RV1....4=47Kohms Log.
R1.....12=4.7Kohms C19-20=220uF 25V
[Fader]
RV5-6-13=2X47Kohms Log.
R13.....24=10Kohms Q1-3=BD139
[Fader]
RV7....12=10Kohms Lin.
R25-26=22Kohms Q2-4=BD140
pot. Log.
R27-30-34-39=100ohms TR1-2=4.7Kohms trimmer IC1-3=NE5532
R28-29-36-37=100Kohms C1....8=10uF 25V IC2=NE5532 - TL072
C9-11=47pF ceramic or
R31-42=10Kohms JF1....6=XLR Female Plug
mylar
R32-41=4.7Kohms C10-12=47uF 25V JF7....11= RCA Female Plug
R33-40=10Kohms C13-14=100uF 25V JF13=JACK Female Plug
C15-16=2.2uF 16V [C17-
R35-38=47ohms
22=No use]
All the Resistors is 1/4W C18-21=100pF ceramic or
1% metal film mylar
Dalam Fig. 3, muncul satu tahap dengan banyak karakteristik yang lebih baik, dalam
hubungan simetris [keseimbangan], dengan peraturan yang terus-menerus tahap dari
potesometer 22KΩ. Ini memberikan kemungkinan untuk peraturan kepekaan, dari
tingkat input rendah hingga tinggi. Dan di sirkuit ini aku tidak memberikan jenis beton
untuk IC1-3. Pilihan dapat menjadi dari di bawah daftar, berdasarkan karakteristik
masing-masing IC dan proporsional menggunakan untuknya yang kami bermaksud.
Pilihan saya sendiri: IC1-2 NE5532 - LM833, IC3 NE5534 - TL071.
Microphone transistors
preamplifiers
Dalam gambar 4-5, ada dua pilihan untuk preamplifiers mikrofon yang menggunakan
transistor, di asimetris [ketidakseimbangan] input koneksi. Untuk penyediaan tahap ini,
ada dua pilihan. Pilihan pertama adalah dengan dioda zener lain pilihan, menggunakan
tegangan yang memberikan regulator, dari catu daya utama...
Untuk modul input stereo, ada dua pilihan, yang muncul pada gambar 6-7. Pilihan
pertama dalam gambar 6, sehubungan masukan simetris [keseimbangan], sementara
dalam gambar 7, ada salah satu koneksi sederhana input asimetris
[ketidakseimbangan]. Keuntungan dari juga dua unit adalah salah satu. Keuntungan ini
dapat meningkatkan itu sendiri, jika ini perlu, jika kita meningkatkan harga resistor yang
sejajar dengan 33pF kapasitor. Resistor ini harus sama antara mereka.
Stereo Phono
Preamplifier [RIAA Filter]
8 GB, ada preamplifier klasik agar koreksi RIAA, bagi mereka yang mereka memaksa
mereka menggunakan disk vinyl. Untuk presisi baik dalam reproduksi suara, harus
bahan-bahan yang menemukan di umpan balik negatif dan benar RIAA, untuk menjadi
berkualitas baik, seperti resistor film logam 1%, polypropylene kapasitor dan Mylar.
Kapasitor C8, adaptasi pada input, dapat mengubah dengan harga seperti itu, sehingga
sesuai dengan karakteristik cartridge yang kita akan menggunakan. Tempat IC1 kami
juga dapat menggunakan LM833 atau lain selesai sirkuit terpadu kebisingan yang
rendah.
3 Band EQ
Dalam gambar 9, ada sirkuit yang simpel dan klasik EQUALIZER, tiga band, rendah, mid
dan high frekuensi, dengan gain peraturan [±18 dB/Oktober]. Semua potesometer
mereka adalah dua kali lipat linear dan berkualitas.
Power Supply for 6 Ch MIXER
Catu daya dalam gambar 10, dia sangat sederhana dalam mendesain nya. Ada empat
regulator yang kita menyediakan berbagai dari tegangan, bahwa mungkin kita akan
membutuhkan. Tegangan dasar adalah ± 15V. Tegangan dari 12V ditujukan pada dasarnya
untuk sirkuit VUMETER. Jika kita tidak menggunakan elektronik VUMETER, kita bisa dia
menekan. Sendiri itu juga berlaku untuk tegangan 5V, (ditujukan untuk sirkuit input, dengan
transistor [gambar 4-5], jika kita tidak menggunakan dioda zener). Untuk sampai 6 input
saluran regulator, itu tidak membutuhkan mereka ditempatkan di heatsink. Untuk saluran-
saluran lain yang baik akan mereka ditempatkan pada benaman. Baik transformator T1,
ditempatkan jauh dengan sirkuit sisanya.
