Aux send

Think of an auxiliary bus as another mix assembled inside the console. Each input channel has a send level for that bus, determining how much of that source joins it. The bus usually has its own master level, processing options and output assignment. Raising a vocal send adds more vocal to that destination without necessarily changing the vocal level in the main audience mix.

The tap point determines where the send takes its signal from the channel path. A pre-fader send is taken before the channel fader, while a post-fader send follows that fader. These labels do not fully describe the relationship to equalisation, dynamics or mute controls. Digital consoles may offer several tap points, and the exact behaviour should be checked in the console documentation and in a listening test.

• Select the auxiliary bus and confirm the intended physical or internal destination.
• Choose a tap point that matches the purpose of the mix.
• Set individual channel sends while watching the bus meter and listening at the destination.
• Check bus processing, master level, output patch and mute state before raising playback volume.

Performers and listeners often need different balances. The audience may need a complete musical picture, while a singer needs a clear reference for pitch and timing. An auxiliary mix makes that difference possible without forcing one balance to serve everyone. It also allows a reverb processor to receive selected signals rather than the entire programme, with a separate return controlling how much effect reaches the main mix.

Monitor routing affects confidence and hearing comfort on stage. Sending more of every source rarely improves clarity, because competing sounds can mask the information a performer actually needs. A purposeful monitor mix starts with essential references and adds material only where it supports the performance. For in-ear systems, consider stereo imaging and protection arrangements as part of the full monitoring design, not merely the send controls.

A post-fader effects send usually helps maintain a sensible relationship between dry sound and reverb as the source fader moves. The reverb return remains a separate channel or return path with its own routing. If the dry vocal is faded out but the send is pre-fader, the reverb may continue unexpectedly unless the operator has deliberately designed that behaviour.

A pre-fader monitor send is independent of the channel fader, not necessarily independent of the preamp. Changing shared analogue input gain can change every downstream mix that uses that preamp. Input processing may also affect monitors if the send is tapped after that processing. Establish input gain first, then check how the console handles gain compensation, channel mutes and alternative tap points.

At a small music event in Dubai, the lead singer uses a wedge, the drummer uses another monitor and the console supplies a shared vocal reverb. The engineer assigns two pre-fader aux buses to the stage outputs and a post-fader aux bus to the reverb processor. Each destination is labelled clearly so an adjustment made for one performer does not accidentally change another feed.

1. Ask the singer which references are necessary, then build the first wedge mix around the lead vocal and a measured amount of supporting instruments.
2. Set the drummer's balance separately, using timing and musical cues rather than copying the singer's settings.
3. Send selected vocals to the reverb bus, then bring the effects return into the audience mix.
4. Move a main channel fader during soundcheck and verify that monitor levels stay stable while the post-fader effects send follows.

If the singer asks for more vocal, the engineer confirms which mix is being discussed before changing a send. A request made from the stage is not automatically a request for more level in the audience system. The live sound signal-flow guide provides useful context for keeping the input channel, bus and physical output distinct.

A bus with active meters can still produce no sound if it is not patched to the expected output. Conversely, an output may be functioning while the source sends are all turned down. Trace the complete path rather than raising every control. Use the console's monitoring functions at a safe level and confirm that the selected listen mode actually represents the stage output you intend to check.

• Do not confuse the send level on one input with the master level for the entire auxiliary mix.
• Avoid feeding an effects return back into its own send unless a controlled feedback effect is intentional.
• Check whether sends-on-faders mode is active before making a large fader move.
• Do not assume that every mute or scene recall affects auxiliary paths in the same way.

When a wedge approaches feedback, adding more send level may worsen the problem rather than solve audibility. Review microphone position, loudspeaker direction, stage volume and mix content first. For stereo monitoring, confirm bus linking, pan behaviour and both output connections; a missing side can misleadingly suggest that individual channel sends are wrong. Save the working configuration only after confirming what the scene recall will include.