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*please let me know before you make an order, or send me you DAW interface type to determine the best reduction dB value for your studio
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Why choose LittleOne mixer?
Requires only +6 to +25 dB of make-up gain! other mixers requires +35-45dB!!!
Provides the best Headroom for transients and excellent SNR!
Fully balanced solid state network & switching network from input to output.
Can be left "free" unconnected inputs 4-6! No unused/unconnected input problem!
No thermal noise on passive mode due to custom-developed balanced summing network.
Absolutely
repeatability DAW control: Volume Panorama, EQ, and effects sends of
your mix from within the DAW, and send as many as 4-8-16 different
tracks or submixes to Summing Mixer.
Can handle both balanced/unbalanced signal from synth like Moog, Nord, Yamaha etc.
Can handle large external instruments like samplers, tape machines, drummachines etc.
Can
be fit to all brand of DAW interfaces like Digidesign 192, Avid HD I/O
16X16,Universal Audio, RME Fireface, Prism, Lynx Aurora, Apogee, Motu,
Focusrite, Metric Halo, Steinberg MR816, and so on..
Can
handle external signal processors eg. EQ, Compressor, Limiter, Multi
Effects Processors like Massenburg, Drawmer S3, Lexicon, Alesis,
Tube-Tech LCA2B, JoeMeek, FMR Audio RNC DBX, ART etc.
Can
handle large number of external mic preamps like AMS Neve 1073,Aphex
Channel, Great River, Avalon, Chandler Limited, Crane Song, SPL,
Focusrite, Presonus, Midas, Summit Audio, ART Pro and so on...
Extremely simple, Discrete, pure, and transparent signal path.
Can
be used for external DAW summing or as a line summing mixer for effects
external pres,instruments, synths, drum machines or any
(balanced/unbalanced) line signal!
Other passive summing mixers on the marketplace requires +30/+40dB makeup gain!
More than 500 happy customers around of the World!
Stereo to mono option: - the mono is true analog mono!
However,
for mono signals (such as kick, snares, lead vocals or bass that should
appear centered in the middle of a mix), it would be a waste to use
(Stereo L/R panned channels) what would amount to two required
converters for a mono result. In such cases, channel pairs 1 & 2, 3
& 4 etc may be switched to mono mode (CH1 to 1-2), so that, for
example, there might be a (mono) kick on channel 1, snare on channel 2
and bass on channel 3, etc.
Stereo to Mono switch mono mode (ON):
allow to place inputs 1/2 in mono (center) and send/route mono
tracks from your DAW, using the Stereo/Mono option for mono instruments
like bass, sub bass, kick, snare etc.
Stereo to Mono switch mono mode (OFF): normal stereo signal input L/R (pan from DAW)
LittleOne is therefore able to assume a wide variety of tonal character dependent on your choice of amplifier (mic pre)!
How to mix in analogue OTB [OUT-The-Box]
Customer question:
I'd
like to know if there is a way to drive the amplifier prior to get on
the master out or should I achieve this by entering the summing unit
with hotter levels?
A. Mix in analog is different than DAW bounce, so Let's separate the mixing process to 2 parts:
1. First part: Passive network.
You right: "should I achieve this by entering the summing unit with hotter levels"
You
need to find for all your instruments/tracks individually the "gentle
distortion" point, where the subtle distortion starts gently and it's
about right. It basically impossible to do that ITB [In-The-Box]
because if u hit over 0dB, starts to distort during gain staging, simply
the digital bounce not allow to send hot (high gain)
Panorama
Firstly
need to find for all your instruments the right places in to the stereo
field (separation), the right locations where they sit better in to the
whole mix. Don't forget - your instruments are mixed in the analog
domain: as sinusoidal voltages!
Gain staging
Gain
staging is like pulling the focus of a camera lens, so the cardinal
point is the individual gain sent from DAW interface outputs to summing
network.(they will be mixed as sinusoidal voltage) so strictly need to
find for all your instruments/tracks individually the "gentle
distortion" point, where the subtle distortion starts gently and it's
about right ?warm?.
2. Second part: Drive the amp - makeup gain
Make
up gain "crank it up" - make up gain by your MicPre/DAW Instrument amp
or internal summing amp, and hit the sweet spot of master mix, then
print/record.
It's
important to find the sweet-spot when the level and subtle distortion
is just about right, depending on the song and production. ITB has no
sweet-spot and there's really no reward running the levels a bit too
hot, on the contrary is even makes the mix sound worse.
There
are no 0?s and 1?s but only voltages. These are complex sinusoidal
voltages that include the harmonics and other elements. Many engineers
consider this to add the ?warm?, ?in-depth? and nice separation sound
you get from analog. (Emerson R. Maningo)