Dalam rajah 11, muncul berbagai pilihan sambungan untuk berbagai jenis busi, yang
dapat Anda gunakan dalam semua sirkuit masukan. Perhatian harus diberikan dalam
hubungan, sehingga tidak diciptakan bronchuses, sehingga kita memiliki hum. Sesuai
petunjuk [HOT] di sinyal di dalam fase, sementara petunjuk [- GOLD] di out tahap
sinyal. Semua komponen harus berkualitas baik. .
Typical characteristics for IC's,
that I propose
MIXER-6Ch, dapat diproduksi dalam kotak, yang di atas permukaan akan memiliki
kecenderungan tertentu. Di tempat yang RV1-6, dapat digunakan potesometer Fader.
Jadi jika Anda tidak dapat mencapai dengan pembuatan ini, Anda dapat menggunakan
hanya rotatively potesometer di semua tempat.
Rangkaian mixer 3 chanel pada gambar dibawah dibuat menggunakan penguat tegangan dari
transistor yang disusun beberapa tingkat. Mixer 3 chanel ini terdiri dari 3 buah pre-amp mic
transistor dan penguat tegangan dengan transistor darlington. Untuk mengoperasikan rangkaian
mixer 3 chanel ini diperlukan sumber tegangan DC + 9 volt yang dapat diambil dari suatu batere
maupun dari power supply. Berikut adalah gambar rangkaian dan komponen untuk membuat
rangkaian mixer audio 3 chanel dimaksud. Rangkaian Mixer 3 Chanel Transistor Rangkaian Mixer 3
Chanel Transistor,Rangkaian mixer 3 chanel,Mixer 3 chanel,mixer audio,mixer sound sistem,harga
mixer audio,harga mixer sound sitem,jual mixer soud sistem,jual mixer audio murah,rangkaian mixer
audio,skema mixer audio,pcb mixer audio,mixer audio rakitan,merakit ,membuat mixer audio,cara
buat mixer audio,cara seting mixer audio,menggunakan ,cara buat mixer audio,cara seting mixer
audio,menggunakan mixer audio,mengoperasikan mixer sound sistem,mixer yamaha,mixer
behringer,mixer pro,mixer transistor,mixer sederhan,rangkaian mixer sederhana,skema mixer audio
sederhana.
Daftar Komponen Rangkaian Mixer 3 Chanel Transistor
P1 = 5K
P2 = 5K
P3 = 5K
R1 = 180K
R2 = 2M2
R3 = 750R
R4 = 1K
R5 = 15K
R6 = 220R
R7 = 1.5K
R8 = 820R
R9 = 150R
R10 = 100K
R11 = 180K
R12 = 2.2M
R13 = 750R
R14 = 1K
R15 = 180K
R16 = 2M2
R17 = 750R
R18 = 1K
C1 = 1µF-63V
C2 = 100µF-25V
C3 = 220µF-25V
C4 = 100µF-25V
C5 = 220µF-25V
C6 = 1µF-63V
C7 = 100µF-25V
C8 = 1µF-63V
C9 = 100µF-25V
Q1 = BC550C
Q2 = BC547
Q3 = BC557
Q4 = BC550C
Q5 = BC550C
B1 = 9V
Pada rangkaian mixer 3 chanel transistor diatas pada dasarnya terdiri dari 2 bagian utama sebagai
berikut. Pre-Amplifier Microphone. Bagian pre-amp mic berfungsi sebgai penguat tegangan dari
output microphone sebelum dicampur dengan sinyal yang lain. Rangkaian pre-amp mic ini dibangun
menggunakan penguat tegangan dari transistor NPN tipe BC550C. Pre-amp mic ini di desain untuk
menguatkan sinyal output dari microphone tipe dinamic. Pada tiap pre-amp mic rangkaian mixer 3
chanel diatas dilengkapi pengatur penguatan sinyal dari microphone mengunakan potensiometer
dan pembatas penguatan level sinyal menggunakan sebuah saklar untuk tiap chanelnya. Penguat
Tegangan Transistor Rangkaian penguat tegangan dengan transistor darlington ini berfungsi untuk
menguatkan sinyal dari pre-amp mic dan sebagai bagian pencampur sinyal-sinyal dari pre-amp mic
yang diberikan ke rangkaian penguat tegangan ini. Rangkaian penguat tegangan ini dibangun
menggunakan transistor NPN tipe BC547 dan BC557 yang dirangkai secara darlington. Pada bagian
ini sinyal dari pre-amp mic dicampur secara langsung dan diberikan sebagai input rangkaian mixer.
