DIY Analog Mixing Console

If you really think you're going to enjoy electronics (i.e. make more than one thing in your lifetime), is to purchase from a place like radio shack, something like this:

Solderless Breadboard

The reason is you can insert the pins of the parts into the holes, and using wire you can make your connections between parts. If you make a mistake, you simply pull the wire out, and move it appropriately.

The beauty of the above particular solderless breadboard, is once you get your circuit working as you want it to, you can transfer it AS IS from the solderless breadboard to this product - a identically wired soldered breadboard:

Soldered Breadboard

Other places aside from RadioShack sell solderless, and soldered breadboards that are identical in how they are connected, shaped and sized, so you're not limited to what Radio Shack has. Here in the states they are as common as McDonalds so it's convienent.

Anyway, that is how I'd tackle the wiring of the pre-amp if you've never done electronics to this degree before.

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Perfboard is fine, and you're essentially doing point to point wiring. Where it gets difficult is if you have multiple wires going to one pin on a tiny integrated circuit, and the IC's leads are only so long. You can extend those leads but that's a soldering hassle. Perfboards also can be bought with solder pads - those also are a good choice and similar to the above soldered breadboard I linked above - except usually all the pads are isolated from each other, and you can bridge them with wires or solder as necessary.

For audio stuff, I highly recommend silver solder which is more expensive then ordinary electronic solder. For one, it requires less heat to melt and make a good, trouble free joint, which is always a plus for a beginner. Also every solder joint adds resistance to the circuit, and silver solder conducts better than regular electronic solder, so that helps the quality of the signal path. For automotive stuff, I use whatever is lying around but for audio, I generally use silver solder.

Point to point wiring, like in the old days with lugs on supports and such, is difficult to do with integrated circuits. I've done it, but it looks nasty :D

About the AT power supply - for testing purposes you can use the +12V and the -12V supply lines to feed audio circuits as I've designed above, however for your final version you're not going to want to do this. PC power supplies tend not to be a consistant in their output as they'd like us to think... their voltage often depends on the load. Also, the -12V line generally cannot provide much current at all, unlike the +12V line which often can provide 10-35 amps depending on the power supply size. The -12V line is usually limited to 100-300ma, which is enough for one, two or three pre-amp chips. One of the common mistakes in power supply designs for audio is not having enough power to drive the op-amps when the audio signal is "hot", and the voltage drops at that point and then you have a nice fuzz-distortion sound as the signal clips.

Generally, electronic engineers that design audio circuits, use a 2:1 rule. If the op-amps throughout the entire design can draw 5 amps, they'll design a 10A power supply.

but for testing a simple pre-amp circuit, a AT power supply is fine. I did it when I was testing the already posted schematics. I even use AT power supply for testing vehicle electronics.
 
Thanks Frederic...

I'll be starting an eleven day vacation tomorrow morning, so I'll definitely be working on this project... We have some cool electronics shops around here, so I don't really forsee difficulties with immediate part sourcing or prices...

Updates and maybe some questions to follow.... Thanks again!
 
frederic said:
Ms. Hilarious is correct, the schematic software picked voltages on the caps for me, which I don't like either. I'll manually edit the pages and put the appropropriate values, after I finish the switch module.

Just wondering if anyone feels like throwing out any better values for these (C3 C7 C4). Otherwise, I'll be prototyping per the current diagram and I'm not too sure if it will cause any major issues. No big deal, just checkin'....

Also....

mshilarious said:
Oh, one more thing, R2 and R3 should be 1% tolerance, and if you have a good multi, match them closely for each channel. It might be a good idea to match R5 and R7 too, although I'm a bit fuzzy on that.

Is there any reason to assume that, if R5 and R7 should indeed be 1%, the same should apply to R4 and R9? Just curious to know if there is a signal flow basis for the omission of those two for 1% rating and being matched...

Thanks :)
 
peritus said:
Just wondering if anyone feels like throwing out any better values for these (C3 C7 C4). Otherwise, I'll be prototyping per the current diagram and I'm not too sure if it will cause any major issues. No big deal, just checkin'....

No major issues, you could use values as is. I think my concern before was that with the 50V rating, if phantom is on but no mic is connected, then those caps would see the full phantom voltage. So I would use 63V instead. As for the value, if you are building say a stereo pre in a big box, say 2u or something, and you wanted to try to stuff metallized poly caps in there, you could get away with 10uF or even 4.7uF. For myself, I would probably use a 10uF/63V electro bypassed with a 0.1uF poly.

Also I would stick a 25V rating on C4, just 'cause.

Finally, if you are going to use an AT power supply, be aware that is a switching power supply, which is much more efficient than a linear supply used for audio, but has a nasty habit of dumping high-frequency noise into the power. I don't know the tolerance of INA163 for such issues, but I would increase C1,2,8,9 to a 1uF poly film (box type), and get C2 and C9 right up against the pins on INA163 in your PCB design.

Also the AT will leave you without a source for 48V phantom power.

Is there any reason to assume that, if R5 and R7 should indeed be 1%, the same should apply to R4 and R9? Just curious to know if there is a signal flow basis for the omission of those two for 1% rating and being matched...

