OSNOVIOSNOVIAUDIOTEHNIKEAudio mikseri 1

Audio mikseri

Audio mikser - centralni uređaj svakog audio Audio mikser centralni uređaj svakog audio sistema

Osnovne funkcijePrijem i pojačavanje audio signala od mikrofona ili drugih audio uređaja

Obrada primljenih audio signala

Distribucija signala na različite izlazeMonitoring sopstvenih izlaznih signala ili signala sa uređaja za snimanje

Podela audio miksera prema t h l iji i dtehnologiji izrade

Analogni mikseriAnalogni mikseriDigitalni mikseri

Osnovna elektronska kola analognog di ikaudio miksera

A – operacioni A operacioni pojačavačB – pojačavač sa B pojačavač sa invertujućim ulazomC - pojačavač sa C pojačavač sa neinvertujućim ulazomD – sabirni pojačavačD sabirni pojačavačE – mikrofonski predpojačavačp edpojačavač

Osnovne oznake u blok šema di đ jaudio uređaja

A – linijski pojačavačB - linijski pojačavač sa promenljivim pojačanjemC, D – regulatori nivoaE t l t iE – stereo regulator nivoaF – panoramski potenciometarG – modul za obradu signalaH š i ik ( ć j H - završni otpornik (opterećenje izlaza)I – ukrštanje ili spajanje linija signalagJ – načini završetka linije signalaK – transformatorL – merni instrumentL merni instrument

Analogni mikseri:d l ipodela prema nameni

Mikseri za snimanjeMikseri za snimanjeMikseri za emitovanje programaMikseri za sisteme ozvučenjaMikseri za sisteme ozvučenjaMikseri za monitoring na sceniMik i f k ( iš )Mikseri za efekte (u pozorištu)Reporterski mikseriMikrofonski mikseri

Analogni mikseri:O f k i l liOsnovne funkcionalne celine

UlaziUlaziGrupni izlaziGlavni izlazi (obično stereo)Glavni izlazi (obično stereo)Pomoćni izlaziM i ki bl k ( k ij )Monitorski blok (sekcija)Razdelnici signala (opcija)Izvor napajanja

Analogni mikseri:P d l b i či li ij f k i l ih liPodela s obzirom na način realizacije funkcionalnih celina

Mikseri sa rotacionim komandama (miksete)Mikseri sa rotacionim komandama (miksete)“Split” mikseri (mikseri sa raspodeljenim komandama: ulazne, izlazne i monitorske komande)komandama: ulazne, izlazne i monitorske komande)“In line” mikseri (mikseri sa svim komandama u jednom kanalu smeštenom u jednom modulu jednom kanalu smeštenom u jednom modulu miksera)

MIKSERI SA ROTACIONIM MIKSERI SA ROTACIONIM KOMANDAMAMIKSETE

Mikseri sa rotacionim komandama -ik tmiksete

Prost jednokanalni mikser – blok šemaj

Prost dvokanalni mikser – blok šema

Stereo mikser – blok šema

“SPLIT” VIŠEKANALNI SPLIT VIŠEKANALNI MIKSERI(mikseri sa raspodeljenim komandama)

“Split” višekanalni mikseri –d k diraspored komandi

“Split” višekanalni mikser Yamahap

“Split” višekanalni mikser DDAp

“Split” višekanalni mikser Soundcraftp

“Split” višekanalni miksr Soundcraftp

“Split” višekanalni mikser – blok šemap

FUNKCIONALNE CELINE FUNKCIONALNE CELINE “SPLIT” AUDIO MIKSERA

Ulazni modul – blok šema

Ulazni modul –raspored k dikomandi

Grupni modul – blok šemap

G i d l Grupni modul – raspored raspored komandi

Izlazni stereo modul – blok šema

Izlazni stereo modul raspored– raspored

komandi

Kućište (ram) miksera( )

Detalj osnovne (matične) ploče mikseraj ( ) p

Priključna ploča mrežnog napajanja ikmiksera

“IN LINE” VIŠEKANALNI IN LINE VIŠEKANALNI MIKSERI(mikseri sa komandama u jednom nizu – u jednom modulu)