Di bawah ini kami tampilkan Rangkaian Audio Mixer yang cukup handal. Silakan Anda lihat dan
pelajari. Siapa tahu Anda tertarik untuk membuatnya.
Mixer adalah salah satu perangkat paling populer setelah microphone. Kita lebih mengenalnya
dengan sebutan mixer, mungkin kebanyakan kita menyebutnya demikian karena fungsinya yang
memang mencampur segala suara yang masuk, kemudian men-seimbangkannya, menjadikannya
dua (L-R kalau stereo, dan satu kalau mono), kemudian mengirimkannya ke cross-over baru ke
power amplifier dan akhirnya ke speaker.
C.DASAR TEORI
Mixing adalah salah satu perangkat paling populer setelah microphone. Kita lebih mengenalnya
dengan sebutan mixer, mungkin kebanyakan kita menyebutnya demikian karena fungsinya yang
memang mencampur segala suara yang masuk, kemudian men-seimbangkannya, menjadikannya
dua (L-R kalau stereo, dan satu kalau mono), kemudian mengirimkannya ke cross-over baru ke
power amplifier dan akhirnya ke speaker.
Konsul mixing (Audio Mixer) adalah pusat dari sistem tata suara dimana operator dapat menyampur,
menyamakan dan menambah efek-efek pada sumber-sumber suara. Berbagai konsul mixer dapat
dipakai untuk berbagai keperluan dalam satu sistem tata suara tunggal. Dalam tata suara, konsul
mixer utama (FOH, Front of House) harus berada dimana operator dapat melihat dan mendengar
aksi di panggung. Mixing dengan booth monitor terdekat akan mencegah operator dari pendengaran
yang campur aduk antara suara artis, umpan balik Loudspeaker utama, gaduh penonton dan juga
efek akustik ruangan. Pada pertunjukan skala besar, sering kali menggunakan konsul mixing untuk
monitor panggung secara terpisah, dimana diperuntukkan untuk menciptakan monitor hasil mix bagi
monitor-monitor diatas panggung. Konsul-konsul ini sering kali terletak di samping panggung
sehingga operator dapat berkomunikasi dengan yang sedang tampil diatas panggung. Sehingga akan
memudahkan saat ada gamgguan-gangguan kecil karena cacat intrumen atau karena faktor lain yg
menyebabkan suara cacat
ANALISA DATA
Mixer adalah salah satu perangkat paling populer setelah microphone. Kita lebih mengenalnya
dengan sebutan mixer, mungkin kebanyakan kita menyebutnya demikian karena fungsinya yang
memang mencampur segala suara yang masuk, kemudian men-seimbangkannya, menjadikannya
dua (L-R kalau stereo, dan satu kalau mono), kemudian mengirimkannya ke cross-over baru ke
power amplifier dan akhirnya ke speaker.
Bagian – bagian pengatur pada mixer 8 chanel dan fungsinya :
1. Mic/line
Switch tekan ini untuk merubah sirkit gain control. Tergantung apakah yang menjadi input adalah
mic, effect return atau tape deck/CD. Pada banyak mixing console terdapat terminal input yang
terpisah antara mic dan line input pada channel yang sama. Input mic biasanya menggunakan tipe
konektor balans 3 pin XLR atau kadang biasa disebut jack Canon. Sedangkan line input menggunakan
jack seperti yang biasa dipakai jack gitar. Hal ini memungkinkan untuk mencolokkan dua input yang
berbeda dalam satu channel, dan switch ini untuk mengaktifkan salah satu input yang kita inginkan
diantara keduanya. Sebagai contoh, anda dapat mencolokkan effect return dngan gain yang diset
rendah pada mic input kemudian mencolokkan lagi tape deck pada line input channel yang sama.
Pada saat band sedang show dan tape deck tidak dibutuhkan, anda tinggal men-switch tombol
tersebut pada posisi mic. Kemudian pada saat band telah selesai dan butuh playback musik dari tape
deck/CD, anda juga tinggal men-switchnya pada posisi line. Ini bisa dilakukan untuk menghemat
channel, khususnya apabila console yang digunakan tidak terlalu besar.
2. Gain
Disebut juga input level atau trim, biasa terdapat pada urutan paling atas dari setiap channel mixing
console. Fungsinya adalah untuk menentukan seberapa sensitive input yang kita inginkan diterima
oleh console. Apakah berupa signal mic atau berupa signal line (keyboard, tape deck, dll). Tombol ini
akan sangat membantu untuk mengatur signal yang akan masuk ke console. Bila signal lemah, maka
dapat dilakukan penambahan, bila terlalu kuat dapat dikurangi. Contoh : untuk penyanyi yang
suaranya lemah atau tidak meiliki power yang baik, diperlukan penambahan gain yang lebih.
