Bo Hansen
Well-known member
Ian,
Sure, I will arrange this for you tomorrow.
--Bo
Sure, I will arrange this for you tomorrow.
--Bo
PRR said:> with the fader central, the two sources were at equal strength
Sounds like they looked at mixing differently in that time and place. .
emrr said:He shoots, he scores.
Thank you, please drive through.
I bet they are independent output so the external mixing resistors can be chosen depending on the number of channels.
The 1930's mixer description makes perfect sense to me. I imagine a two studio setup, with two mics in each. One choice is 'which mic in studio A?', the other choice is 'which studio?'. Generally keeps confusion down knowing that knobs should mostly be fully one side or the other of the throw when no mixing action is taking place. The crossfade itself, or the mixing of multiple sources from multiple studios would be the 'action event' for the operator, and the knob appearance would alert anyone easily to the operation at hand. It's kind of clearer to follow than a bunch of pots all turned up, with routing switches selected differently.
Bo Hansen said:Ian,
You have mail.
(sent to .org)
--Bo
Bo Hansen said:Ian,
Glad to help.
Many of us have in our lifetime amassed a ton of old documentation that is hard to find now more, and it feels good to share with other colleagues with the same interest.
--Bo
That is the exact requirement for x-faders on disco mixers; I learned that the hard way when I was "arm-twisted" to design one.PRR said:"The circuit of this mixer originally was such that, while one of the groups was being faded out, the programme level from the other group remained constant, and vice versa."
mgriffith said:Anything like the ones on the Johnny Longden desks http://www.orbem.co.uk/longden/longden.htm
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