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...reflect on your eigenvalues.
...can I do this with an abacus?
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#22
Posted 14 May 2009 - 02:53 PM
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Sound Cunt Extraordinaire
- LocationInside the Anus of a Flying Walrus
No. But you can have some pi for trying.
#23
Posted 14 May 2009 - 03:07 PM
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Punk
I reckon if I stuck an abacus on on the back wall of my studio it might.
Funny you should mention having some Pi. I have a couple in the oven right now - fair dinkum.
Funny you should mention having some Pi. I have a couple in the oven right now - fair dinkum.
#24
Posted 14 May 2009 - 03:25 PM
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fair dinkum
struth Alse my dead dingo has a dry donga
#25
Posted 14 May 2009 - 03:50 PM
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...err, I mean fully sick, and wicked. Yes, wicked. umm... feR rEeYal.
#26
Posted 14 May 2009 - 04:24 PM
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I'm clearly bored today. I'm eating my Pi and doing sum study now or RB will bust my balls - possibly with an abacus.
#27
Posted 15 May 2009 - 01:17 AM
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Punk
TL Audio Ebony A4 Summer 16:2 Tube Summing Mixer
Here's a pretty picture of a summing amp to go with ur pie.
According to TL Audio, it "also boasts the clever ability to activate an optional tube stage on the master bus; once activated, you can simply dial in the exact amount of warmth you want from a dedicated dual triode tube stage — offering your recordings an unbeatable depth, warmth and finish in the way that only tubes can."
Ooh. That's hot.
Here's a pretty picture of a summing amp to go with ur pie.
According to TL Audio, it "also boasts the clever ability to activate an optional tube stage on the master bus; once activated, you can simply dial in the exact amount of warmth you want from a dedicated dual triode tube stage — offering your recordings an unbeatable depth, warmth and finish in the way that only tubes can."
Ooh. That's hot.
#28
Posted 30 June 2009 - 11:51 PM
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Gold Punk
jester what does a high end summing amp look like
i use opamps all the time and have been wondering the difference between what i built and high end gear
do they just use clean opamps or do they tweak a normal non-inverting opamp mixer topology somehow?
i use opamps all the time and have been wondering the difference between what i built and high end gear
do they just use clean opamps or do they tweak a normal non-inverting opamp mixer topology somehow?
#29
Posted 01 July 2009 - 09:55 AM
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Sound Cunt Extraordinaire
- LocationInside the Anus of a Flying Walrus
It looks similar to a unicorn...
The basic principles are the same. The difference with a better quality summing amp is how accurately they design the tolerances in the system. So, yes, using a better quality op-amp helps. However, it has more to do with the compensation circuits around the key summing components. Using better components makes it easier to get tight tolerances and a more stable design. Using better components isn't the be all and end all, though.
Also keep in mind that generally - not always, but generally - building things from discrete components improves control of the tolerances. So, a lot of 'high end' gear uses FET's to achieve the same results as an op-amp. Remembering that you can effectively build an op-amp from FET's if you have the time/patience and experience/knowledge. It makes the same circuit you'd build in op-amps about 10-20 times more expensive in parts costs alone, but the control over the results can be greatly improved. It's one of the reasons a lot of high end gear bosts about having a 'discrete signal path' or some marketing BS like that.
The basic principles are the same. The difference with a better quality summing amp is how accurately they design the tolerances in the system. So, yes, using a better quality op-amp helps. However, it has more to do with the compensation circuits around the key summing components. Using better components makes it easier to get tight tolerances and a more stable design. Using better components isn't the be all and end all, though.
Also keep in mind that generally - not always, but generally - building things from discrete components improves control of the tolerances. So, a lot of 'high end' gear uses FET's to achieve the same results as an op-amp. Remembering that you can effectively build an op-amp from FET's if you have the time/patience and experience/knowledge. It makes the same circuit you'd build in op-amps about 10-20 times more expensive in parts costs alone, but the control over the results can be greatly improved. It's one of the reasons a lot of high end gear bosts about having a 'discrete signal path' or some marketing BS like that.
#30
Posted 23 December 2009 - 05:05 PM
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I can pat my head while rubbing my tummy.
The high end gear, like NEVE and especially SSL have a specific SOUND also.. These high end desks aren't transparent in their design and therefore don't have a perfect flat frequency response.
Back in the day (when I was a boy... hehehehe) audio design used valves and tubes, which were not transparent (i.e. they gave a specific frequency range more emphasis) and also introduced harmonics. SO engineers designed other circuits using these (brand new technology) transistors. They then made transparent sounding pre-amps, and even Power amps. which gave a flat response. But not a very musical one.
SO after the 80's had a realy flat, but clean sounding existence, people started going back to the old gear, where the harmonics were being introduced again and stated EUREKA, WE like this WARM sound much better. SO they went back to their SSL and NEVE desks and their TAPE recorders, cause all of them introduced that WARM sound, they also created NEW Valve mics and pre's and compressors to add to the warmth.
NOW where does this leave the discusion. Well. You can get a transparent low noise pre in a Behringer desk. For the cost of @#CK all. OR spend thousands on an SSL desk which has a TRANSFORMER COUPLED output, and a warm sound.
Your op-amp design with expensive op-amps can produce a low noise pre. BUT may lack the warmness of the valve or transformer coupling. So there is not a huge chance you could get the same sound as a Neve or SSL desk, but you could end up with the same level of noise. (that is very low).
IF you are interested there are kits that can be bought and built to reproduce an SSL input, they are expensive, but a fraction of the price of a REAL pre.
Hope this helps. Seems there was more to your question than you realy asked, hence the blurb.
The high end gear, like NEVE and especially SSL have a specific SOUND also.. These high end desks aren't transparent in their design and therefore don't have a perfect flat frequency response.
Back in the day (when I was a boy... hehehehe) audio design used valves and tubes, which were not transparent (i.e. they gave a specific frequency range more emphasis) and also introduced harmonics. SO engineers designed other circuits using these (brand new technology) transistors. They then made transparent sounding pre-amps, and even Power amps. which gave a flat response. But not a very musical one.
SO after the 80's had a realy flat, but clean sounding existence, people started going back to the old gear, where the harmonics were being introduced again and stated EUREKA, WE like this WARM sound much better. SO they went back to their SSL and NEVE desks and their TAPE recorders, cause all of them introduced that WARM sound, they also created NEW Valve mics and pre's and compressors to add to the warmth.
NOW where does this leave the discusion. Well. You can get a transparent low noise pre in a Behringer desk. For the cost of @#CK all. OR spend thousands on an SSL desk which has a TRANSFORMER COUPLED output, and a warm sound.
Your op-amp design with expensive op-amps can produce a low noise pre. BUT may lack the warmness of the valve or transformer coupling. So there is not a huge chance you could get the same sound as a Neve or SSL desk, but you could end up with the same level of noise. (that is very low).
IF you are interested there are kits that can be bought and built to reproduce an SSL input, they are expensive, but a fraction of the price of a REAL pre.
Hope this helps. Seems there was more to your question than you realy asked, hence the blurb.
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