Electronic heart. DIY LED Heart Electronic Heart

Ivan Vitalievich Bezrodny

Electronic heart

Title: Buy the book "Electronic Heart": feed_id: 5296 pattern_id: 2266 book_author: Bezrodny Ivan book_name: Electronic Heart

The girl turned gracefully, and her light fur coat slid like an innocent fluff from her fragile shoulders, falling to her slender, chocolate-colored legs. "Don't they notice you? Are you not entirely sure of yourself? Do you need some MORE happiness? Take only one step to success and fame! Every day use our new, improved mini-sunbed "Nova Stella S46 Double Plus"! Peter immediately came to mind. - And your problems, undoubtedly, decide!". However, something else was advertised. The girl, who turned out to be an android, wore only a bikini, whose bra was made in the form of stylized copper taps, which in ancient times were placed on wine and beer barrels. The inscription on her stomach shone with all the colors of the rainbow: “Didn't you drink beer at Uncle Tony's today?! Don't be the last idiot, cowboy! Come and have a drink, relax! Tell everyone you were here!!! The next turn to the right, thirty feet - and we have you!

Mister, you should definitely try our signature dark beer "Bull No. 23"! - happily chirped the girl to Peter and smiled professionally, showing an even row of small snow-white teeth.

Peter grimaced in annoyance, awkwardly walked around her, and, despite her inviting, languid look, went into the supermarket, near which she settled down, apparently driving a decent number of thirsty men with parched throats crazy.

In the aisle, with his hands behind his back and towering over everyone by a whole head, stood a formidable android guard with a television camera in his eye and an automatic weapon strapped to his hip. He glanced suspiciously at Peter's bag, but said nothing, immediately switching to some not quite sober, or, most likely, drugged type, who had tumbled in after him. Peter breathed a sigh of relief and, without taking the cart with him, which earned him disapproving glances from the store staff, went to the housekeeping department.

Only our powder - "Magnificent Bella" erases whiter than white!!! - oily rushed from the speakers hidden under the ceiling. - You save up to fifty percent of your hard-earned money! "Bella" washes easily and these spots!!!

The voice, like a sticky web, imperceptibly enveloped Peter, penetrated into every organ of his, and there was no way to hide from him. My eyes automatically slid to a shelf where stacks of different sizes and colors of Gorgeous Bella washing powder were stacked. Below it were located exactly the same packs of "Magnificent Anna", and above - "Valentina". In fact, there was no difference between them. Wow, as much as fifty percent! Requisitions unhealthy a wish, Peter walked a little further, to the agricultural equipment section.

Shots and screams were heard from the ceiling. A huge stereovisor was hung there, on which the two thousand seven hundred and eighty-second series of the regular soap opera “You Don’t Go There” was playing. The good fighters of the Outer Patrol were rescuing a beautiful naked blonde. She was running at full speed from a very vile and very fanged green monster with seven heads and at least nine penises. The action, of course, took place on the Surface, in the middle of some ruined city. Against the backdrop of bravura music, there was an unimaginable noise, din, screeching, roaring and screaming, as well as completely unfunny, but very vulgar jokes of the main character of the film - a shirt-guy named Archie Tear off your head, interspersed with another block of sugary advertising.

Peter has seen this countless times. He chose a large baking powder (“Only our baking powder will satisfy the most sophisticated owner! Your soil will love it!”), an elongated shovel (“Dig for your health!”) And a small plastic bucket that, without contents, could be folded like a sheet of paper (“ Inside - more than outside! Buy and see!"). Then he took several different plant growth supplements (“Grow faster than you want!”) And a powerful lantern (“I always candle, I can help you in trouble!”). "My old flashlight doesn't work at all in open spaces," Peter thought, and went to the checkout.

Seeing the amount of goods being bought, a young pretty cashier with a haircut “don’t wake me at dawn” immediately broke into a satisfied smile:

Oh sir, how kind of you to shop in our supermarket! It's such an honor for us...