R2,3,5,7,4,9 should all be 1% and matched in pairs. That should help preserve the best possible CMRR (common mode rejection ratio).

The last thing I'm wondering about is the input impedance, seems rather high for a mic pre. Not sure if that would cause problems . . . sort of thinking out loud here . . . but you could play with different values for R5 and R7, maybe try 4.7K, or if you're ordering parts, 6.8K to keep things simple (in either case C3 and C7 should stay at 47uF)
 
any ideas for a good casing for these modules? I suppose you could get sheet metal and cut and weld it yourself... or you could go the $$ route and use all blank rack gear..like 1 u per channel or something ridiculous, and end up having it all in a 20 space gator rack. I'm thinking it would be difficult to cut a slot for a fader in a middle atlantic rack.... and you would have to put the pre/line/eq/routing/ and maybe fader all in the same unit. not as modular. oor you could do say 16 eq's in one middle atlantic box, 16 routers in a box, 16 faders in another, etc. but then you can't pull one channel at a time. any thoughts???
 
FALKEN said:
any ideas for a good casing for these modules?

I would look for a cheap crap mixer on eBay to gut. That way you'd get fader and pot knobs too, a power jack, maybe some useful switches and connectors.

The only trick would be finding one deep enough for vertical PCBs for each channel.

Like this one, obviously it has issues as a mixer (missing fader knobs!), but as a case it could be great, especially for $10 :)

http://cgi.ebay.com/PEAVEY-UNITY-SE...oryZ3284QQssPageNameZWDVWQQrdZ1QQcmdZViewItem
 
hey is that parts list up here? i just went through the thread looking for it, i dont think we've gotten up to it yet though.
 
TragikRemix said:
hey is that parts list up here? i just went through the thread looking for it, i dont think we've gotten up to it yet though.

I don't think frederic has finished with the whole circuit yet, so no, there is no parts list. More importantly, there is no published PCB design. That is a lot tougher than a parts list.
 
mshilarious,

couldn't you just use pcb's from rat shack?

I am thinking of cutting sheet metal to the appropriate sizes and leaving it as an open casing. so just having a face with the card going back. and maybe some sort of single connector to connect to the console. I think this would be the simplest, although not very elegant.
 
FALKEN said:
mshilarious,

couldn't you just use pcb's from rat shack?

Yes, but you still need to do a design. This isn't the hardest project to lay out, but for someone who hasn't done PCB design before, it could be a challenge.

For a 16 channel project, I would look at getting PCBs made by expresspcb.com or someone like that.

I am thinking of cutting sheet metal to the appropriate sizes and leaving it as an open casing. so just having a face with the card going back. and maybe some sort of single connector to connect to the console. I think this would be the simplest, although not very elegant.

Mixer bussing is often done with ribbon cable and ID connectors to card-edge mounted connectors. For the ground bus, I've used 14ga copper which seemed to work well.

As for your case idea, I would want a backplate to provide more complete shielding.
 
any schematic for the PSU here? actually, i guess any PSU schematic that could work would be great here. i would like to just build a preamp circuit, just for the hell of getting some practice building some circuits on a pc board, becuase im going to be donig an SCA preamp and i would rather learn my weaknesses here rather than on a $300 kit. im good at soldering, ok at it on boards, but i want to do a cheaper projet first.
 
still stuck on a fader enclosure. I have considered making one with a dremel but that might come out really crappy. Purple audio is selling one for $2k...since this is a diy I think we can probably do better than that. I suppose I could gut an old mixer and I do have one but I would have to cut it apart and re-mount it......... perhaps there is an online source for this kind of thing?
 
falken, this looks like a very easy and inexpensive way to house the modules: http://europa.spaceports.com/~fishbake/mixer/linemix.htm

aluminum is pretty easy stuff to work with (i've worked in a few metal fab shops). you should be able to find some inexpensive material at a scrap metal recycler, a metal fab shop, or any local manufacturer that uses sheet metal. a hack saw, pliers, and a file should be the only tools you need. a welder's duck bill clamp would probably work better than a pair of pliers: http://www.builderdepot.com/AMERICANTOOL_BM/prodimg/4438073.jpg

i have'nt personally tried this but i remember having a conversation with the painters in one shop about painting aluminum. they said to clean the aluminum with degreaser, go over it with fine steel wool, and wipe it down good with vinegar.
 
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right on travis. I dont think that would be a problem, except for maybe when you go to add the faders. I like the idea of keeping the faders separate from say the routing section and the gain/preamp section. So you could always upgrade a whole section of the console later. I'm just not sure if I would be able to get all of the channels I want into a box like that. Having two of those side-by side might be awkward. so I am thinking about doing strips. It would be much easier...and if I screwed one up it would mean less $$ lost. or if one went dead you could have spares or just pull that one or swap it. Do you think you could cut slits for the faders with a dremel?
 
Hey there,
This is very intriguing; I'm actually studying electronics and circuits right now (but am nowhere near able to follow most of this yet). I'm just curious if this is something you're actually building, or are you just scheming it out?
 
FALKEN said:
Do you think you could cut slits for the faders with a dremel?
With aluminum, you might be able to do a lot with a tabletop drill press and a milling carriage. In other words, use the drill press as a milling machine. It should work with soft materials.
 
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