Studiomaster SESSIONMIX822

 

I rarely buy gear , so rare that nowdays i write the companies like Studiomaster ,Xvive ,and whoever before i buy something .So the people at Studiomaster after answering my query said that i can review this piece of gear . I bought it myself and here's what i think about it .

I am not audio engineer so i really can not speak all in dB and Hertz but i can give honest view and ear on the machine , i did go to SAE for a few months but i never graduated so i know nothing ... 

One thing that led me to this mixer for start is that Mic and Line inputs were separate for each channel, that was very important for me ,and something i prefer .and two aux channels unlike all the mixers in that price range that usually offer just one aux.

There are compressors on all 6 channels and I would like to test the compressors with premixed inputs and various sources  ,they really are a attractive feature but for now to me they do sound more like sound leveler than really squeezing anything compressors , i really don't hear much more then just more gain which doesn't mean there is none , it's probably very useful in real live band situations and maybe vocals but apparently not with my DIY Gear .

When it comes to the EQ's they are very vanilla too , they are just 3 band EQ's without sweep and gain controls separate which i loved with my old Fostex DMT8 , so for the price you can't ask for more . External EQ is needed if you want real thump or squeak but they do the job nicely for commoners .

 I still like the mixer .Actually it's layout is just what i would like or imagine !

It has mute on each channel which is important for live sessions , and the submix* is more than welcome for no input mixing as a 3rd aux channel , yes there are 2 x aux channels which is important if you wanna use external pedals and stuff and more important if you wanna record some no input mixing experimental mambo jambo . The onboard effects have dedicated pot per channel next to the aux 1 and aux 2 and sound beautiful ,i will only say that and it's nice that there is a proper effects processor included for the price , i can imagine it being very useful feature in Live Events situations , like amateur Theater or Poetry reading.

With the compressors and the additional gain preamps on the top of the mixer this thing has a lot of gain at least for me using synthesizer levels i never push the preamps at all . 

Sadly there is no separate return channels for the 2 auxiliary outputs but a single stereo return and whatever that is is not talking well with my Polymoog Resonators which tells me i might need to adapt a cable for normal use . (There really is a User Manual:)

Lastly there is an mp3 player there , i wish it was just some picture of Phil Collins, i could live with that , you can just ignore the whole mp3 module , unless you are at a live event like a gallery or some book publishing event or everywhere else where you'd need music before and after some strange lady reads her semi erotic poem with a big white hat with purple ribbon

You have Group 1+2 as a linked stereo bus (Group 1 = L, Group 2 = R)

Each channel has a routing switch that sends signal to both groups at once

Then you get fader control over Group 1/2 output level ,So functionally, it’s less like:

“true independent subgroup routing”  and more like: “alternate stereo mix bus with per-channel assign”

But i can imagine those two outputs being properly abused in no mixing input session .You can also have alternate mix going thru a processor and then feeding it back to another channel or recorder , and then you can give to two people two variants of the recording..

There is proper RCA record output and i am yet to test it with Xvive portable recorder ,i thought the Record output has it's own proper Attenuator or Gain potentiometer and that would be useful when feeding these cheap portables like H1n or XV1R ,or anything semi professional really but no , there is however Control Room gain potentiometer that might do the same job . I would hate to use additional attenuator with the Portable Recorder ..but budget dictates compromises . 

I bought this for the routing, the separate line inputs, the aux sends, the effects, the mute buttons, the subgroup, and the general flexibility. So yes, for me it is worth every penny. Companies keep cutting corners and features at this price point, yet this thing still manages to pack quite a lot inside. you get a lot of features that some might find useful , some less , but it's really worth as base ,little upgrades like external EQ and compressor will make this mixer be comfortable bedroom studio frame .

Finally i would like to apologize for the empty table as i just sold all the gear i built ,and as for audio samples of the EQ's and Compressor's response ...it would all sound the same on your phone. 