Then she took a closer look at Peter, and her cordiality somewhat vanished. He smiled bitterly to himself. The bright blue brand on the left cheek, treacherously glowing even in total darkness, spoke volumes.

Do you have a credit card... Mister? she asked, looking indifferently over his head.

Peter was not such a simpleton.

No, I have cash, - he said, taking out a purse.

The cashier pursed her thin lips and began to scan the price tags.

Thirty-seven credits,” she finally said, drumming her fingers nervously on the bar.

“I shouldn’t have gone into such a large store,” Peter thought, “on the outskirts it would be simpler and safer.” He paid and, having put his purchases in a bag (fortunately, a big one!), He went out into the street. The "beer" girl still occasionally took off her fur coat and sparkled with invocative inscriptions on her electronic belly. Four teenagers crowded around her with unimaginable tufts of wildly decorated hair sticking out in all directions. Loudly laughing, they danced on the spot and made smutty jokes about her. The policeman, who was on duty some sixty yards away, absolutely did not care.

Peter, slowly, walked down the street, trying not to attract too much attention to himself, ahead of time giving way to passers-by who were completely indifferent to his person. Whenever possible, he avoided crowded places and chose secondary streets and driveways.

Shiny electric cars with carefree couples sitting in them rushed past, along the lower highway and along the hinged multi-tiered flyover, humming steadily, like multi-colored giant beetles, trucks on a paramagnetic cushion, hurrying about their production business, sedately drove around large, almost completely made of transparent plastic municipal buses. Peter got into one of them and got off half an hour later at the last stop, not far from the Industrial Zone. There was not much left, another twenty or twenty-five minutes, and he would be at the Elevator. Taking a lollipop out of the bag ("Suck - do not oversuck!"), Peter put it in his mouth and continued on his way, smacking with pleasure.

As we approached the very outskirts of the city, more and more ugly painted sports electric bikes were encountered, saddled with exalted, loitering youth, who in the evening poses a certain threat to a lone traveler. Of course, the police did not visit this area very often, but it was to Peter's advantage now.

The work of city ventilation in connection with the close location of the factories left much to be desired here, so it was quite dusty. Wide, bright shop windows were replaced by miserable little shops, noisy intrusive advertising gradually faded away. The houses have become low, of the same type, uniformly gray and unfriendly, turning away from themselves with the dark eye sockets of the windows. The street narrowed obscenely and began to wind unpredictably among them, but Peter had long studied the area well, trying to take a different path every time lately.

There were almost no passers-by. Here he came across only one android, apparently some kind of factory clerk. Glancing briefly at Peter, he darted past, muttering something under his breath.

“No one cares about anything,” he lamented sadly to himself once again, “they are all closed in their miserable, self-sufficient selfish little world and are as satisfied with their position as their own pride, vanity and fear allow them to be. Secretly from themselves, they are afraid of losing this ghostly satisfaction from the insipid way of life chewed to the smallest detail by the authorities, flavored with the sweetened pills of our civilization. No wonder that and this got caught. However, like thousands of other half-robots, half-humans. It would seem that artificial intelligence should effectively resist the onslaught of a totalitarian state, this massive, large-scale brainwashing of the population, ruthless processing of brains, regardless of its type, but ... With electronic filling Them often it turns out to be much easier to deal with ... "

The houses are gone. Peter crossed an old rusty narrow-gauge railway, found his own tunnel covered with a sheet of iron under a high concrete fence, climbed through it with some difficulty and found himself on the territory of an abandoned warehouse. Everything was calm. He shook himself off and, looking around, trotted up to a dark, gloomy hangar, in the side of which a ragged hole gaped.

