OSNOVI

AUDIOTEHNIKE
Audio mikseri 1

Audio mikseri

Audio mikser - centralni ureaj svakog audio

sistema
Osnovne funkcije

Prijem i pojaavanje audio signala od mikrofona ili drugih audio ureaja

Obrada primljenih audio signala

Distribucija signala na razliite izlaze

Monitoring sopstvenih izlaznih signala ili signala sa ureaja za snimanje

Podela audio miksera prema

t h l iji iizrade
tehnologiji
d

Analogni mikseri
Digitalni mikseri

Osnovna elektronska kola analognog

audio
di miksera
ik

A operacioni
pojaava
B pojaava sa
invertujuim ulazom
C - pojaava sa
neinvertujuim ulazom
D sabirni pojaava
E mikrofonski
p edpojaava
predpojaava

Osnovne oznake u blok ema

audio
di ureaja
j

A linijski pojaava
B - linijski pojaava sa
promenljivim pojaanjem
C, D regulatori nivoa
E stereo
t
regulator
l t nivoa
i
F panoramski potenciometar
G modul za obradu signala
H - zavrni
i otpornik
ik ((optereenje
j
izlaza)
I ukrtanje ili spajanje linija
g
signala
J naini zavretka linije signala
K transformator
L merni instrument

Analogni mikseri:
podela
d l prema namenii

Mikseri za snimanje
Mikseri za emitovanje programa
Mikseri za sisteme ozvuenja
Mikseri za monitoring na sceni
Mik i za efekte
Mikseri
f k (u
( pozoritu)
i )
Reporterski mikseri
Mikrofonski mikseri

Analogni mikseri:
O
Osnovne
funkcionalne
f k i l celine
li

Ulazi
Grupni izlazi
Glavni izlazi (obino stereo)
Pomoni izlazi
M i ki blok
Monitorski
bl k ((sekcija)
k ij )
Razdelnici signala (opcija)
Izvor napajanja

Analogni mikseri:
P d l s obzirom
Podela
b i
na nain
i realizacije
li ij ffunkcionalnih
k i l ih celina
li

Mikseri sa rotacionim komandama (miksete)

Split mikseri (mikseri sa raspodeljenim
komandama: ulazne, izlazne i monitorske komande)
In line mikseri (mikseri sa svim komandama u
jednom kanalu smetenom u jednom modulu
miksera)

MIKSERI SA ROTACIONIM
KOMANDAMA
MIKSETE

Mikseri sa rotacionim komandama miksete

ik t

Prost jjednokanalni mikser blok ema

Prost dvokanalni mikser blok ema

Stereo mikser blok ema

SPLIT
SPLIT VIEKANALNI
MIKSERI
(mikseri sa raspodeljenim komandama)

Split viekanalni mikseri

raspored
d komandi
k
di

Split
p viekanalni mikser Yamaha

Split
p viekanalni mikser DDA

Split
p viekanalni mikser Soundcraft

Split
p viekanalni miksr Soundcraft

Split
p viekanalni mikser blok ema

FUNKCIONALNE CELINE
SPLIT AUDIO MIKSERA

Ulazni modul blok ema

Ulazni modul
raspored
k
komandi
di

Grupni
p modul blok ema

Grupnii modul
G
d l
raspored
komandi

Izlazni stereo modul blok ema

Izlazni stereo modul

raspored
komandi

Kuite ((ram)) miksera

Detaljj osnovne ((matine)) p

ploe miksera

Prikljuna ploa mrenog napajanja

miksera
ik

IN
IN LINE
LINE VIEKANALNI
MIKSERI
(mikseri sa komandama u jednom nizu u jednom
modulu)

In line viekanalni mikseri raspored

k
komandi
di

In line viekanalni mikser

In line viekanalni mikser - detaljj

In line ulazno izlazni modul: blok

ema

In line
ulazno
izlazni
modul:
d l
raspored
komandi

In line ulazno izlazni modul: faza

snimanja
i
j

 In line ulazno izlazni modul: remix

f
faza
rada
d

NIVOI SIGNALA U MIKSRU

Tipian dijagram nivoa signala

u mikseru

MIKSER U STUDIJU VER

Soundcraft LX7 II

Soundcraft LX7 II

Soundcraft LX7 II ulazni modul blok

ema

Soundcraft LX7
II ulazni modul
raspored
komandi

Soundcraft LX7 II izlazni modul blok

ema

Soundcraft LX7 II izlazni modul

raspored
d komandi
k
di

Soundcraft LX7 II monitor master modul

bl k ema
blok

Soundcraft LX7 II monitor master modul

raspored
d komandi
k
di

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.
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 livesound
d users may also
l refer
f tto it as soloing.
l i
C
Compare
with
ith AFL and
d APL.
APL
AFL Abbreviation for after fade listen, a term used on recording consoles and
mixers, referring
g to a signal
g
taken after the main channel fader; hence this
sampling 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
replaces
l
th
the main
i mix
i with
ith th
the soloed
l d channel
h
l ((called
ll d destructive
d t ti solo).
l )
cue 1. A term found throughout various audio fields meaning to monitor, or listen
((via headphones)
p
) to a specific
p
source. In mixers (p
(particularly
y DJ mixers),
), the term
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 6026815, 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
volts,
6.8k
8k ohms
ohms, 1
1.2k
2k ohms
ohms, and 680 ohms matched resistors respectively
respectively, capable of delivering 10-15
10 15 mA.
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 Jrgen 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
system.
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?
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)
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
g Mic Preamps.
p