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Low Gain Submix

2 320 kr
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The SubMix is an improved concept over the original SubMix7. I wanted more room to play around with the mixer in live situations. It now has 12 active inputs, with linear attenuators, allowing the user to have up to 7 different mix outputs. There are four dedicated mix outputs labeled A, B, C, D. There are also 3 dedicated submix outputs labeled AB, CD, and ABCD.

Mix Options: (Available Simultaneously)
(4) 3 in x 1 out
(2) 6 in x 1 out
(1) 12 in x 1 out

The SubMix was re-designed with the intention of sub-mixing the waveform outputs from VCO's. I've found by using passive mixers I'd hear drop outs or "nulling" of signal which sounds similar to signals being out of phase with each other. So passive mixers basically turned into waveform "on/off" switches for me. This effect was due to the different loads being created on passive input nodes (typically caused by the attenuator varying the load). With active inputs (unity gain buffers) the load on the summing bus stays constant and you get a much better and smooth mix regardless of the load on the input.

The SubMix is CV and Audio friendly, keeping in mind you will have offset/clipping if you use submix outputs of mixers that are mixing AC AND DC signals.

You can also take advantage of the submix outputs and play around with feedback loops!

28HP, +/-12Vdc @15mA


2014-04-18 av
The best hands on performance mixer in Euro. This is very useful & unlike other modules the knobs are spaced enough for human hands to manipulate without the frustrations of knocking into other controls. The routing options are extensive for lots of grouping options. Logical approaches by the user and sensible arrangements of your sounds allow for easy recall of which knob ties up with which sound. Also the construction and finish is really beautiful and I can detect no bleed between any of the channels what so ever. This is worth the space and price without doubt, and fits my hands, approach & mentality perfectly. As a general rule I really like to keep things simple for performance and keep the top horizontal for bass tones, the second row for mid tones and the 3rd row high/tweeter stuff. The bottom row is free for 100% ear candy including clever feedback loops etc. That way by working vertically it's easier avoiding conflict in tones across the horizontals of the mixer. I have yet to investigate deep feedback patching but am sure by patching the outputs back to the inputs the results would be outstanding. This will never leave my case as it will remain forever essential.



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