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Mixing Console................................................................................................................................2
Introduction...........................................................................................................................2
Structure.................................................................................................................................2
Applications............................................................................................................................3
Mixing console manufacturers.............................................................................................3
Abstract...........................................................................................................................................5
Schematic........................................................................................................................................6
Board Assembly..............................................................................................................................7
Operation........................................................................................................................................8
Printed Circuit Board Layout........................................................................................................13
Eagle CAD Design Rules.......................................................................................................14
Copper Bottom Layer..........................................................................................................15
PCB Assembly Diagram.......................................................................................................16
SPICE Simulation...........................................................................................................................17
Analysis Screen-shots...................................................................................................................18
SPICE Net-list.................................................................................................................................19
SPICE Plot Export – AC analysis...................................................................................................20
Operational Amplifier – TL071 SPICE model...............................................................................22
SPICE Analysis Graphs..................................................................................................................23
AC Frequency analysis.........................................................................................................23
Transient Analysis Graphs...................................................................................................24
Troubleshooting............................................................................................................................26
Bill of Materials.............................................................................................................................27
Conclusion.....................................................................................................................................28
Project Pictures.............................................................................................................................29
Bibliography..................................................................................................................................30
Mixing Console
Introduction
In professional audio, a mixing console, or audio mixer, also called a sound board,
soundboard, mixing desk, or mixer is an electronic device for combining (also called
"mixing"), routing, and changing the level, timbre and/or dynamics of audio signals. A
mixer can mix analog or digital signals, depending on the type of mixer. The modified
signals (voltages or digital samples) are summed to produce the combined output
signals.
Mixing consoles are used in many applications, including recording studios, public
address systems, sound reinforcement systems, broadcasting, television, and film post-
production. An example of a simple application would be to enable the signals that
originated from two separate microphones (each being used by vocalists singing a
duet, perhaps) to be heard through one set of speakers simultaneously. When used for
live performances, the signal produced by the mixer will usually be sent directly to an
amplifier, unless that particular mixer is "powered" or it is being connected to powered
speakers.
The channel inputs are replicated monaural or stereo input channels with pre-amp
controls, channel fader and pan, effects and equalization controls. The master control
section has level, tone, amplification and auxiliary return level controls. In addition it
may have solo monitoring controls, a stage talk-back microphone control, muting
controls and an output matrix mixer. Audio level meters may be provided above the
input and master sections or they may be integrated into the unit (if present).
Applications
Dub producers/engineers such as Lee "Scratch" Perry were perhaps the first musicians
to use a mixing board as a musical instrument. Public address systems will use a
mixing console to set microphones for different speakers to the correct level, and can
add in recorded sounds into the mix. A major requirement is to minimize audio
feedback. Most bands will use a mixing console to combine musical instruments and
vocals to the correct level. Radio broadcasts use a mixing desk to select audio from
different sources, such as CD players, telephones, remote feeds, or prerecorded
advertisements. Noise music musicians such as Merzbow or Wolf Eyes may create
feedback loops within mixers, creating an instrument known as a no-input mixer. The
tones generated from a no-input mixer are created by connecting an output of the
mixer into an input channel and manipulating the pitch with the mixer's dials.
Commercial mixing modules run into thousands of dollars and have many advanced
features like mechanized fades, pitch shift, equalization, automatic leveling, LFO
envelop generation, independent frequency synthesis and arpegiators.
Issue(s) Addressed
The major issues faced in the construction of the project can be broadly bifurcated as:
design considerations and construction limitations.
A balance between performance and cost was to be struck, which was the determining
factor in choice of operational amplifier. Typically low cost operational amplifiers
suffer from noise degradation during rail to rail performance. The input impedance is
also considerable. Hence a high input impedance operational amplifier with good
near-rail performance was chosen. The standard 3.5mm input connector was chosen
due to its popularity in audio circuits and easy availability. Converters for this jack are
also easily available. These were the major considerations in the design stage.
For the construction, It was our aim to keep the circuit fairly well spaced for easy
manufacture and verification. So 16 thou tracks were chosen with with 18 thou
clearances. These values were determined experimentally and observed to lend
themselves to good repeatability and accurate manufacture. These also sufficed for our
space constraints, and were thus chosen.
Research Methods
Parameters for design were determined experimentally, through construction on the
solder-less breadboard and through simulation in Spice software.
Limitations for the manufacture, was determined by etching and constructing other
small circuits in progressively finer tolerances till the optimum values between area of
board and ease of manufacture was not obtained. These, as mentioned above are
found to be: 16 thou tracks with 18 thou clearances.
The layout of the PCB was prepared in board layout tool 'Eagle CAD' by Cadsoft.
Simulation was conducted on 'Ltspice' by Linear Technologies.
The input stage is a differential amplifier. The differential amplifier used as an input
stage provides differential inputs and a frequency response down to d/c. Special
techniques are used to provide the high input impedance necessary for the operational
amplifier. The second stage is a high-gain voltage amplifier.
This stage may be made from several transistors to provide high gain. A typical
operational amplifier could have a voltage gain of 200,000. Most of this gain comes
from the voltage amplifier stage. The final stage of the OP AMP is an output amplifier.
The output amplifier provides low output impedance. The actual circuit used could be
an emitter follower. The output stage should allow the operational amplifier to deliver
several mili-amperes to a load.