I hope to update this article in the future with few no-input mixing recordings .

https://studiomaster.com

Matrix Mixer

 

ooaaauuu

 

Electro Harmonix Sonic Boomer

 I found this schematic and layout many years ago and i even made PCB for this but never built it , so when i tried to find again the layout and schematic on line there was none , or just hard to find so i decided to share it here . This is not my layout ,and i have not built it , but reading the comments elsewhere this is a very nice Kick drum .

BOM : 

---------------------------------

| Electro-Harmonix Sonic Boomer |

|        Component list         |

---------------------------------

Sorted by name

--------------

R1 47

R2 10K

R3 3.3M

R4 3.3M

R5 390K

R6 43K

R7 220k

R8 9.1k ???

R9 1M

R10 68k

R11 47k

R12 47k

R13 1M

R14 100k

R15 10k

R16 10k

C1 0.001

C2 100 EL

C3 10 EL

C4 0.0039

C5 1 EL

C6 4.7 EL

C7 0.0047

C8 0.0047

C9 4.7 EL

C10 0.0047

C11 0.0047

C12 1 EL

P1 1M log

P2 1M lin

P3 1M log dual gang

D1 1N4148

IC1 TL064

SW1 DPDT

X1 Electret microphone

***

 Few more layouts are available at https://synthesizerunderconstruction.blogspot.com , i updated the Buchal 106 PCB layout with dual layer smaller PCB  .There is now PCB layout for 3 Band Moog Parametric Equalizer  . As i am building a new DIY mixer i decided to include few DIYRE Color modules like Distortastudio  and FA38 from Trident Consoles . There is a new layout for Vintage Serge VCO , and  updated the layouts for Buchla 194  ,and the MOTM Yamaha GX VCF for which i finally got the PCBs.

***

 

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( 9sjS )9JoZX )aIA )ajS DF09Ka9SA0D)aKS9

 

Chiruru

Moog Parametric EQ

 

Many years ago i built the ACX Moog Parametric EQ and it was working fine , so i just saw now the original Moog 3 Band Parametric EQ .This is a striped down version without the switch .

This Moog Parametric Equalizer uses somewhat unusual potentiometers-dual 50k/500R

the drawing board

 

Buchla 106 Mixer updated layout

FA38 Colour 

Sal-Mar Construction

 

Hardware Design of Real-Time Musical System

by Sergio Franco 

(excerpts) 

1. Importance of Real-Time in Electronic Music

With the advent of electronic music, the roles of the composer and the performer have been placed in a new perspective. Traditionally, musicians have tended to specialize in either one role or the other, or have tended to play only one of the roles at a time. This has happened mainly because of the considerable difficulty encountered when composing and performing are carried on simultaneously.

When a musician improvises at an instrument, he is essentially composing music in real-time. This means he is thinking and evaluating very quickly a series of possibilities out of which he makes appropriate choices, which in turn lead to the execution of the various mechanical motions necessary to produce the music he wants.

Because of the difficulties encountered in doing all these things at once, musicians have tended to specialize either in the inception/evaluation process (composition) or in the execution process (performance), and have developed the notation of musical scores to communicate among themselves. Thus, the composer need not be principally concerned with the quick thinking and decision making of the improvisational process, but can pursue his inspection of musical possibilities on his own time scale.

What is even more important, to appreciate the effects of his choices and changes, he does not need to try them out on actual instruments because he can rely on his aural imagery, a faculty he has developed through experience either by playing instruments or by listening to others playing them, or both.

In developing his aural imagery, the musician is certainly helped a lot by the fact that he deals with a limited set of instruments whose characteristics extend over known and predictable ranges.

In electronic music the situation is quite different. Because of the new kinds of sounds that electronic instruments are capable of synthesizing, it is very difficult for the musician to develop the kind of musical imagery that may suffice to assist him in composing on his own time scale and away from his instruments. If the composer is to come up with something musically meaningful at all, it is absolutely essential that he actually hear the effects of his choices, his trials, and his alterations as he makes them, so that he can directly evaluate them in the context of the whole composition. In other words, the concept of direct feedback has come to play a dominant role in the electronic music composing process.

