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When mixing on a computer, many prefer to sum the tracks in the analog domain, which can result in more depth of field and a wider, more defined stereo image. The people who prefer analog summing, most would not use the word "clarity" to characterize what's better about it. I hear phrases like "more depth and separation," or "more rounded/warm low end," etc. It's really a personal preference thing, and probably driven to some extent by what you are used to hearing when you work. The analog domain offers a number of great advantages compared to the simple "bounce-function" within your DAW. While a digital system rounds off all values for level, pan, eq-ing and compression, analog technique operates with an infinitely high resolution, causing no rounding errors or digital distortions. An sound engineer described as follows: the digital mixing is a mathematical summing, like 1+1=2 (exactly 2). Mix in analog domain :1+1=2,05 (because here the voltage is summed) + adding beneficial effects of transformers result the pleasant harmonics, rounds, transparency and more spatial depth. Of course, in analog, every system sounds different - in some cases significantly different. This can be good or not, depending on your perspective.
The idea is to control the level, panning, EQ, and effects sends of your mix from within the DAW, and send as many as 8 - 16 - 32 - 64 (or more) different tracks or submixes to Summing.
You then perform only the summing in the analog domain. This enables you to maintain absolute repeatability from within your DAW. With vintage summing amp (like NeumannV475, Lawo) the summing bus become a solid state active mixer. (GS forum)
Two important think about analog summing mixers:
Mixing in analog directly from your DAW!
Analog Balanced Summing Network....
The summing network is fully balanced and discrete (please note: lot of mixers are internally unbalanced!) The components are tested and selected. (Vishay Dale resistors) Good quality components result the correct and low noise operation. The summing network PCB is own development, and absolutly hand made. The front/rear panel design based on unique idea. Future order: Unique ideas, plans like: channel number, design,(your name or studio name) connections (DB25, TRS etc.) please contact me, to make the most appropriate gear for your studio! (build time 5-10 working days)
Active or passive summing?
Active: gain make up with internal discrete amplifier with in/out xformer/ch, like Neumann, Lawo, Filtek, Telefunken,TAB etc
Passive: gain make-up with external amplifier, preamplifier, mic pre or soundcard DAW instrument input etc.
2in1: via Active/Passive switch option - gain make-up with external(preamp, DAW ins) or internal (Neumann etc) amp
Order unique gear for your studio!
Recommended for everyone who wants to try and expand the existing setup with an analog vintage summing box...
Differences between cards....recently asked questions...
- Lawo DV975 : HAUFE/PIKATRON in /out transformer-coupled fully discrete mutually independent dual CH amplified TRANSFORMER AMP GAIN/VOLUME CONTROL (via front panel pots L/R).
- Neumann v475: HAUFE in /HAUFE out transformer-coupled fully discrete mutually independent dual CH summing amplified with TRANSFORMER AMP GAIN/VOLUME CONTROL (via front panel pots L/R).
The (Neumann/Filtek/Lawo or Tab/Telefunken) dual junction amplifier contains two(2) mutually independent balaanced audio frequency amplifiers for signal summation in high quality studio mixing desks. Special attention has been given in the design of the cards, to dependability and operational reliability, stability of the electrical parameters, good immunity to disturbance and crosstalk attenuation between the two signal paths.
designed and created by djpaulmusic
Vintage reloaded.....the legendary summing amps in new skin!
Neumann GS review
The "wide" or 3D - deep effect come from summing network (cause here the voltage mixed, not digitally - mathematical as in the DAW)***
The "warm" - colored - harmonics sounding come from Neumann, Lawo, Filtek - (Haufe /Pikatron), or other like Neve(Cinemag Lundahl. OEP) audio transformers.
***The more channels you mix analog, the bigger the difference. Also the more you do to them in the analog domain, the bigger the difference.
Please note! Customers from France can order direcly from Floating Point Audio!
- Choose your appropiate setup for your studio as:
- 1. Number of Input CH - (1 stereo balanced CH in = Left in + Right in) on rear side marked as: [ CH1 - 1-2 ]
- 2. Input type: TRS or DB25 Tascam standard
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- 3. Number of Output CH: 1xStereo balanced out = 1Left/1Right, or 2xStereo bal out
(the first one for record, the second one for monitoring)
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- 4. Stereo to mono option: enable to switch a stereo input CH to (two) separate mono centered inputs
OFF stage: standard stereo balanced inputs (CH1=L+R) with pan control from DAW
ON stage: separate mono centered inputs (from CH1 stereo make 2 mono centered inputs) no pan control.
Routing from DAW: send out CH1 Left mono track (bass) to summing CH1 Left
send out CH1 Right mono track (bassdrum) to summing CH1 Right
* with STM(Stereo to mono) option can save a lot of DAW interface out,
when no need to use stereo CH's for mono instruments like bass, sub bass, bassdrum etc.
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- 5. Active/Passive option: (2 in 1) SWITCH OPTION!
ACTIVE - Use the legendary German IN/OUT Haufe transformers for make up gain!
PASSIVE - Use your Mic Pre's or Line amplifier, to get a wide tonal character
by allowing you to choose your flavor of make-up gain.
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- 6. Insert/Return point option: for external gears like EQ, Comp, Limiter etc.
a. AUTO SWITCH: the signal was non interrupted if nothing connected to insert point.
b. BYPASS SWITCH on front panel: select the signal route to master out/or/ to external gears
* ( the 100% of signal sent to insert point!)
** AUTO SWITCH - internally switched TRS balanced insert point
*** with BYPASS option can compare the signal differences (eg. with compressor and without compressor)
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