Sedangkan untuk gebukan kick drum, mungkin dilakukan dengan sedikit penambahan. Ini dilakukan
agar menjaga setiap input yang masuk ke mixer tetap optimal. Input gain yang terlalu besar akan
menyebabkan distorsi, sedangkan kalau terlalu lemah akan membutuhkan penambahan yang bila
berlebihan akan menyebabkan noise.
Jadi input gain stage adalah hal yang paling penting dan kritis, karena dari sinilah semua suara yang
berkualitas dimulai. Makanya usahakanlah untuk menjaga agar setiap input tetap clean dan clear
sebisa mungkin. Sebab noise dan distorsi yang diakibatkan dalam poin ini akan mengalir terus ke
seluruh system dan membuat seluruhnya jadi terganggu. Bila ternyata input gain sangat besar atau
bahkan terlalu besar sehigga setelah dikurangi juga masih saja terlalu kuat, maka untuk itu terdapat
switch PAD pada console yang fungsinya adalah untuk menurunkan gain input signal mulai –20
sampai –30 db.
3. EQ pada channel
Pada setiap channel di mixing console selalu terdapat Equalizer Section.yang terdiri dari BASS,
MIDLE, TREBLE Fungsinya yaitu sebagai pengatur tone untuk me-modifikasi suara yang masuk pada
channel tersebut. Umumnya sound engineer melakukan perubahan sound melalui EQ bertujuan dua
:
1. Untuk merubah sound instrument menjadi sound yang lebih disukai
2. Mencari karakterisrik suara yg sesuai.
3. untuk mengatasi frekuensi dari input yang bermasalah, misalnya feedback, dengung, overtune, dll.
Pengaturan yang sangat mendasar dari EQ adalah berupa Low, midle dan Hi, kemudian penambahan
dan pengurangan (boost/cut). Atau ada juga yang lebih kompleks dengan 4 jalur dengan fungsi yang
full parametric. Yang dimaksud fix diatas adalah pada EQ tersebut tidak memiliki tombol untuk
mmilih frekuensi yang akan disetting. Karena frekuensi yang akan “dikerjai” telah ditetapkan dari
pabrik. Pembagian frekuensi pada EQ jenis ini mirip denga pembagian yang terdapat pada crossover,
hanya terdiri atas :
1. Low, dan hi-pada EQ 2way Low
2. Mid dan Hi-pada EQ 3wayLow
3. Low Mid, Hi mid dan Hi-pada EQ 4 way
Memutar tombol boost/cut akan memberi pengaruh sampai 12 atau 15 db tergantung mixing
console apa yang anda gunakan. Keuntungan EQ yang fix adalah : harga yang relatif ekonomis,
terhindar dari kesalahan pmilihanfrekuensi yang akan disetting. Kesalahan seperti ini bisa
disebabkan oleh kurang berpengalamnnay sound engineer (penata suara), dan keuntungan yang
terakhir adalah hemat waktu dalam pen-settingan. Namun ada juga kekurangannya seperti : kita
tidak dapat memilih frekuensi khusus yang kitainginkan. Karena semua frekuensi telah ditetapkan
dari pabriknya.
4. EFFEX
Effex dalam mixer ini mempunyai suatu fungsi mengirimkan sinyal suara ke rangakain suara EFFEX
yaitu biasanya REVERB,ECHO, yang bisa membuat suara si vokal atau instrumen tersebut menjadi
lebih baik dengan settinggan yg berbeda-beda sesuai dengan keinginan dan situasi ruangan. Dalam
mixer ini dah terdapat effex yaitu ECHO DELAY yang bisa di atur kecapatan effex delaynya sesuai
dengan selera yang kita kehendaki.
5. AUX Send
Dari tombol putar ini dapat dikirim signal dari channel tersebut keluar mixing console (melalui
terminal aux out pada terminal keluaran di panel belakang mixer), kemudian dari tombol ini juga
dapat dikontrol level signal yang dikirimnya tadi. Signal yang dikirim ini terpisah sama sekali dari
keluaran master. Ini berguna untuk mengirim signal ke system monitor, atau juga ke berbagai
macam unit effec, dan dari keluaran effect dikirim lagi ke channel yang berbeda pada mixing
console. Mixer yang pling sederhana sekalipun sedikitnya memiliki satu atau dua AUX SEND. Satu
untuk mengirim signal ke monitor dan satu untuk mengrim effect (echo, reverb).
