In this we are going to set up your mixing console as a proper start point. This will give the faders plenty of head room so that you do not run out of fader before you achieve the desired volume you seek. If it’s setup up right you will never run out of fader. We never want the channel fader to be maxed out, this causes problems I will tackle further below.
In my replies to this post I will posted pics of my personal mix of DEFAULT SOUNDS towards realism. Any other sound pack will need it’s own mix, because of different volumes everyone uses in their custom sounds.This is strictly for Default Sounds.
You can skip the between the lines text below if you’re not interested in the scientific explanation how a mixer works, and how to achieve clean sound. I will continue with several post replies of pics if you want to be to spared a wall of text you’re not interested in.
Start of Scientific Drivel
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Lets start with understanding signal flow first.
The signal flow starts at the Channel Input faders, selected multiple channels can then be assigned to Group Mix Output faders, Group faders then flow to Main Output, which flows to amps which multiplies the low voltage into to speaker power. The entire flow must remain stable and a smooth signwave all the way to the Main Out.
1) Group Faders
Group Output faders allows you to adjust multiple selected channels assigned to them to be cut or boosted by only moving 1 fader vs 3-4 Channel faders at the same time. When you move several channel faders at once with your fingers you risk moving some more then others and this will change your tight channel mix. Groups are your friend.
Example: When I mix a concert, Drum kit first, Kick (bass drum), Snare drum and Hi-hat I will assign to Group 1. This is the rhythm part of the drums that should be matched with the volume of the bass guitar later down the line, this combination is where you get the thump in the system, the main beat structure. The toms of the kit will be assigned to group 2. I can now mix the beat with the toms, which may change from song to song, depending on how it was mixed on the album with simply 2 faders instead of 6-8. I would put Bass (and Sub Pedals if used) Group 3, all keyboard channels on group 4, all guitars channels on group 5, and vocals channels on Group 6. Now I can mix the whole show from song to song, retaining my channel mix with 6 faders instead of moving 13-48 faders risking destroying the whole mix. You’d be fired directly after the show.
In the AH3 mixer these Groups are hard coded and pre-assigned for you, using Group 1= Music, Group 2= Environment, Group 3 = Effects and Group 4 = Voice. Same group concept.
2) Understanding “Nominal” Settings.
In audio Nominal means, not cutting, nor boosting signal flow, it just runs straight through to no bottle necks.
On an analog mixing console, anytime you cut or boost it sends the signal to a added circuit each circuit can add circuit noise. If you cut it goes to one circuit, if you boost if goes to another. We never want to send it to any extra circuit unless we have to. Clean is the goal.
In digital mixers, circuits are replaced with Algorithms, depending on what they do to the signal can also add noise. Nominal is 0 (zero) on the meters and marked 0 on the fader, and/or knobs. 0 does not mean nothing, it means nominal. All faders and meters should read 0.
3) Gain Structure
Gain Structure and Nominal settings work hand-n-hand together.
We want to set every channel gain set to nominal, this way every single channel fader has the same power granted to it. The same amount of movement will have the same amount of change from fader to fader. We want them all to be equal.
4) ) Understanding Signwave and Clipping.
This is part of Gain Structure. What happens if you overdrive the signal, the audio signwave becomes distorted. A proper signwave is very smooth peaks and valleys. If the peak is overdriven it will change the smooth rounded peak of the travel from smooth to flat. When it goes flat is where distortion and then clipping occurs. If the jerk mixing overdrives it too much for too long that flat will convert 600hms low voltage signal to DC Electrical power, this is called Clipping, this is very bad. In clip is when your amps over-heat from jolts of DC power, and speakers start mass distortions and even shredding, they can even burn, you may cook the amps too....there goes $200k –$1m down the drain. You’d be fired and probably blackballed directly after the show.
* Flattened (or square) signwaves is your top enemy.
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End of Scientific Drivel
Lets define the mixer again.
Channels are found in “Game Sounds” > “Advanced”
Group Mixes is your opening screen in “Game Sounds” Again Group 1= Music, Group 2= Environment, Group 3 = Effects and Group 4 = Voice.
Main Output, we are using your sound card volume as Main Output.
1) Group mixes and ”Master Volume” in the game software, we are going to call 100% digital “Nominal”. What happens if you cut from 100%? You start working an algorithm, the least we have to do this the better off we’ll be. We want open flow, no restrictions. This will give us the desired over-head and gain structure needed for each fader. We don’t want to run out of fader.
2) Channel Faders, we are going to call 50% “Nominal”. This 50% gives us both equal amount of cut and boost to each Channel fader.
3) To Start The Mix Process
Turn your Group mixes and “Master Volume” up to 100% and set every Channel fader to 50%. (“Music” is personal preference)
4) Now we are going to set room volume reference , don’t touch anything else.
We are going to use the internal “Your Engine” sound as are main reference of room volume. Fire up AH3 and get on the runway and start your engine. Adjust it to where you like it using your Main Output = SOUND CARD VOLUME on your device. Just adjust the volume to what is comfortable, not just ripping your face off. For those who complained about low internal engines sounds,.. this is your day to correct that.
Note: Loud internal engine sounds is simply NOT realistic, especially with closed canopy and since the pilot also wears a helmet/headset.
5) Once you have established your engine volume with the Sound Card Volume we are finally ready to mix.
NOTE: If you’re running your engine too loud (unrealistic) you are missing out on the ambience, dynamics and other sounds of the game, I call this Masking. Don’t go overboard. We want to hear everything. We do NOT want a flat line mix where everything is the same volume. That is where racket over a good clean mix starts. Flaps and Wheels were not heard very well, in the cockpit. If we want to debate this I will absolutely prove my point. Gun volumes are questionable depending placement on the AC. We cannot differentiate on any of the three here without using FMOD.
All mixes are personal preference. My preference is realism -dynamics, if done right, theatrics will come through on it’s own, because we minimized masking.
Instead of wasting more bandwidth on explaining my mix, we can debate it down stream.
In my replies to this post I will posted pics of my personal mix towards realism. This is my ballpark starting point, tiny tweaks can happen later.