Another important change brought about by electronic music involves the relationship between performer and instrument, and is due to the much greater detail in which the performer is required to control the various musical parameters. While in conventional instruments such parameters as timbres, attacks, decays, etc. are, to a large extent, fixed, built-in features, in electronic music they are left to the discretion of the performer, who must therefore specify and control them directly. If this feature allows on the one hand much more freedom of choice and experimentation, on the other it imposes a more demanding control burden upon the performer, and it certainly renders the communication among musicians more complex than with conventional instruments, where the notation of the musical score is usually adequate.

As a result of the above discussion, it should be clear that in electronic music the distinction between composer and performer ceases to exist, partly because the composer needs to try out his musical ideas on the instrument by himself, and partly because of difficulties of communication among different people.

Furthermore, having accepted the notion of direct feedback as an indispensable ingredient of the improvisational process, it is of paramount importance that the composer/performer be allowed to interact with his instrument on the time scale of the music he is improvising, that is, in real-time.

As shown in the block diagram of Figure 28, the realization of the sound distribution system requires a total of 96 audio gates. With a number of this magnitude, the cost per gate plays an important role in the choice of the circuit realization to be adopted.

An audio gate, besides satisfying such obvious requirements as low distortion, high on-to-off transfer ratio, and low control signal feedthrough, must also exhibit specific transient characteristics in order to ensure proper audio switching.

The last requirement is motivated by the fact that when a sound is switched on or off, spurious partials are generated which may alter the tonal character of the sound considerably, as has been discussed in connection with sound enveloping.

As Fourier analysis reveals, the amount of spurious partials accompanying sound switching usually increases with the rate at which sound builds up or decays. Thus, unwanted switching effects can be easily reduced by employing gates with low switching speeds.

From the viewpoint of sound movement control, however, it is desirable to have fast gates so that sounds can be switched around the performance space at arbitrary rates. A compromise between the two conflicting requirements can be determined experimentally.

Analog gates based on solid-state, electro-optical devices like Raysistors or Vactrols usually exhibit predetermined and highly asymmetrical switching characteristics which render these components unsuited to the present application. The cost of these devices at the time of design was also a key factor that contributed to their rejection.

The smoother for the harnonic tone generator has been real-ized with two CA3080 OTArs in the manner i]lustrated in Figure 1p.This circuit realizes a tvo-pole,maximally-f1at, low-pass prograrnrnable fil-ter. Due to the absenceof the voltage-to-current converter and diode compressor, signal conditioning at the OTArs inputs i-s achieved by means of resistor attenuators, as shown. Tire resj-stcr values have been chosen so that the bal-anced outputs from the progranraable mixer can be tied to

 the inputs of the first 0TA directly, without the need for additional ancilfary circuitry. AIso, because of the finite imped.ance presented. by the attenuators, the output from each OTA naust be buffered. by a high input-imped.ance decoupler. This task is performed. by the pair of FET-transistor

source fol-lowers. The voltage-offsets associated vi-th the fol-lowers $o not affect the dc level of the filter because each follover is placed insid.e the feed.back loop of the correspond.ing OTA.

Digital Waveshape Generation

Because of the discretization introduced by the sampling technique, the control of tonal qualities can be exercised only over a limited bandwidth. According to the well-known sampling theorem, the order of the highest harmonic that can still be represented with the sampling process equals half the number of samples contained within one waveshape period.

Thus, if the harmonic generator is to span a wide tonal scope, the number of sampling intervals should be as large as possible. A high sampling density, however, requires a commensurably high frequency for the sequential scan of memory as well as a large memory size to accommodate the samples.

