AUDIO
MIXER DESIGN
N the design of studio equipment
Tare putiteaddress systema, i
is usually necessary to incorporate
circuits capable of mixing any-
where from two to eight or more
input elements, and these circuits
must operate in such a manner that
(1) the input and output imped-
anees will be constant for any set-
ting of the eontrols, (2) there will
be no crosstalk, and (3) a varia-
tion in the setting of one control
will not affect the attenuation of
the other positions.
Mixer circuits in use today fall
pretty well into two classes, the
hith-impedanee type used in public
address amplifiers and the low-im-
pedance type used in broadcast and
recording equipment. Two of the
‘most common networks of the high-
impedance type are shown in Fig. 1
and 2. The first circuit utilizes a
double triode, such as a 6C8G or a
GPRG, and is excellent for a two-
position mixer. It can also be used
for three or four positions by using
two tubes and, since all inputs are
¢
FIG. 1—two-postion high impedance mixer
feeding @ dovble tlode
FIG, 3 —Twopotition high impedance
120
By RICHARD W. CRANE
completely isolated from one an-
other, there can be no crosstalk or
other interaction.
As the plate resistances of the
two sections are in parallel, one sec-
tion sees a load consisting of the
other section's plate resistance in
parallel with the load resistance,
siving an insertion loss whose exact
value will depend on the eireuit con-
stants, but which will be not more
than 6 db in the two position cir-
cuit shown. There is no real in-
sertion loss, of course, since the
tube amplifies, but it is obvious that
the gain of the two sections con-
nected as in Fig. 1 will be less than
that of a single section alone and
can never be greater than j/2, for
the load resistance one section ‘sees
is always less than R,, Similarly,
for a three-position mixer a