Turning on the flashlight, Peter crouched inside. Stacks of empty boxes, mountains of rubbish, parts of some mechanisms were piled up around. And everything was covered in a thick layer of dust. He picked up a broom that lay at the entrance and, backing away, carefully covering his tracks, reached the far end of the hangar. Then he climbed over a pile of half-rotted rags and found himself at the screen masking the entrance. Behind it, in the stone wall of the Perimeter, was a small but massive door.

My heart was pounding. He wiped the sweat off his forehead with his sleeve and with an effort turned the large locking wheel. Something clicked in the door, it reluctantly opened, and he slipped inside. This was the elevator. He caught his breath and gently, almost gently, pressed the raise button. Motors whined somewhere, the Lift's cage trembled and, picking up speed, rushed upwards. Peter leaned against the wall, trembling with anticipation.

How many times had he already made this path, and still he could not get rid of fear. Over time, this will pass. Must. It's just a must. Otherwise, he will make mistakes, and everything will be in vain. His whole plan will collapse like a house of cards. And there is so much more to be done! What a pity that now he is alone! .. But still ahead. We must hope and believe. Because to live like all he couldn't do it anymore.

Nearly six hundred feet. Six hundred feet to Surface. A long way up on an old transport Elevator. Peter gradually calmed down. Everything is fine. All according to plan. Otherwise it can not be. But something bad, some kind of small malicious worm was spinning inside him like a top and did not give rest, forcing him to constantly be on his guard.

Finally, the elevator surfaced at the top platform. Peter stepped out of it and opened the vestibule door, much more massive than below. He passed it, dealt with the next door and, climbing a long wide staircase, along which a transport escalator that had long been inactive, found himself in an empty spacious room, carved right into the rock. Slowly, cautiously, he walked to its end, where he could see a faint glimmer of light. It was the exit to the street for personal staff, staff that had long since ceased to exist. The central entrance during the Fourth World War was completely flooded with molten rocks. The same exit, located on the other side of the fortification, was unspeakably more fortunate.

Peter parted the thick, stiff stems of pungent bushes with long, leathery leaves studded with powerful thorns. A year ago, he transplanted them here to cover the hole from an extraneous, albeit very unlikely, in his opinion, look. After all, the guys from the Outer Patrol are not fools either. True, for some time he had a vague suspicion that this legendary team no longer existed, no matter how they painted it in various soap operas, comics and history books.

He climbed out and climbed onto a rocky heap. It was a beautiful warm May evening. The sun!.. The present The sun was slowly sinking towards the west. The sky was absolutely cloudless, only a light haze hung in the far east. Cheeks were caressed by a playful breeze, carrying from somewhere the smells of the earth warmed up during the day, the air is fresh and transparent, and the jagged horizon line, on which the distant mountains turned blue, was clearly visible. Peter looked around the yellow rolling plain before him and sighed heavily.

For he was Criminal No. 1. Enemy of the entire People and State. He broke the Supreme Law. And justice will be most merciless to him.

Raising a cloud of dust, Peter ran off the heap and rushed to one of the hills, overgrown with withered and dusty grass. Going around it, he found a wide double-leaf hatch hidden in a spotted net in the slope and with difficulty unlocked it. Inside a small hangar stood a powerful electric bike on four giant wheels. “Soon it will be necessary to recharge the batteries,” Peter thought anxiously, put the bag in the luggage compartment, where several bags were already lying, sat on it and drove out. The motor ran clean and almost silent. “Old but reliable!” Peter smiled to himself. He closed the hatch and drove quickly between the hills, deftly maneuvering between boulders scattered everywhere.

Peter immediately forgot all his fears and worries. He was overwhelmed with indescribable delight. And what can compare with driving such a big, strong car in the fresh air, on real land, with potholes and bumps, dust and wind beating in the face ?! This is not refined "super super safe" driving in the Central City Square with a robot driver ...

After about twenty miles, Peter drove into the foothills, where, due to the narrowing of the road, he had to slow down somewhat, especially since it was easy to get lost in the intricate interweaving of gorges, some of which the sun did not penetrate even during the day, but was already beginning to get dark.