As it has already been pointed out in connection with the relaxation oscillator, the accurate generation of an exponential frequency over a range of three decades becomes more and more difficult as the range is shifted in the direction of higher frequencies.

A compromise has been achieved with the choice of a time resolution of 32 samples per period and an amplitude resolution of 15 levels per sample. Since the tonal bandwidth is determined solely by the number of samples, the amplitude resolution need not be as high as the time resolution.

It should be noted, however, that the presence of the mixer results in an effective increase of the amplitude resolution because it allows for the programming of arbitrary ratios between corresponding samples of the incoming waveshapes.

(Sergio Franco was one of the people that designed the Sal-Mar Construction)

This excerpt is shared for educational and research purposes only, to facilitate discussion and understanding of electronic music history. If you are the copyright holder and object to its publication here, please contact me directly, and I will remove it immediately.

Arabesque Synapse Magazine

 

Здравей В.

 Извор : You Tube

@eyeCU13

3 years ago

It is sad, because at the end Bulgaria will have to deal with Macedonia the same way that Russia is dealing with Ukraine. But if that's the case so be it. If they don't want peace, they'll get the axe

@Panos__

3 years ago

These guys are Bulgarians though. I don’t know what the big deal is. It’s Bulgarian written on a Serbian typewriter. Venko Markovski

@boskowalker6840

3 years ago

Sad story. Dont get me wrong, but those people who identify as "macedonians" should read some world history..

@АлександърДойчев-е5б

3 years ago

your great grandfathers were Bulgarian.

@bellows3088

3 years ago

How to fix issue: Macedonians=Basically Bulgarians Macedonia annexed by Bulgaria Bulgaria already in EU therefore macedonians are EU citizens and dont have constitution to change Problem solve

@Spidy_BG

3 years ago

Macedonian is the Bulgarian ground!

@__Man__

3 years ago

They should rename the country as Vardaria and rename themselves as ethnic Vardaretsi, taken from the name of Vardar River. Ancient Macedonians as I know were Hellenics, even the Ancient Macedonians were the spreader of Hellenistic culture to South-Central Asia and created Indo-Hellenistic Group. I am Kashmiri people, my land was colonised by Ancient Macedonians and Seleucid Empire, both of them were Hellenic people, that's why most of ethnicities in the Kashmir region including my ethnicity were influenced by ancient Hellenic culture, Persian culture and Indian culture, created the unique amalgamation of the three. Now, I don't know why Macedonian became Slavs?

@ivogalabov1973

3 years ago

When North Macedonian have a shower became clean Bulgarian! Language is a Bulgarian dialect!

@AlexanderBrodski

3 years ago

I am an American descendant of ethnic Bulgarians from Thessaloniki (Solun), in the Greek (Aegean) section of Macedonia. I am close to 80, and remember that all of my Macedonian relatives, who were born between the 1860's and 1920's calling themselves Bulgarians. The Bulgarians in the Serbian/Yugoslav portion of Macedonia, known today as North Macedonia, were converted after 1945 by the Bulgar--hating communists

ruling Tito's Yugoslavia into a new tribe, "Ethnic Macedonians."

@ЕвгениСтефанов-ж5т

9 years ago

ЖАЛАМ ЗА ВАС ВАС КЕ ВИ ОПРАЙТ АЛБАНЦИТЕ НЕ ТАТАРИТЕ ОНИ СА ДАЛЕКО ВО АЗИЯ

@ЦветинСтайков

12 hours ago

Измислена държава от Коминтерна... А песента е хубава...

A.Draganov 1 month ago

@vladimirminkov517

16 hours ago@A.Draganov

1 month ago

Македония е област. Държавата Северна Македония заема 2/5 от старинната област Македония. Област Македония, или „Thema Macedonia“ е древно понятие. В днешно време, съществуват няколко района с название „Macedonia“. Тема, (или област Македония, съществува в 3 днешни държави, Гърция, България и Северна Македония.)

@HeroManNick132

1 month ago

Ти си българка.