6. PAN (balance)
Merupakan potensio Balance yang mengatur keluaran antara R(right) dan L(left) kanan dan kiri
untuk keseimbangan masing-masing chanel yang di pakai.
7. Volume Chanel
Volume ini adalah volume per chanel yang di pakai untuk mengeluakan ke volume master out,
sehingga dari suara per chanel akan bisa di atur sesuai dengan apa yang masuk ke per chanel entah
vokal dan instrumen sehingga akan menghasilkan suara yang bisa sama antara chanel satu denga
yang lainnya.
9. Master auxiliary
Setiap auxiliary dari channel memiliki satu tombol lagi sebagai pengatur level untuk keseluruhannya.
Misalnya aux 1 setiap channel memiliki master aux 1 untuk mengatur seluruh level dari aux 1 setiap
channel. Begitu juga auxiliary lainnya. Yang berarti bila mixer meiliki 4 auxiliary out, maka akan
terdapat 4 auxiliary master. Perhatikan beberapa tombol sejenis seperti Aux Master, Effect Master,
Monitor Master, atau sesuatu yang kurang lebih adalah berfungsi sama. Untuk pen-settingan awal
putar tombol tersebut pada posisi jam 2, baru lakukan pen-settingan pada channel. Bila ternyata
masih kurang kuat, tambah lagi, atau bila terlalu keras, kurangi. Semuanya tergantung situasi.
This audio mixer circuit uses an LM3900 IC but is not a profesional audio dj mixer. The IC
houses four integrated Norton amplifiers. The advantage of using the four op amps is that
they only need a single power supply. Since this amplifier circuit is current controlled, the
DC bias is dependent on the feedback coupling.
The schematic diagram shows inverting AC-Norton amplifiers. The DC output must be set at
50 percent of the power supply. In this case, a maximum output can be achieved without
distortion (also called symmetrical limitation through overdrive).
In designing this mini audio mixer circuit diagram you can freely choose the value of the
resistor R2 (100k in the mixer schematic). Set the AC voltage amplification factor through
the ration of R2/R1. To set the amplifier gain correctly, choose the value of R4=2R2 (double
the value of R2).
Diagram 1.0 shows the 3-channel sound mixer circuit using three Norton-opamps. The input
levels can be set by potentiometers P1 or P3. Furthermore, each input level can be trimmed
with the help of trimmers pots P4 to P6 to adapt each input to the source. The resistors at the
non-inverting inputs of the opamps work as DC bias and set the DC output at 50 percent of
the power supply for this powered audio mixer. All three input signals are summed by the
fourth opamp A4 through the resistors R3, R7 and R11. The commom volume level is
cotrolled through the potentiometer P7.
You can switch an input channel on or off through the switches S1 and S3. An input channel
is turned off when its switch is closed. It is also possible to replace these mechanical switches
with transistor gates. By doing so, you can build an analog multiplexer circuit that can be
easily expanded by several inputs.
This single transistor audio mixer is used in an amplifier circuit design with base driven
transistor and with its emitter being current controlled, most of the driving current flows
through the collector away. Using the values in the audio mixer circuit shown in the diagram,
the collector current will be about 1 mA. At 15 volts power supply, the input resistors should
be 33K. Additional input lines can be connected to the emitter line. Each added input must be
series limited by the 33K resistor.
The simplest one transistor audio mixer circuit diagram on the net. It has only one transistor
and can support as many audio signal as you can afford. BC109C is a very cheap transistor
and with a few resistors and capacitors you can build quickly a mixer circuit diagram that
you can use in your pirate radio or wherever you want, imagination is the final frontier.
Please keep in mind not to use higher voltages than 22V as a power supply for this audio
mixer.
Audio mixer circuit diagram
The simple audio mixer circuit is built on common base principle, where input voltages are
transformed in alternative currents wich are summed to form the alternative current
component for the collector. The total amplification is R6/Ri, where Ri is one of the input
resistors. I’ve build this mixer for a little fm transmitter and works great.
Audio Mixer Circuit Schematic
A simple mixer with 3 line inputs and 3 mic inputs using commonly available parts.
Circuit Notes
The mixer circuit above has 3 line inputs and 3 mic inputs. The mic inputs are suitable for
low impedance 200-1000R dynamic microphones. An ECM or condenser mic can also be
used, but must have bias applied via a series resistor. As with any mixer circuit, a slight loss
is always introduced. The final summing amplifier has a gain of 2 or 6dB to overcome this.