Notice that the operational amplifier has a positive power supply (+Vss) and a negative
power supply (- Vdd). This arrangement enables the operational amplifier to produce
either a positive or a negative output. The two input terminals are labeled "inverting
input" (-) and "non-inverting input" (+). The operational amplifier can be used with
three different input conditions (modes). With differential inputs (first mode), both
input terminals are used and two input signals which are 180 degrees out of phase
with each other are used. This produces an output signal that is in phase with the
signal on the non-inverting input. If the non-inverting input is grounded and a signal is
applied to the inverting input (second mode), the output signal will be 180 degrees out
of phase with the input signal (and one-half the amplitude of the first mode output). If
the inverting input is grounded and a signal is applied to the non-inverting input (third
mode), the output signal will be in phase with the input signal (and one-half the
amplitude of the first mode output).
The summing action of this circuit is easy to understand if you keep in mind the main
"mission" of the op amp. It's a simple one: keep the potential of the negative terminal
very close to the positive terminal. In this case, keep the negative terminal close to 0V
(virtual ground). The op amp essentially nails one leg of R1, R2 and R3 to a 0V potential.
This makes it easy to write the currents in these resistors.
Consider the inverting configuration of an operational amplifier. If we add another
input resistor equal in value to the original input resistor, Rin we end up with other
operational amplifier circuit called a Summing Amplifier, "Summing Inverter" or even
a "Voltage Adder" circuit as shown below.
The output voltage, (Vout) now becomes proportional to the sum of the input voltages,
V1, V2, V3 etc. Then we can modify the original equation for the inverting amplifier to
take account of these new inputs thus:
If,
However, if all the input impedances, (Rin) are equal in value the final equation for the
output voltage is given as:
This is the fundamental concept behind the Audio Mixer. The diagram below illustrates
this.
Replace Page
PCB Assembly Diagram
Replace Page
SPICE Simulation
SPICE simulation of the circuit was performed using the software “LTSpice IV” from
Linear Corporation. Operational amplifier TL071 model was obtained from National
Semiconductor's library.
Transient analysis and AC frequency analysis was carried out in the software.
Transient analysis was run for a simulated time of 10ms and showed sufficient analog
mixing of signals.
AC response was near about flat between 100 Hz and 18 KHz indicating good audio
frequency response. The resultant graphs of the analysis, SPICE netlist files and
simulation files are attached on subsequent pages.
Analysis Screen-shots
AC Frequency analysis
Transient Analysis Graphs
Troubleshooting
The circuit functioned as designed for the most part, except on two counts: both
mechanical.
The 3.5 mm TRS connector had flat pins which did not fit correctly in the 1.1 mm drill
hole. We had to carefully extend the holes laterally to allow the pins to slide through.
This was done using a 0.3mm drill bit. The fine drill bit was mounted onto the drill
chuck and lowered into the hole and the PCB was moved from side to side. This
extended the size of the hole by a hair width and the jack slid inside.
The second bug arose in the fit of the TRS connector. As the connector was not
mounted at the extreme edge of the board, the fitting with the audio jacks were not
ideal. This was solved by grinding the edge of the board to reduce its dimensions. 400
grit sandpaper and a laminate blade was used for the purpose.
We also provided two external Male 3.5 mm TRS connectors as we noted that most
devices seemed to have Female ports.
Bill of Materials
The final construction was carried out on a 3 by 4 inch Phenolic Laminate board with a
copper layer on one side. The board was drilled, cut and checked. Components were
then tested and assembled/soldered on it.
Mechanical fixture and support was provided with a Cyanoacrylate compount which
serves as both an adhesive as well as an insulator.
The practical a commercial considerations of the project are clear. It can be used for
mixing two audio sources, be it from microphones, mobile-phones, portable media
players or computers.
Websites
• SPICE (Simulation Program with Integrated Circuit Emphasis):
http://en.wikipedia.org/wiki/SPICE
• Cyanoacrylate: http://en.wikipedia.org/wiki/Cyanoacrylate
• Operational amplifier: http://en.wikipedia.org/wiki/Op_amps
• SPICE overview:
http://bwrc.eecs.berkeley.edu/classes/icbook/spice/UserGuide/overview_fr.html
• Phenolic Laminates: http://k-mac-plastics.net/phenolics.htm
• Toner Transfer method: http://www.dr-lex.be/hardware/tonertransfer.html
• Edaboards: http://www.edaboard.com/viewtopic.php?t=35875&highlight=eagle
Multimedia
• PCB using toner transfer: http://www.youtube.com/watch?v=QQupRXEqOz4
• Etch a PCB: http://www.youtube.com/watch?v=kQk6b3MvzkU
Illustration Index
Illustration 1: Professional Mixer..............................................................................................................2
Illustration 2: Controls and LFO envelope [DM2000]..............................................................................3
Illustration 3: Mixing Curves Display [DM2000].....................................................................................3
Illustration 4: Pin Configuration of Tl071.................................................................................................7
Illustration 5: Typical response of TL072..................................................................................................8
Illustration 6: Block Diagram of Operational Amplifier............................................................................9
Illustration 7: Summing Amplifier...........................................................................................................10
Illustration 8: Fundamental of Operation.................................................................................................11
Illustration 9: Transient analysis: 10ms...................................................................................................17
Illustration 10: AC analysis of circuit......................................................................................................17
Illustration 11: TRS connector mechanical fitting was a problem...........................................................25
Illustration 12: Before Assembly.............................................................................................................28
Illustration 13: After Assembly................................................................................................................28