Multi-channel mixer design

[N_Cook]

After wrestling with (and bodging around) another batch of broken control
pots, no more meatier than presets , 10x11mm footprint.

I suppose the makers order the pots and then their footprint in the
hundreds, determines the overall amp footprint to a large extent.

 

[N_Cook]

Pots even on very expensive pro mixers have always been a problem after a
while. The channel faders are made for a long life - or should be.
Nowadays it makes more sense to have solid state or software driven minor
controls. You can then use some form of rotary encoder if you want the
same sort of 'feel'.

--
*One nice thing about egotists: they don't talk about other people.

Dave Plowman [email protected] London SW
To e-mail, change noise into sound.

From my limited experience rotary encoders are even more problematic.
I suppose touch screens is the way it will go. Saw some report about auto/
expert systems coming in , so no sound man involved at all

 

[Phil Allison]

"Arfa Daily"

Agreed. Much domestic audio equipment these days uses rotary encoders
driving electronic volume controls

** Which has got nothing to do with a multi-channel mixing desks using 100 -
200 rotary pots - all of which need to have their setting obvious at a
glance.

and, whilst they do of course sometimes give trouble, overall, I would say
a lot less than conventional pots,

** The cost of replacement is absurd compared to a simple pot.

Another very great advantage that they have over conventional pots, is
that they can have multiple functionality under software assignment.

** Fact is, they must have this feature to keep the total cost of a mixer
from becoming insane.

There is nothing wrong with the humble pot and linear fader, which unlike
encoders give * stepless * adjustment of levels with low THD and noise at
low cost.

Good quality ones with cermet or plastic tracks have an enormously long
life.


..... Phil

 

[N_Cook]

"Arfa Daily"


** Which has got nothing to do with a multi-channel mixing desks using 100 -
200 rotary pots - all of which need to have their setting obvious at a
glance.




** The cost of replacement is absurd compared to a simple pot.



** Fact is, they must have this feature to keep the total cost of a mixer
from becoming insane.

There is nothing wrong with the humble pot and linear fader, which unlike
encoders give * stepless * adjustment of levels with low THD and noise at
low cost.

Good quality ones with cermet or plastic tracks have an enormously long
life.


.... Phil

I agree that the resistive tracks are far more durable these days, compared
to decades ago when it was often little more than a graphite pencil rubbed
on a bit of phenolic board.
Rare now to see a scratched track, even though they never seem to use
graphite pips on the wiper, but a metal contact.

 

[N_Cook]

With pro gear, reliability, longevity and reduced maintenance can be more
important than initial cost. We're not talking Behringer here. ;-)

--
*Not all men are annoying. Some are dead.

Dave Plowman [email protected] London SW
To e-mail, change noise into sound.

Is pro gear better protected from the effects of having beer etc spilt into
it?

 

[Phil Allison]

"Dave Plowman (Fucking NUT Case)

Phil Allison



With pro gear, reliability, longevity and reduced maintenance can be more
important than initial cost.

** Crap.

The usual life span of analogue desks is LESS than the typical life of good
faders and pots.

The life span of "digital" desks is far less than for analogue - cos they
become obsolete in only a few years as the technology and hence desirability
moves forward.

FUCKWIT


...... Phil

 

[Phil Allison]

"Dave Plowman Criminal Psychotic MORON

**Crap.

Pro gear can be ...

** But usually is not.


And have pots switches and relays etc changed more than once before
replacment.

** But usually no such thing ever happens.

I know this because I've done it...

** You know nothing - you LYING ****.

Amateur or semi pro stuff just doesn't get the same hammering.

** The **** had never seen is disco mixer in his fucking life.

A recording studio may well *have* to have the very latest as the clients
are so fickle.

** So does live sound re-enforcement.

You LYING POMMY ****.

This doesn't apply in near the same way to broadcast.


** The only app you know a single tiny thing about.

And the VERY SMALLEST of all users of mixing desks

- by FAR.

You LYING POMMY ****.



...... Phil

 

[bob urz]

"Dave Plowman

** Crap.

The usual life span of analogue desks is LESS than the typical life of good
faders and pots.

The life span of "digital" desks is far less than for analogue - cos they
become obsolete in only a few years as the technology and hence desirability
moves forward.

FUCKWIT


..... Phil

Considering a Yamaha PM1D was in production for over 10 years does not
seem like
a few years to me. It was just recently discontinued. The Yamaha PM5D is
probably the most universal desk out in the wild now. The best Digital
desk is debatable.

I would have to agree on the long term life time after a line is
discontinued. Where analog desks use many common analog parts, most
digital desk use mostly proprietary DSP's, gate arrays and such.
once the original OEM runs out of parts, cannibalization is probably the
only way to keep them going.

The musician grade market under 10 is a crap shoot. And now that midas
is owned by the Chinese, who knows?


bob

 

[Phil Allison]

"Arfa Daily Fake TWAT "

For the most part, again, agreed. However, I was talking more in general
about the overall situation of rotary encoders, and their uses,
particularly in *domestic* audio equipment.

** See the heading ?????????????????????

FUCKWIT !!!!

And the ones in those items are no more expensive than a conventional pot.

** Utter BULLSHIT.

A pot does the ACTUAL business of attenuating the signal.

Wot sort of FUCKING IMBECILE are you ???




....... Phil

 

[Phil Allison]

"Arfa Daily Fake TWAT "


** Piss off WANKER !!