He rounded a couple of small mountains, slipped through several canyons, overcame a long pass, and finally, when it was already completely dark, he arrived at the Place. It was a small valley, now covered with impenetrable primeval darkness.

If Peter had a lens built into his eye, he could still see then what was different this a place from the usual landscape for the last century, stretching for many thousands of miles around. But he just knew what should have been there.

Peter stopped the electric bike and looked down into the valley, gasping for air.

They will understand, I will prove it to them! - he muttered as if in oblivion and abruptly jerked off, frightening some large night bird in the bushes.

* * *

Colonel Mitsuko snorted in satisfaction and handed the night vision goggle to young Lieutenant Burrell.

We'll take it in the morning, he said.

Isn't it ... - Captain Hastings began, but the colonel, who was constantly at odds with him, remarked irritably:

And you, captain, shut up. Your task is to destroy as completely as possible ... THIS ... - he spat in the sand in disgust, not finding a rougher word. - And it will have to be done in daylight. Under normal bright light. Not a molecule left! You've been given plenty of napalm. I will personally supervise the process.

My suggestion about the bomb… after all… was…” the captain mumbled, tugging at his earlobe in puzzlement.

The colonel also liked the idea of ​​a powerful explosion, which could later be presented to the population from the only correct political position, but since it originally belonged to Hastings, he went on principle.

Very stupid, - he said, and after a pause, for the sake of weight he added. - And in general, my orders are not discussed. The operation is top secret.

Hastings shrugged and ducked into the armored personnel carrier, his face twisted in displeasure. Damn that old bastard, for the umpteenth time he thought furiously.

And you, Burrell, - Mitsuko turned to the young lieutenant, - must take him alive, do not forget about it. I will personally then shake out of him the names of all the members of his criminal gang, safe houses, ideas, plans, and so on ...

Yes, sir! Burrell clicked his heels loudly, looking up from the binoculars in an instant.

Relax, lieutenant! smiled the colonel. - Like on the parade ground, by golly ... What do you think about all this? - Mitsuko showed the valley with his chin. - What are your feelings?

It's just incredible! Burrell exclaimed angrily in his youthful fervor. - He could not, you see, like the rest of the law-abiding citizens, do this Houses! How can he! Yes, and the death penalty will not be enough for him! - he impatiently tapped his palm on the armor of the car. - We'll cover him most napalm and set it on fire, so that he knows how to violate the holy of holies - the Constitution! Main Law! His First Article! He is not just came out to the surface, he ... he ... - the lieutenant choked on his own saliva and coughed.

The colonel paternally patted him on the back. He'll make a good officer, he thought contentedly. True, still green, but nothing, he will gain his mind, but cool down. Such we need! Tomorrow is his first serious assignment, let's see what he can do!

It's not even about what he gets up there, although this is very regrettable - it contradicts common sense and, most importantly, the law, - he said, and a single male tear rolled down his cheek. - Peter Kamowski betrayed our LIFESTYLE, our holy IDEA... THE IDEA of our fathers!..

* * *

The morning was foggy and cold. Peter got out of his sleeping bag, cleaned himself up quickly, and had a quick bite to eat. There was a lot of work to be done. The sun had already risen, but the valley was still in twilight. The rays of the luminary will reach it only in about an hour.

Peter walked slowly along the path he had trodden. God, he thought, how wonderful! To his left, for a good hundred yards, there was a plot of large, simply wonderful bright red tulips, to his right, long rows of ordinary cornflowers, buttercups, and a little further away, their lovely bells of lilies of the valley bowed to the ground. Fabulous aromas, still not very strong after a rather cool night, pleasantly invigorated and tickled the nostrils a little. We need to see how the daisies have taken root there, he decided, and quickened his pace.

