bluebird said:
JohnRoberts said:
JohnRoberts said:
JohnRoberts said:
zamproject said:
Zipper noise...bluebird said:
buildafriend said:
JohnRoberts said:
abbey road d enfer said:
Technically it was AMR (audio media research), wholly owned by Peavey and built in Peavey factories. It was nice being able to get the wood endbells fabricated and painted by Peavey's custom guitar shop. 8)zamproject said:
As I recall the faders were mounted to separate steel plates in groups of 8, with 5-6" of depth. Old school motorized faders were deeper than the cheap Alps stuff, and often required added PCBs with control circuity. I didn't have enough high end customers to justify rolling my own automation system, but several customers added in the Uptown, and I even borrowed a system from them for one trade show (back in the 90s). They had routines to make the fader do tricks, great for show and tell. ;D
JohnRoberts said:
nozamproject said:
I never used the alps motor fader, but the digital group used them in a x8 moving fader unit for midi control.
I have been out of that market too long to know what brand is competitive now. My last friend still designing high performance consoles died over a year ago, so I don't even have somebody to ask.
Alps had a higher end fader before the K series. I tried to spec that into my AMR console but the man with his name on the building made me use the Jung Poon (crap)...zamproject said:
I am not familiar with TKD but used P&Gs in my old Loft consoles back in the 70s. The regular P&G faders were something like $40 ea in 1970s dollars, but they were the real deal. The first thing customers do when shopping consoles is feel the faders. A little silly, because it has very little to do with audio path performance but how they think.
Actually I learned a ton and accomplished a lot over 15 years working at Peavey... One of the hardest things I had to learn going there after being president of my own company, was that people would say they were going to do something, then not do it. As company president if I asked for something, either I got it or a prompt explanation why it couldn't happen. At peavey if i didn't ask for something 3 times they didn't think I wanted it. :zamproject said:
Yes, those are the old soldiers....The original small ones were modular, the later bigger series were single strips. The original Loft company went belly up with me working as an outside design consultant. After that we formed Phoenix Audio Lab (with me as President) to take over after the bankruptcy. We also sold a popular Loft studio delay line/flanger and several rack products (like crossovers) under PAL brand. Probably our best known sku was the Loftech TS-1 audio test set.
Not bad, but the main issue is solid friction, which in digital is solved by iteration; in analog, it takes some "shaking", in a similar manner to ultrasonic bias in tape recorders.Martin Griffith said:
JohnRoberts said:
There are several examples of such systems where the problems have been ironed out satisfactorily. By construction, the resistive tracks are shielded from the motor. The only remaining issue is making sure the motor currents do not enter the audio path.joaquins said:
I think we used to call that "stiction", friction to overcome to get something moving.abbey road d enfer said:
