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Sliders in consoles

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Ivan Beaver:

--- Quote from: Steve-White on June 25, 2021, 01:42:33 PM ---My early career was on a Biamp 2442.  First console was an EV Tapco C-12.  I don't know where they are today with regard to dust and dirt in linear pots - in the early days that was the difficult part in manufacture - keeping the dirt out.

--- End quote ---
Among the differences between the P&G faders and the cheap stock faders was the location of the carbon track.

The normal ones had the track on the bottom, so dirt, dust (and beer) would settle on it.  The P&G had the track on the side, and an open bottom.  So most of the trash would simply fall through the fader.  And when you moved it, it would kick the trash out and it would fall to the bottom of the console.  Normal faders just pushed it out of the way for a little bit.

 There were other differences (such as much more robust construction) as well.

Ivan Beaver:
A photo of my 2442 back in the late 80s.  I modified it to have another aux send.

duane massey:
We built consoles as early as '73 with sliders. As an indication of our ignorance, the very first one (hand-wired with discrete preamps) had the sliders wired upside down, so the gain increased when you lowered the slider. First time we took it out was for a band from the UK, and the engineer was really happy to see a console with sliders, as he had never used one. At the end of the show he told us that he thought maybe they should be the other way around. We changed them the next day.

Brian Jojade:
https://www.local695.com/magazine/the-way-we-were-mixers-past-present-part-1/

Here's a fun little page that shows a Westrex RA-1424 from 1954.  So mixers with sliders have been around at LEAST that long.

When did they become commonplace? Well, that's hard to define exactly, but by the mid 70's there were many examples on the market.

The PM1000 was an awesome beast.  I had one that I bought as part of a package deal from a studio built in 1982 back in 2000.  Bummed that I never really could put it to good use to it and finally sold it for a huge pile of money. :)

Steve-White:

--- Quote from: Ivan Beaver on June 25, 2021, 03:42:11 PM ---A photo of my 2442 back in the late 80s.  I modified it to have another aux send.

--- End quote ---

Great picture, love that processing rack.  Makes the 2442 smaller than they were.  The stuff I used had MXR & Biamp EQ's, Ashly SC-50 compressors and the legendary Deltalab DL4.  That was a fun toy back then.  At a club ~1982, they had a 2442 up in the crows nest over the waitress station at the end of the bar.  SM58 TB mic in the booth.  During a break, I put the TB mic on the Aux bus, shoved it between my legs and ripped one, and caught the circulate switch on the DL4 at the right time - had it all the way opened up to 1024ms.  The singer/leader and I always had a thing going - all in fun.  He always made it a point to call me out on screwups.

He returned to the blacked out stage first at the end of the break, club packed.  I knew his routine between sets, always showed up with a fresh glass of water and set it beside the drum kit on the bass players rack.  So, this time as he came through the side stage door alone, I faded the break music down slowly as to not be noticed and shifted it over to monitors, pulled the FOH feed.  Then just as he set the glass of water down, the light man hit him with the spot and I muted the music and opened up the DL4 into the monitors with that nice loud fart.  Still makes me chuckle thinking about that one - Larry looked like a cross between a line backer and Charles Manson.  We got the Neanderthal Death Stare.  :)

Not taking anything away from today's technology and methodology - but, some of that old junk sounded pretty good back in the day.  :)

Back in the late 70's and early 80's when the trapezoids came into the scene - arena shows with a 25' tall column of traps on each side of the stage with a ground sub cluster sounded great on lots of shows I saw.  Not as good as today's best, but pretty damm good.

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