However, even the charm of this place could not distract Peter from bitter thoughts. It served as a Reminder of the Cause. The world is slowly going mad, he thought to himself. We went the wrong way. This began to be noticed in the middle of the twentieth century, and how much time has already passed since then! We were bewitched by technology, we simply could not imagine life without it and were bound by it hand and foot. But technogenic civilization, in the end, outlives itself, because it is completely artificial, unnatural, fake! Yes, I myself am a magnificent example of the product of this very civilization, but this is a completely different question that does not depend on me.

We constantly fought with nature, tried to curb it, subdue it, enslave it. We unsuccessfully remade it in our own way, forced the world to bend under us, but it turned out, as always ... We moved more and more away from our roots, forgot who we are, and pride seized us, and we were overthrown from the face of the earth . With my own hands.

After the Third World War, no one dared to build any significant objects on the surface of the earth, but they built at a depth of one hundred to three hundred feet. Completely self-sufficient, viable objects. But even then Mankind could save its soul, turn back...

Cities underground all grew, turning into megacities. The problem of nutrition, for example, was somehow resolved by the creation of artificial food, the lack of energy - by the discovery of a paramagnetic field and miniature nuclear, and, later, hydrogen reactors, mini-tokamaks. But the last war, as one would expect, taught society little. The international situation soon escalated again, and the population from the surface quickly moved underground. A period of protracted local wars began. During the period of anarchy, communication with many megacities was lost, and some of them, numbering more than a hundred million people, became in the full sense of the word separate states, like Sparta or Athens in Ancient Greece.

Who and why started the Fourth World War, you can’t even make out. But it became the most destructive war in the history of Mankind, which was saved due to the fact that it basically moved underground. Life on the surface of the planet was virtually destroyed. Radiation gave rise to terrible mutations, and this was the worst of all, because people were also among the mutants. Under the prevailing conditions, only a totalitarian, military state could effectively survive, and this, of course, left its mark on the entire subsequent development of city-states, which completely isolated their existence from the fouled, disfigured surface.

For several generations of people who were born and died underground, they replaced each other. A modern person can no longer imagine what it is: to run barefoot on the grass damp from morning dew, to overcome a mountain peak with a backpack on his back, or to walk under the moon with his beloved along the river bank. In the first hundred years, underground life justified itself, but gradually the level of radiation returned to normal, the surviving representatives of flora and fauna developed. After all, a mutant does not mean bad ...

And people have become truly Underground Inhabitants, who do not want to hobnob with the surface, which has treated them so cruelly. "I, the Surface, gave birth to you, and I will kill you." This is how the new governments "explained" the policy of the Upper Mutant Residents, supposedly living in countless numbers above, only dreaming of how to deal with the underground megacities of Normal people.

Thus, penetration to the surface of the earth became the highest sin, which was regarded as treachery, desertion, hidden mutation, dangerous extravagance, and the like, punishable by the exemplary death penalty according to the laws of wartime. This right of the government was enshrined in the Constitution, in the Very First Article.

The totalitarian government in a state where there was not even a hint of any democracy was beneficial to this state of affairs, and it made every effort to ensure that everything remained in its place forever and ever. It wanted to and was a seasoned wolf, crawling into a herd of sheep. For it is easiest to govern a stupid, brainwashed population, to whom you give only bread and circuses, and nothing else matters. The people were full and satisfied, staring into the stereovisor and admired the sobbing of the heroines of soap operas who lost their men in the fight against the Upper Evil Ones.

And only a few guessed, rather in spite of than thanks, about the real state of affairs. The strangest thing is that Peter was one of them. At first there was a group, purely ideological. But there were no others like him. For as long as he can remember, Peter has always been different from others... the same…

He was at one with them. They fought for a just cause, for something worth dying for. They wanted Humanity to return Home, to the surface, to revive the Holy Land in its original purity, or at least begin to make some efforts in this direction. The group operated by the method of sermons and agitation. Perhaps it was a somewhat idealistic approach, sometimes smacking of religion, but, in any case, they were not allowed to turn around, and Peter, miraculously hiding from the police, managed to stay alive, unlike many ...

