Multi-channel mixer design

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'.

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    Dave Plowman        dave@davenoise.co.uk           London SW
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control

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

I use a Calrec assignable desk where most of the controls are shaft encoders. It is way past its sell by date for pro gear - some 25 years old, but they are generally reliable. Pots would have been changed many many times in that sort of life - indeed it would have been scrapped long ago because of things like that.

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    Dave Plowman        dave@davenoise.co.uk           London SW
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Agreed. Much domestic audio equipment these days uses rotary encoders driving electronic volume controls and, whilst they do of course sometimes give trouble, overall, I would say a lot less than conventional pots, and I'm working on this stuff every day ...

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

Arfa

"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

100 -

say

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.

-- Diverse Devices, Southampton, England electronic hints and repair briefs , schematics/manuals list on

Not so with the design I'm talking about which has 96 channels. Discrete faders for each channel, so about the same physical size as a 'conventional' desk. You have an assign panel where each channel is called up by pressing a button on the channel. The panel then shows the channel settings, and allows control over them. In a much more clear way than trying to read or find a pot some way off, on a big console. It does take some getting used to, though.

A conventional console of that size would have upwards of 1000 pots. ;-) And of course switches which also wear out.

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    Dave Plowman        dave@davenoise.co.uk           London SW
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With pro gear, reliability, longevity and reduced maintenance can be more important than initial cost. We're not talking Behringer here. ;-)

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    Dave Plowman        dave@davenoise.co.uk           London SW
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Is pro gear better protected from the effects of having beer etc spilt into it?

**Crap.

Pro gear can be in use 14 hours a day 365 days a year. And have pots switches and relays etc changed more than once before replacment. I know this because I've done it... Amateur or semi pro stuff just doesn't get the same hammering.

** F... Sorry, won't use that word here. But you certainly are one.

A recording studio may well *have* to have the very latest as the clients are so fickle. This doesn't apply in near the same way to broadcast. Such installations would be expected to have a life of 10 years plus.

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    Dave Plowman        dave@davenoise.co.uk           London SW
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No - although in my job it's more likely to be coffee. The trick is to wash it out as soon as possible, then dry out slowly.

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    Dave Plowman        dave@davenoise.co.uk           London SW
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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

There can be problems getting pots and switches too for some analogue makes. And they will be needed on most if heavily used.

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    Dave Plowman        dave@davenoise.co.uk           London SW
                  To e-mail, change noise into sound.

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. And the ones in those items are no more expensive than a conventional pot. Multiple task assignment for the devices, on that sort of equipment, is more a matter of aesthetics, than cost ...

Arfa