The Input line level should be around 200mV RMS. The Pinouts for LM741, LF351 ,TL071
and NE5534 are shown below. Pinouts for other IC's can be found on the pinout page.
The mic inputs are amplified about 100 times or 40dB, the total gain of the mixer including
the summing amplifier is 46dB. The mic input is designed for microphones with outputs of
about 2mV RMS at 1 meter. Most dynamic microphones meet this standard.
The choice of op-amp is not critical in this circuit. Bipolar, FET input or MOS type op-amps
can therefore be used; i.e 741, LF351, TL061, TL071, CA3140 etc. The power supply is a
dual positive and negative supply, two 9 Volt batteries may be used as shown above or a
power supply is recommended for longer periods of use.
The idea:
Most people reading this would be well aware of what a mixer is used for but I'll reiterate
here. The job of an Audio mixer is to combine various audio signals into a single audio
signal. It is better known in electronic terms as a summing circuit. That is to say that the
output is the sum of all of the inputs. A summing note is often represented as a circle with a
PLUS (+) symbol in it.
Audio is of course an AC (Alternating current) signal but if we look at the incoming signals
as a frozen moment in time we can represent it as 2 or more DC voltages. This is only useful
to illustrate the point.
If we had two signals to be mixed. The first was 2 volts and the second was 3, the output
should be the sum of these two voltages. 2+3=5. If on the other hand the two voltages were 2
volts and -3 volts then the output would be -1 volt. We are now subtracting 3 volts from the
+2 volts leaving -3. It is important to recognise that we are dealing with what is known as a
bipolar signal. That is one that can be positive or negative around a zero base-line.
When you get to the stage of adding many signals together, the complexity grows. In1 + In2
+ In3 + In4 + .... and so on.
Because each incoming signal has it's own load impedance it is impractical just to wire all of
them together and hope for the best. Especially when the following device you are trying to
mix into also represents it's own load impedance. Sometimes you may be able to get away
with it because the combined impedance is quite high. However most of the time it drags the
whole network down and causes one or more devices to fail or distort or what ever. Usually
no damage is done but it just won't work.
What is required is a little load isolation. (See Circuit 1: Passive mixer) The trade off is that
you can't use terribly high value resistors because of the losses that they may cause.
Especially if the load impedance of the following device is a little low. This will give the
effect of severely attenuating some or all of the signals. A practical trade off has to be
reached and this is as much trial and error as anything because the conditions change with
each new device added or changed.
The device used at the summing node, IE: an amplifier or tape deck should be able to provide
enough gain to compensate for the combined losses through the resistors and the combined
loading of the system. But the loading will change depending on the combination of devices
you have hooked into it.
This approach also creates another side effect. That is that a signal flowing into the summing
node via one source can pollute the audio signals of other devices. Say you had two cassette
decks that you wished to mix. However you also wanted to send the audio from cassette deck
#1 to an effects processor. The audio from cassette deck #2, although attenuated slightly, will
find it's way back to the audio from cassette deck 1 and also go to the effects processor.
ACTIVE STAGES:
Active Mixer stages that use Op-Amps are generally known as virtual earth pre-amps. These
are inverting in nature. 180 degrees out of phase. IE: The signal coming out of the mixer is
upside down as compared to that which is entering it. You then need to use another inverting
pre-amp to recover the phase.
This would seem silly at first until you realize that virtual earth means that the inverting node
of the op-amp is held virtually at ground (zero volts) potential. Any signal entering the stage
via one resistor cannot find it's way back out of any other resistor. This prevents the audio
from *say* one synth, polluting the audio from another. Particularly useful in a Mixer with
many busses and sends.
Generally speaking the pre-amps stage does not provide any gain. IE: is 1:1 unity gain. A
signal passing through a resistor with no load also presents no loss. Even with values beyond
1 meg. Although you may drop the effective current at the other end of the resistor. In this
case the current loss is largely irrelevant. Especially at line-level. And is compensated by the
op-amp's drive current in an active system.
It is better to have a mixer stage with no gain (or unity gain) because this will not amplify the
noise. If good quality op-amps are used, they will not add significantly to the over all noise
performance. So the RMS voltage coming out of the mixer should be the same as the sum of
all it's inputs. If gain is necessary for a microphone or phono etc, the gain should be a special
stage at the top of the chain. IE: the first preamp in the mixer channel. This is then mixed
with everything else once the microphone is amplified to line level. This gain stage only adds
noise to the microphone and not to the sum of the signals passing through the mixer.