After this incident, having lost contact with the others, Peter went to the other tactical extreme. He decided on a concrete example, on his own experience, to show everyone that on the surface you can live, work, love again. You can finally switch back to natural food, you can again run barefoot on wet grass ...

Recently, Peter worked part-time at the Botanical Museum and had access to ancient stocks of a wide variety of seeds and seedlings. He got excited about the idea of ​​creating something like an experimental field somewhere above, a reserve where a variety of flowers, fruits, and vegetables would grow. Of course, the Underdwellers, as Peter now contemptuously called THEM, had an idea about flora (but very vaguely about fauna). Many well-to-do citizens had small greenhouses in their houses, but they contained purely ornamental, rather monotonous plants, mostly of very small sizes, for the cramped conditions dictated their own rules.

And he dreamed of setting up a beautiful orchard. For example, cherry. Or apple. Oh, how he longed to taste the big, juicy, red, yellow-veined, sweet, crunchy apple!

He went the other way! He will show them! He will certainly prove it to them! Not all is lost yet! Justice must prevail, how could it be otherwise?!

He believed...

* * *

Peter was filled with happiness. It undividedly captured and absorbed him; all the parts of his body enthusiastically sang a song of praise to Mother Nature, the Sun-Father, Brother-wind, Sister-flowers. Freedom. That Freedom, which turns one's head, foams the blood and calls to accomplish feats. He wanted to fill his lungs with life-giving air and shout with joy, whistle fervently, hoot, fool around carelessly. AND sing. Yes, sing! Himself! Let it not be so sublime, let it not be so beautiful, but sing! Fun and fun to display simple harmony, invent yourself simple words, and invest in them ordinary, natural the senses!..

What the Underground Dwellers would say when they saw him here, having heard him here? What's he crazy about? What's wrong with him? What is impossible? A mistake, someone's unfortunate mistake! ..

They would say, "Kill him!" They would say, "Curse him!" They would say, "Forget him!"

A whole sea of ​​magnificent tulips swayed majestically from side to side, driven by gusts of light breeze flying from high snow-capped mountains. Someday it will be truly endless! And will belong everyone!

How wonderful! Spreading his arms to the sides, he closed his eyes and threw back his face, exposing it to the warm rays of the gentle sun that peered out from behind the peak.

Then a noise began to reach his ear, approaching from behind. He opened his eyes in surprise and furrowed his brow. The noise was getting closer. His heart skipped a beat, and the hair on the back of his neck began to stir. He realized that the bad presentiment that had visited him the day before was nothing more than an intuitive foresight of the future that was now coming. For long, quiet months, this premonition hung like a silent gun on the wall, and then it shot ...

Peter turned around sharply and saw a line of soldiers with machine guns at the ready, jumping out from behind the slope and rapidly approaching him. She was about fifty yards away when he woke up and started to run as fast as he could. Just not to crush the flowers, one single thought pounded in his brain.

He was in good shape, and the soldiers were somewhat behind. There were no screams, no shots. Everything happened as if in a bad dream. Suddenly, right in front of his nose, a military man jumped out of the tulips and shouted, waving a pistol, in a voice hoarse from effort:

Don `t move! In the name of the law, I command you to stop!

It was a young lieutenant. His mustache had just begun to appear, and his somewhat plump cheeks were covered with a pink blush. Peter just physically couldn't stop right away. He ran into the lieutenant, and they grappled and rolled head over heels on the ground, crushing the flowers and uprooting them.

I order ... - the officer croaked, trying to strangle Peter with one hand, and release the second, with a pistol, which the "criminal" successfully grabbed.

You can't…” Peter chirped. - You do not understand! You can not do it this way!..

