Recently, I wrote a column regarding gain structure appropriately titled “Gain Structure.” (See FRONT of HOUSE, July 2022, page 28.) Gain structure is at the very core of what we do as engineers, and therefore, I feel a need to revisit the topic every few years as new recruits keep joining our ranks and may find my insights to be helpful. I can say that, throughout the years, I have trained quite a few engineers in the art of live mixing and have passed on my concept of gain structure with great success.
The Recordist’s View vs. The Live View
On many occasions, I have shown engineers coming from the world of recording how to set up their live gain structure, which is often different from the way they set up for recording. The concept in setting gain for a recording is to turn up the preamp and record as hot as possible, to avoid noise when trying to get the optimum output later in the process. In live audio, it is often reversed in order to cut down on extraneous stage sound from bleeding into open mics. Thus, as said in the article, “low input/high output.”
I did receive a letter from a gentleman who was, by his own description, “baffled” by the article, especially this sentence: “Gain is the loudness of the input on the channel. It controls the tone, but does not affect the loudness. Volume is the actual loudness of the output on the channel. It controls the loudness, but not the tone of the audio.” Thus, low input/high output. He described himself as “someone involved in the design of the electronics that are used in many high-end mixing consoles (the Yamaha Rivage series, for example). He finished with, “I’d like to think I’ve got a pretty good handle on the various gain stages of a typical mixer.” I don’t doubt his expertise or knowledge of the various gain stages in the design of mixing consoles, but as a user, my understanding may be a little different. I describe gain as input and volume as output, and while they are both technically adjusting the level of the signal, they are intrinsically different.
When the input gain of a microphone is turned up or down, the sensitivity of said mic is affected, as is the tone, which is why one might engage their EQ to balance the tone. The output fader volume sends that signal to the left and right fader or another assigned location; it is not affecting the tone, but rather just relaying the processed signal. The distinction between gain and volume may be an argument of semantics, but it does help in understanding signal flow. For example, the control knob on a compressor — usually listed as “make-up gain” — is really “make-up volume,” but who cares what it’s called? We all know what will happen when we turn it up or down… and a rose by any other name is still a rose.
Audio Gain vs. Financial Gain
Enough of that! I’m not trying to argue a point as much as to clarify the difference, to the best of my knowledge, between gain and volume. As stated, I do not design consoles — I just use them and make sure I have an inventory of consoles for the acts that also use them. While we have all become pretty familiar with the consoles and equipment available to us on the market, it is still a jolt when we have to upgrade to a newer console. This is when a different type of gain structure comes into play. That’s right, I’m referring to monetary gain. Technically, the process of setting gain for a live mix is rather consistent and, regardless of how one sets their gain, the method used can be applied to any console. While there may be differences in the varying consoles, the concept of setting up gain structure stays the same regardless of the console’s size or capabilities.
How we set our financial gain when wading through the field of mixing consoles is a whole other gain structure of which we need to be aware. When setting fiduciary gain, the mantra gets flipped to “high input/low output,” or more money in, less money out. Unfortunately, one needs to spend money if they are investing in audio, but how much should one spend to get the best results technically and financially? Spending more on a console does not ensure that one’s mixes will sound better than the less expensive console, but it will possibly guarantee more I/O, plug-ins and versatility than a more affordable board.
The Name Game
The other thing that a large-frame, high-end board can offer is name brand recognition, as well as a certain amount of status. Unfortunately, name brand status does not necessarily translate into more money, and it’s important to know your market. If one intends to rent out the console to major touring acts or is providing audio for said acts, then it might be a worthwhile investment to spend $100,000 or more on a console. If the console also helps in getting one’s high-end racks and stacks out the door, that could also be a plus for the pocketbook. The idea is that the buyer has to know how much they can get for a rental and how often that rental will happen.
For bands, venues and companies that do not necessarily need to fill the above requirements, there are excellent name brand consoles in the mid-level price range that offer a more compatible fit, in terms of size and budget, and will make it much easier to recoup and even profit from the investment. A console that costs $2,000 could rent for $200 a day, which is 10 percent of the cost and will recoup the investment after 10 rentals. It would be a difficult sell to rent a $30,000 console for 10 percent of the purchase price and a fair price would be more like two percent of the selling price which would be $600 dollars a day. This means 50 rentals would be required to break even.
Rental Volume = $$$ Gain
That coveted $100,000+ console could possibly bring in $1,500 as a daily rental, but that’s only 1.5 percent of the console’s cost, which translates into 70 daily rentals to pay for the console. How quickly one can start making a profit from the console rentals is dependent upon how many rentals or shows it can be sent on in a year. Be aware that the rental estimates I am giving are based upon New York City pricing, and pricing is subject to change in various markets. Nonetheless, in the case of financial gain from these consoles, the converse of audio gain applies, and keeping the mantra of “low output/high input” would serve one well.