It is interesting to note that resistors themselves add noise to a circuit. This is known as
thermal noise. Generally speaking the rule of thumb is: The larger the value the resistor, the
greater the thermal noise. This may not be significant in mixer stages at line level but where
large gains are required it is desirable to use smaller value resistors. (as small as possible
within reason.) Of course sometimes this cannot be achieved but is worth remembering as a
rule of thumb. Metal film resistors have less thermal noise than carbon film resistors and are
more temperature stable over all. So now there's two reasons to use Metal films in audio
circuits.
Virtual Earth:
Circuit 2 shows a basic active mixer. It uses 2 virtual earth preamps. One for the summing
node and 1 to re-invert the phase of the signal.
The summing node (The point at which all the resistors meet) enteres into the inverting input
of the op-amp. A feedback resistor is connected between the output of the op-amp and the
inverting input. The function off this feedback loop is essentially to limit the open-loop gain
of the op-amp.
Any signal entering the inverting input of the op-amp will appear at the output but it will be
upside down. That is to say 180 degrees out of phase. In other words if you put 2 volts in
you'd expect -2 volts out. To achieve unity gain (that is no gain or amplification at all) the
feedback resistor must be the same as the summing resistor. In this case 10K. All the
summing resistors are 10K and the feedback resistor is 10K. Because the feedback resistor
feeds the output signal back to the inverting input of the op-amp @ 180 degrees out of phases
it cancels out any gain. It also means that the inverting input of the op-amp is held pretty
close (If not exactly) at zero volts. or earth potential. Thus the term "virtual earth".
Any signal coming in through the summing resistor is like dumping it to ground via 10K. It
theoretically has the same loss. However the feedback resistor of 10K gives the exact
opposite in gain. So if you feed 2 volts in you will get 2 volts out only it will be upside down.
Because the summing node (The inverting input of the op-amp) is at virtually earth potential,
there is little chance that this signal will bleed it's way out to any of the other inputs.
Essentially speaking all the audio sources are isolated from each other.
However we're still left with the problem of the phase being wrong. If the output of the first
op-amp were recombined with one of the other signals at a later stage it would cancel out
rather than mix. So we have to re-invert the phase with yet another op-amp. This is a unity
gain amplifier just like the first except that there is no summing node as such. (Except for the
feedback resistor of course) The output of these two stages will now be the summ of all the
inputs with the correct phase. Because of the inherent compensation of the feedback/op-
amp/summing node, there is virtually no limit to the number of inputs you can put on this.
Most modern op-amps have enough drive capability that 128 inputs would be just peanuts.
However it must be remembered that you are summing the inputs so if you had a
powersupply of say +/- 15 volts, and 4 inputs of +5 volts each, The result would be 20 volts
mathematically speaking. But the op-amp can only produce +15 volts so you would be
clipping by 25%. Distortion occurs. Most op-amps can't swing exactly to the supply rails so
clipping and distortion would be even worse. In practice however most audio signal wouldn't
exceed a few hundred milivolts. A 2 volt peak to peak signal is considered to be a very high
level.
The fourth and final circuit shows a full on stereo mixer. Two new types of input networks
are shown. the first is a stereo-in with balance. Similar to your stereo amplifier etc. A dual
gain pot is use for volume whilst balance is single. Note that following the volume pot is a
10K resistor connected to one end of the balance pot. With the wiper in the centre position
and connected to ground as it is, means that the incoming audio is virtually running through a
22.5K resistor to ground. That is 10K +(1/2 of 25K) = 22.5K Because of this attenuation the
feedback resistor around the virtual earth op-amp is increased to 33K to compensate. This is
not exactly unity gain but it comes awfully close. A very slight and probably un-noticeable
gain.
The other input is MONO in but is pannable between left and right. The same deal as above
applies here except that the first two 10K resistors are joined together so that the signal is
split across two paths. Strictly speaking the first two 10K resistors in the stereo input are not
necessary but are needed for the mono circuit so that the pan pot does not short out the signal
when at either extremes of travel. They are included in the stereo input simply to compensate
for unity gain over all. This input scheme is the basis for 99% of all large mixing consoles.
Usually these desks are seen in two halves. The input half and the output half. No matter how
complex the input half may become, the output half is essentially just a virtual earth pre-amp
as described in the circuits above. Often it is required to have many such busses for things
like effects sends, subgroups, monitor bus and so on.
One of the beauties of the virtual earth mixer is that there is also virtually no limit to the
number of additional busses as well as the main bus. One could arrange an effects send buss
that derives it's signal from the same channel as the main bus. Except that each has it's own
volume, pan and assignment independent of each other.
The other two capacitors, 27pF and 47pF are optional and for stability of the op-amps. Truth
be known these were left in the schematic by accident because I simply modified the circuit
from one I was working on at the time of writing. The original circuit was designed to closely
approximate another commercial mixer as I was extending it's capabilities.
