Just had this come back from the company when I queried if the channel volume curves were linear or logarithmic:
The channel volume pots have a logarithmic curve, with 15% of resistance at mid turning point, which represent a smooth increase of perceived volume. This is the most common taper used in audio applications.
Slightly off topic, but I’ve just bought a Pioneer DDJ-FLX4 controller as I want to record some mixes on holiday. Been having a great time with it, done some great mixes that I wouldn’t normally attempt and whisper it quietly it might be even more fun than my Mastersounds & FX unit!
I tried an Ecler Warm the other day, and I loved it. Was very solidly built, pots had a bit of discrepancies on the resistances but nothing to be worried about, as with time everything will probably even out. Nice sounding mixer, great size. Worth the money for sure.
Glad you got a chance to use one- I’m loving mine! Played on a friends sound system on Saturday and they had a beefy Allen and heath and even tho I used to have one I couldn’t get used to the jump in volume from about 7 to 10- rotary’s all the way for me now
I should stop opening this thread as I’m getting tempted with all this Ecler talk.
Have the A&H Xone 92 which I’ve been perfectly happy with (especially as it was basically free with a bunch of records). But I have to agree re the jump between 7-10 on the faders. I find myself tweaking the gain for a bit of accuracy: or is that simply my gateway to rotary business?
We’re only talking spare bedroom-lite dabbling here
Every mixer will be different. Some prefer this logarithmic curve, others like it more linear, which I guess is why pioneer mixers allow you to pick. I have an A&H at home too, i’ve gotten used to it but I definitely prefer to mix on a good rotary - especially the old style ones where unity gain is around 7 on the knob. Not having to fiddle with a trim knob is heaven to me.
It’s based on an old DBX effect that used to be used in some legendary soundsystems back in the day. Basically it generates an extra bass wave that plays together with the record’s bass frequencies to give it some oomph. Good for old records and pressings that lacked bass in the recording. A great idea, it took a long time for them to add it to a synth. Works well on big systems with subs.
From Wikipedia:
One challenge with getting deep sub-bass was that in the era of vinyl records, “to get as much music as possible on a record, recording engineers must limit the depth and excursion of record grooves. So in the recording process, the lower frequencies are often deliberately reduced or cut off altogether.” To overcome the lack of sub-bass frequencies on 1970s disco records (sub-bass frequencies below 60 Hz were removed during mastering), Long added a DBX 100 “Boom Box” subharmonic synthesizer into his system.[4] The DBX 100 Sub Harmonic Synthesizer “recreates this lost portion of the audio spectrum by seizing information in the 50-100 Hz range, creating a signal one octave lower (25-50 Hz) and mixing this new signal back into the program.”[5] The dbx 120A Subharmonic Synthesizer with Modeled Waveform Synthesis provides two separate bands of bass synthesis and a subwoofer output jack.