Passive Discrete Summing Mixer LittleOne 8x2 DB25 input/ TRS
LittleOne 8 ANALOG Passive Discrete Summing Mixer CONTACT ME FOR UNIQUE SETUP ! google it: vintagemaker Input: 8 balanced INPUT by DB25/DSUB Tascam Standard Analog Output: 2x(1,4" TRS) Balanced L/R - 1xStereo out bylanced 1xStereo CH to 2 mono input by switch (for mono instruments like kick, bass,etc.) Pure hand made! Hand wired and tested point-to-point! Selected VISHAY DALE military metal-film resistors! Laser engraved massive aluminium alloy box! Why choose LittleOne mixer? Requires only +15 dB of make-up gain! Fully balanced solid state network & switching network from input to output. Can be left "free" unconnected inputs 2-4-6! No unused input problem! No thermal noise on passive mode due to custom-developed balanced summing network. Absolutely repeatability DAW control: Volume Panorama, EQ, and effects sends of your mix from within the DAW, and send as many as different tracks or submixes to Summing Mixer. Can handle both balanced/unbalanced signal from synth like Moog, Nord, Yamaha etc. Can handle large external instruments like samplers, tape machines, drummachines etc. Can be fit to all brand of DAW interfaces like Digidesign 192, Avid HD I/O 16X16,Universal Audio, RME Fireface, Prism, Lynx Aurora, Apogee, Motu, Focusrite, Metric Halo, Steinberg MR816, and so on.. Can handle external signal processors eg. EQ, Compressor, Limiter, Multi Effects Processors like Massenburg, Drawmer S3, Lexicon, Alesis, Tube-Tech LCA2B, JoeMeek, FMR Audio RNC DBX, ART etc. Can handle large number of external mic preamps like AMS Neve ,Aphex Channel, Great River, Avalon, Chandler Limited, Crane Song, SPL, Focusrite, Presonus, Midas, Summit Audio, ART Pro and so on... Extremely simple, Discrete, pure, and transparent signal path. Can be used for external DAW summing or as a line summing mixer for effects external pres,instruments, synths, drum machines or any (balanced/unbalanced) line signal! Other passive summing mixers on the marketplace requires +dB makeup gain! More than 500 happy customers around of the World! Stereo to mono option: - the mono is true analog mono! However, for mono signals (such as kick, snares, lead vocals or bass that should appear centered in the middle of a mix), it would be a waste to use (Stereo L/R panned channels) what would amount to two required converters for a mono result. In such cases, channel pairs 1 & 2 may be switched to mono mode (CH1 to 1-2), so that, for example, there might be a (mono) kick on channel 1, snare on channel 2 or other mono instrument. Stereo to Mono switch mono mode (ON): allow to place inputs 1/2 in mono (center) and send/route mono tracks from your DAW, using the Stereo/Mono option for mono instruments like bass, sub bass, kick, snare etc. Stereo to Mono switch mono mode (OFF): normal stereo signal input L/R (pan from DAW) LittleOne is therefore able to assume a wide variety of tonal character dependent on your choice of amplifier (mic pre)! How to mix in analog OTB [OUT-The-Box] Customer question: I'd like to know if there is a way to drive the amplifier prior to get on the master out or should I achieve this by entering the summing unit with hotter levels? A. Mix in analog is different than DAW bounce, so Let's separate the mixing process to 2 parts: 1. First part: Passive network. You right: "should I achieve this by entering the summing unit with hotter levels" You need to find for all your instruments/tracks individually the "gentle distortion" point, where the subtle distortion starts gently and it's about right. It basically impossible to do that ITB [In-The-Box] because if u hit over 0dB, starts to distort during gain staging, simply the digital bounce not allow to send hot (high gain) Panorama Firstly need to find for all your instruments the right places in to the stereo field (separation), the right locations where they sit better in to the whole mix. Don't forget - your instruments are mixed in the analog domain: as sinusoidal voltages! Gain staging Gain staging is like pulling the focus of a camera lens, so the cardinal point is the individual gain sent from DAW interface outputs to summing network.(they will be mixed as sinusoidal voltage) so strictly need to find for all your instruments/tracks individually the "gentle distortion" point, where the subtle distortion starts gently and it's about right "warm". 2. Second part: Drive the amp - makeup gain Make up gain "crank it up" - make up gain by your MicPre/DAW Instrument amp or internal summing amp, and hit the sweet spot of master mix, then print/record. It's important to find the sweet-spot when the level and subtle distortion is just about right, depending on the song and production. ITB has no sweet-spot and there's really no reward running the levels a bit too hot, on the contrary is even makes the mix sound worse. There are no 0's and 1's but only voltages. These are complex sinusoidal voltages that include the harmonics and other elements. Many engineers consider this to add the "warm", "in-depth" and nice separation sound you get from analog. (Emerson R. Maningo) Technical features: Summing: Discrete Stereo Passive Summing network 16:2 line input Selected VISHAY DALE military metal-film resistors! In/Out:Balanced, floating to ground Input impedance: 2K ohms balanced Output impedance 600 ohms balanced Output level: -15 dB nominal(relative to 0dB) Frequency response: Khz Crosstalk 1Khz: -95dB In/Out: Balanced, floating to ground Signal/ Noise rate: -98dB (RME HDSP tested, no DAW inputs connected) Balanced input: 16 inputs L/R = 8 Stereo CH STEREO TO MONO SWITCH (CH1 stereo to 1-2 mono, CH2 stereo to 3-4 mono) Balanced output: 2 balanced L/R out (1,4"TRS) TRS connection wiring: (Tip:HOT/,Ring:COLD/Sleeve:GROUND) Power requirements: NO POWER REQ! - is PASSIVE! "Recommended for everyone who wants to try "mixing in analog domain" or expand the existing setup with an analog summing box!