Out of interest these two capacitors cause the op-amps to behave as slight intergrator-filters
limiting the top end response slightly above the audio bandwitdth. This is some times
necessary where the op-amps used have such a high gain-bandwitch product that they tend to
saturate with RF or at least HF signals. Thus becoming unstable in certain situations.
Generally speaking these are largely irrelevant to the design.
Epilogue:
Well hopefully I've provided enough information so you could go out and roll your own
designs. And hopefully I've been able to work it in such a way that it's relatively
understandable. If there are any mistakes, errors or omissions, please feel free to point them
out. But Please no nit-picking. I'm only doing this because of the number of questions asked
on this subject and the relative interest for people to design their own.
No responsibility is taken for any damages or any other shortcomings if you actually use this
information. If you start out building one of my designs and end up wiring yourself to the
national grid, it's you're problem.
The target of this project was the design of a small portable mixer supplied by a 9V PP3 battery,
keeping high quality performance. The mixer is formed assembling three main modules that can be
varied in number and/or disposition to suit everyone needs. The three main modules are:
Input Amplifier Module: a low noise circuit equipped with a variable voltage-gain (10 - 100) preset,
primarily intended as high quality microphone input, also suitable for low-level line input.
Tone Control Module: a three-band (Bass, Middle, Treble) tone control circuit providing unity-gain
when its controls are set to flat frequency response. It can be inserted after one or more Input
Amplifier Modules and/or after the Main Mixer Amplifiers.
Main Mixer Amplifier Module: a stereo circuit incorporating two virtual-earth mixers and showing
the connection of one Main Fader and one Pan-Pot.
The image below shows a Block diagram of the entire mixer featuring four Input Amplifier Modules
followed by four in-out switchable Tone Control Modules, one stereo Line input, four mono Main
Faders, one stereo dual-ganged Main Fader, four Pan-Pots, a stereo Main Mixer Amplifier Module
and two further Tone Control Modules switchable in and out for each channel, inserted before the
main Left and Right outputs.
Obviously this layout can be rearranged at everyone wish. An astonishing feature of this design lies
in the fact that a complete stereo mixer as shown below in the Block diagram draws less than 6mA
current!
Block diagram:
Input Amplifier Module
Circuit Diagram:
Parts:
Circuit Description:
The basic arrangement of this circuit is derived from the old Quad magnetic pick-up cartridge
module. The circuit was rearranged to cope with microphone input and a single-rail low voltage
supply. This low-noise, fully symmetrical, two-transistor head amplifier layout, allows the use of a
normal FET input Op-Amp as the second gain stage, even for very sensitive microphone inputs. The
voltage-gain of this amplifier can be varied by means of R9 from 10 to 100, i.e. 20 to 40dB.
Notes:
Circuit Diagram:
Parts:
Circuit Description:
This is a straightforward design using the Baxandall-type active circuitry slightly modified to obtain a
three-band control. Total voltage gain of this module is 1 when controls are set in their center
position.
Notes:
Parts:
Circuit Description:
The schematic of this circuit is drawn as a stereo unit to better show the input Main Fader and Pan-
Pot connections. The TL062 chip contains two TL061 op-amps into the same 8 pin case and is wired
as two virtual-earth mixer amplifiers having a voltage gain of about 4, to compensate for losses
introduced in the passive Pan-Pot circuitry. Therefore, total voltage-gain is 1.
Each channel added to the mixer must include the following additional parts:
P1, P2, R1, R2, R3, R4, C1 and C2.
These parts must be wired as shown in the above circuit diagram, connecting R3 and R4 to pin #2
and pin #6 of IC1 for Right and Left channel respectively. These IC1 pins are the "virtual-earth mixing
points" and can sum together a great number of channels.
Notes:
Current drawing for one stereo Main Mixer Amplifier Module is 800µA.
Frequency response is 20Hz to 20KHz - 0.5dB.
Total Harmonic Distortion measured @ 2V RMS output = <0.008%>
THD is 0.005% @ 1V RMS output.
Maximum undistorted output voltage: 2.8V RMS.
Further Parts:
To parts listed above should be added: one Main on-off SPST switch, a LED used as pilot-light with its
dropping 2K2 1/4W series-resistor, DPDT switches to enable or omit Tone Control Modules as shown
in the Block diagram, input and output connectors of the type preferred, one stereo dual-gang 100K
potentiometer to fade the Stereo Line Input as shown in the Block diagram, battery clip, PP3 9V
battery, knobs etc.