in the 3-frequency ranges are possible. Optionally, the user can incorporate an effect into the channel. The level of the level that is made available to the effect unit can be adjusted by means of the effect send level control ( 1 ). The effect unit is connected to the effect jacks ( 5 ) and ( 6 ) connected. The effect can be selected with the bypass button ( 2 ) are turned on or off.

The edited audio signal now becomes one of the Rec-Out outputs ( 4 ) of the corresponding channel and added to the other in the sum branch. The Rec-Out output is used to connect a multi-track recorder or similar recording devices or AD converter to interface with a PC connection to allow.

This has the advantage of being a very high quality signal at this point, i.e. with a better signal-to-noise ratio than this possible at the sum branch is. Furthermore is for a later "mastering" of the recording one given a better condition, since you have each instrument again separately "master" or rework can.

The mixer also has an additional CD input input ( 8th ), this contains only one level control ( 7 ) (Attenuation and gain adjustable) and serves to record a playback. This signal is fed directly to the sum after the level control.

It There are two types of sum branches in this mixer.

The first sum branch Record-All ( 6 ) contains all channels and is led out at the front. This sum branch can be intercepted with a headphone whose volume can be adjusted with the volume control ( 6 ). The output level of the sum branch can not be changed.

The second sum branch can be used as group output. Using the group switch for the record select output ( 7 ) one can alternatively switch channels on or off. This sum is then added to the record select output ( 4 ) and the amplifier output connector ( 1 ). You can also use this sum via the Record-Select ( 4 ) are intercepted. The sum level for the record select signal can not be changed either.

in the Following is now on the so-called "in-ear monitoring" system become.

One very important point of view for a successful stage performance a musician is that he too listens well on stage! It has been shown that he himself by about 3 -4dB (about 30%) hear louder should be considered his fellow musicians. This often leads to that on one Stage one Flood of monitors stands and everyone wants to hear his monitor most, am End hears you almost do not do anything except Noise.

professionals have long ago recognized that in-ear monitoring is the optimal solution for this problem.

Each musician receives a signal via earplugs or headphones, where he can regulate his volume with one touch. Such systems are still quite expensive today offer to our knowledge currently only one musician this possibility.

With This console is now fulfilling this wish, because at each of the 10 channels In-Ear Monitioring output is present.

With the volume controller ( 3 ), the desired volume can be adjusted in the headphone and, in particular, the ratio between the own signal and the sum signal (without own contribution) can be set with the Mix / Sum control, whereby in the middle position both are treated equally.

Another innovation is that you can connect your connected effect devices by means of electronic switches and a graphical menu, which is shown on the display when you press the Effect button ( 2 ), can assign any input channel. The advantage is that the mixer is built for rack mounting and the effects units are usually hardwired when they are in the same rack.

you So no longer need to change cables manually, but does that with the help of the software. The software also gives you the option of name for the connected effects devices to give an overview to keep that, of course must be done by the user.

• 1. Eingangssignal
• 2. Pegel nach dem Pegelsteller
• 3. Pegel zum Effektgerät
• 4. Pegel vom Effektgerät
• 5. Kanalausgangspegel (Rec-Out)
• 6. Summenpegel an Buchse (4) und (6)
• 7. CD-Input Pegel nach Pegelsteller

The level meter is extremely comfortable and allows one to measure at the following points of the signal path:

• 1st input signal
• 2. Level after level control
• 3. Level to the effect unit
• 4. Level from the effects unit
• 5. Channel output level (Rec-Out)
• 6. Sum level to socket ( 4 ) and ( 6 )
• 7. CD input level after level control

These Levels are selected by means of a selection menu in the display and displayed.

The Level meter has a peak hold indicator which peaks by a short standing stick or bars are displayed. In case of overload the display or level bar flashes. Here are the artistic Design of the ad no limits.

2.4 The concept

The new system is based on the idea that every musician plays best and sings when he can hear well from the sum of the signals.

These execution is, as given in the protection claim 1 by each channel the possibility is given, the mixing ratio between one signal and the sum of all other channels can be set as desired both maximum values are achievable.

(Just own signal - to - only sum all other channels).

Desweitern should the possibility pass the unprocessed signals to external devices to be able to give. This is as stated in the protection claim 2 by splitting the input signals reached. Only this makes it possible the Forward signals to a hall mixer and the unit in live use on stage to use.

The execution a standardized in-ear monitoring system allows furthermore a as shown in the protection claim 3 interaction of a music group without further aids such as amplifiers and speakers.

in the There are several options for practical use given, the recorded result as specified under protection claim 4 for live recordings selectively or in total or by multi-track recorder as a multi-track recording to tap and record.

As well necessary and important is the provision of effect paths will be made possible to improve the overall sound picture. This was a freely programmable solution created so that as under protection claim 5, the annoying cable swap or in studio use a fast exchange of effects is possible.

by virtue of the compact design can as indicated in the protection claim 6 a standard 19 "(inch) case with 4U (1U = 25.4mm) can be used. These cases are among others used, devices in mobile use in one for it safely transport the designed case.

When additional complement was as shown in the protection claim 7 an input for CD players or similar devices created to play back playbacks or music for practice purposes can. This input also serves several in-ear mixing consoles at the same time band together to achieve a channel extension. For example, become Decrease of an acoustic drums easily 10 channels claimed since each Tom and pelvis are usually removed by means of a microphone becomes.

2.5 Application example

In the rehearsal room

The Musicians of the amateur or professional band give the instrumental or vocal signals directly above Cable continues to the in-ear monitoring mixer. Here are the incoming signals once adjusted in level. Should be at different Songs the levels of individual instruments are too strong or weak, the respective instruments are adjusted accordingly. Here let yourself usually save each setting, so that this measure already a constant level over all Songs is achieved. There is no need to adjust the in-ear mixer.

From now the music group can over the in-ear monitoring mixer play together and fine-tune make. This happens on the one hand via the volume control, with whose help each musician can adjust his own volume and to another by means of mix-control, which the ratio own signal to the remainder of all signals. Here, for example, the singer very much filter out well without affecting the others. As well can achieve the best possible sound quality with the equalizer become.

are These settings can be done via the Effect ways accessories like reverb, delay or echo, even compressors, whatever the market offers to be switched on.

On stage

Of course everyone wants Band on stage sometime stand and start. At least with this in-ear mixer the monitor sound no problem, because the settings and the sound is do not change to rehearsal room operation.

New whereas the use of the built-in signal splitter will be the signals to the Stagebox and the connected multitor cable to Hall mixer forwards. From here, then the sound technician provides for good Sound in the hall, which has nothing to do with the monitoring on stage.

On the stage So only the described in-ear monitoring mixer is needed.

With the advantage, enormous space gain on the stage, less on-effort as well as lower acquisition and maintenance costs with the best sound quality.

Claims (7)

"In-Ear Monitor Mixer" - (for example, 10 stereo Channels) the allows musicians to use the "in-ear-monitor" method, any microphone and instrument input signals pre-amplify and these on just as many independent Stereo channels (for example 10) individually, - where the mixing ratio of each individual channel to the sum of all other channels freely adjustable realized is. "In-Ear Monitor Mixer" for protection claim 1 - in which the unprocessed signals for transmission to external devices tapped can be. (Signal splitting mono / stereo) "In-Ear Monitor Mixer" for protection claim 1 - in which the mixer itself as a stand-alone Device to do so suitable is any number of musicians (depending on the execution of the Mixers - here 10 stereo channels) an interaction without further amplifiers and speakers only by means of headphone to enable. "In-Ear Monitor Mixer" for protection claim 1 - in which the included features for providing sound information serve any channels on and off and the selected sum for recording purposes or further processing. Likewise, each channel is a direct-out offered, which together allow a multi-track recording. "In-Ear Monitor Mixer" for protection claim 1 - in which a freely programmable effect send / effect return function allows any additional devices such as Echo, reverb, chorus, etc., and connect them as you like channels assigned. "In-Ear Monitor Mixer" for protection claim 1 - in which the entire electronics and connection mechanism due to more compact Construction in a standard 19 "(inch) enclosure with accommodated four height units is. "In-Ear Monitor Mixer" for protection claim 1 - in which the device for practice purposes a separately regulated CD input is also available can be used, several identical in-ear mixing consoles cascade-like interconnect to achieve a channel extension.