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As they aged their responses and tolerances would change over time, and change their sound and character. Even with the most expensive mixing consoles, no two channels were exactly the same. The problem came with the fact that no matter how well you design the circuits the components still had variations in their performance and tolerance. With each new generation of mixing consoles, engineers worked to create the perfect “summing” circuit. Starting from the early days of mixers, the engineers and designers were always striving to achieve the perfect blending or “Summing” of those multiple channels first into a mono signal and later stereo, quad and finally surround sound.
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In a short time we went from 8 tracks to 16 and finally 24! ANALOG SUMMING This revolutionary development ushered in the modern recording era. In 1953 the legendary “Les Paul” developed the first 8 track tape recording system, which was later produced by Ampex. These boxes provided routing, balancing, and a master level control, but for the most part, the microphone amplifiers, compressors, and other equipment that was needed by the console would be mounted in additional racks. In those days the levels were done with large knobs instead of the familiar modern sliding faders (Thank you Tom Dowd!). This provided easy access to basic switching and leveling controls. They also developed line mixers to combine pre-amplified signals with music from turntables for on-air programs. These early tube mixing consoles from RCA, Western Electric, and GE were built as boxes that sat on a tabletop. In the studio, the art of mixing fell to the music “Conductor” whose job it was to move the musicians who were recording either closer or further back from the microphone.īy the 1930’s the radio broadcasting industry developed three and four channel tube-based mixers to sum multiple microphones into a mono signal. In the Early days of recording, music was cut directly to a disk from a single microphone.