“In line” višekanalni mikseri – rasporedk dikomandi

“In line” višekanalni mikser

“In line” višekanalni mikser - detaljj

“In line” ulazno – izlazni modul: blok ššema

“In line” ulazno –ulazno izlazni

d l modul: raspored komandi

“In line” ulazno – izlazni modul: faza i jsnimanja

“ In line” ulazno – izlazni modul: remix f dfaza rada

NIVOI SIGNALA U MIKSRU

Tipičan dijagram nivoa signalau mikseruu mikseru

MIKSER U STUDIJU VŠERSoundcraft LX7 II

Soundcraft LX7 II

Soundcraft LX7 II ulazni modul blok ššema

Soundcraft LX7 Soundcraft LX7 II ulazni modul raspored komandikomandi

Soundcraft LX7 II izlazni modul blok ššema

Soundcraft LX7 II izlazni modul d k diraspored komandi

Soundcraft LX7 II monitor master modul bl k šblok šema

Soundcraft LX7 II monitor master modul d k diraspored komandi

Soundcraft LX7 II

Soundcraft LX7 II

Soundcraft LX7 II

PFL (pre-fade listen) A term used on recording consoles and mixers, referring to a signal taken before the main channel fader. The significance is this signal is not affected by the fader position Normally used to monitor (via headphones) to anaffected by the fader position. Normally used to monitor (via headphones) to an individual input (or a small group of inputs) without affecting the main outputs, particularly useful in that it allows listening to an input with its fader all the way down (off). In broadcast this function is often called cueing, while recording or live-

d l f t it l i C ith AFL d APLsound users may also refer to it as soloing. Compare with AFL and APL.

AFL Abbreviation for after fade listen, a term used on recording consoles and mixers, referring to a signal taken after the main channel fader; hence this g gsampling point tracks the main fader level. Also referred to as post fade solo, but since PFL already meant pre fade, AFL was adopted to prevent confusion. Got it? Compare with PFL and APL.

solo A term used in recording and live-sound mixing to describe monitoring (via headphones) a single channel without affecting the main outputs (see PFL) --same as cueing; however, it can also refer to certain console designs where it

l th i i ith th l d h l ( ll d d t ti l )replaces the main mix with the soloed channel (called destructive solo).

cue 1. A term found throughout various audio fields meaning to monitor, or listen (via headphones) to a specific source. In mixers (particularly DJ mixers), the term ( p ) p (p y ),is used interchangeably with solo or PFL as found on recording consoles.

phantom power Invented by Georg Neumann in 1966, the term given to the standardized scheme of providing power supply voltage to certain microphones using the same two lines as the balanced audio path. The international standard is IEC 60268-15, derived from the original German standard DIN 45 596. It specifies three DC voltage levels of 48 volts, 24 volts and 12 volts delivered through 6 8k ohms 1 2k ohms and 680 ohms matched resistors respectively capable of delivering 10-15 mAvolts, delivered through 6.8k ohms, 1.2k ohms, and 680 ohms matched resistors respectively, capable of delivering 10 15 mA. The design calls for both signal conductors to have the same DC potential. This allows the use of microphone connections either for microphones without built-in preamps, such as dynamic types, or for microphones with built-in preamps such as condenser and electret types.Why 48 volts is an interesting question. The answer is three-fold: 1) 48 volts is an exact multiple of the 1.5 volt battery cell; 2) 48 volts has been the telephone communication standard since before 1900; and 3) both of these combine to give the background to the explanation direct from Jürgen Breitlow and Stephen Peus at Neumann:"In 1966, a Neumann engineer presented the latest developments in the field of studio microphones at Norwegian Radio and Television in Oslo. The first transistorized condenser microphones were shown at that time, together with the well-known tube microphones.For compatibility reasons, Norwegian Radio wanted the transistor microphones to be supplied with a phantom powering system Due to the limited amount of daylight available there in winter an auxiliary lighting system was installed in the studiossystem. Due to the limited amount of daylight available there in winter, an auxiliary lighting system was installed in the studios — fed from a central 48 V supply. This voltage would also be used for phantom powering the microphones.So the 48 volt phantom powering system, which was later standardized in DIN 45 596, came into existence."

Phantom Power Mini-tutorial: Much confusion surrounds phantom power. This is an area where you need to make informed decisions: Is it provided? Do you need it? Is it the correct voltage, and does it source enough current for your microphone?decisions: Is it provided? Do you need it? Is it the correct voltage, and does it source enough current for your microphone? There is a huge myth circulating that microphones sound better running from 48 volts, as opposed to, say, 12 volts, or that you can increase the dynamic range of a microphone by using higher phantom power. For the overwhelming majority of

microphones both of these beliefs are false. Most condenser microphones require phantom power in the range of 12-48 VDC, with many extending the range to 9-52 VDC, leaving only a very few that actually require just 48 VDC. The reason is that internally most designs use some form of current source to drive a low voltage zener (usually 5 volts; sometimes higher)internally most designs use some form of current source to drive a low voltage zener (usually 5 volts; sometimes higher) which determines the polarization voltage and powers the electronics. The significance is that neither runs off the raw phantom power, they both are powered from a fixed and regulated low voltage source inside the mic. Increasing the phantom power voltage is never seen by the microphone element or electronics, it only increases the voltage across the current source. But there are exceptions, so check the manufacturer, and don't make assumptions based on hearsay. From the RaneNote Selecting Mic Preamps.g p