The lieutenant suddenly howled, rushed with the last of his strength and almost freed himself. Peter fell on top of him, frantically locating the gun, when a dull shot rang out. The lieutenant twitched and immediately went limp. Peter shuddered, shoved him away in fright, and jumped to his feet. Burrell lay on his back with his arms outstretched and stared up at the clear sky with open, childish surprise and bewilderment, but already motionless blue eyes. There was a blood stain on his abdomen.

It's an accident, Peter thought dazedly. It's not me.

Screams reached his ears. The soldiers, already a shapeless bunch, were thirty yards away. There was a burst of machine-gun fire, and it was as if a hammer hit his left shoulder - Peter was turned around and thrown to the ground. The soldiers roared. Bullets whistled overhead again.

I won't last long, but I won't give myself up alive, he decided. Sparks flew from the torn scapula and physiological fluid flowed out. Going into emergency mode, he jumped to his feet and, crouching and dodging, rushed to his heels. The soldiers shouted angrily again and began to shoot already uninterruptedly.

First, his right hand was torn off, twisting the hinges, then the bullets dug into his thigh, ricocheting from high-quality molybdenum steel. The servos hummed plaintively at the limit of their speed, the air compressor could not cope with its work, there were problems with the running gear. Then a couple of bullets struck at the cranium. Peter lost his hearing, there was interference in the video image. After that, a whole line entered the battery compartment, and the main engine began to falter. Acid and boiling engine oil dripped from a hole in his lower back. Small flames licked at his chest, and thick, smoky smoke billowed from somewhere.

This is the end, Peter realized, stopping abruptly and slowly turning to face the soldiers, struggling to keep his balance. They also stood ten yards away, noisily catching their breath and not knowing what to do next. He smiled wryly. But I just wanted to give them flowers!.. To give the Earth to Mankind...

Fire! - finally realized the corporal and first pressed the trigger.

* * *

The air smelled strongly of burning, and black flakes of soot were still falling from the sky. Breathing through a handkerchief soaked in cologne, Colonel Mitsuko wandered gloomily through the ashes. Hastings did a good job, you can't take that away from him, he said. Just feel sorry for the guy. And I was already beginning to pin certain hopes on him ... It seems that he grew up without a father, only his mother and little sister. Nothing, Megapolis will pay them a monthly allowance. The state does not forget its heroes! In the report, it will be necessary to describe what happened in a more colorful way ... Maybe they will even make a film about it. Multi-series. It would be nice. For generations! For the glory of the City! Amen.

He walked over to the smoking remains of Peter, who had not yet been touched.

Damn android! - Mitsuko said angrily and hooked the toe of his boot with the left hand, which had almost broken off from the body. - There you and road!

Peter's mechanical fingers slowly loosened. The Colonel winced and took a step back. Then his attention was attracted by some bright spot on the burnt, black palm of the android. The Colonel stared at him dumbfounded.

It was chamomile. An ordinary field chamomile grown by Peter - Enemy of the People No. 1. She was almost not injured, only her delicate petals were slightly dented.

It emitted a bright, living light for many tens of yards around, dissonant with the surrounding black, bare, scorched space.

And she sang. She sang about Mother Nature, Sun-Father, Brother-wind, Sisters-flowers. She sang about endless green fields, lush meadows, a blue sky in which cheerful curly clouds float, a deep sea, high mountains, a fast, full-flowing river, where a large, strong fish gleaming in the sun with silvery scales splashes. She sang about herds of red deer, a squirrel on a bough of a sprawling giant oak, about a very small stupid bear cub that had just come off her mother's chest. She sang about the Man. About love and glory, duty and honor, life and death, wisdom and recklessness, evil and hatred, devotion and betrayal. She sang about him, Mitsuko. About Barrel. About Peter.

She didn't want revenge. She just sang.

I do not pretend to be a novelty of the idea or execution, but it may be useful to someone.
Actually, this device was made by my wife for her wedding anniversary, although you can quite easily reorient it for other holidays.

Device photo

The electrical circuit diagram was found on the Internet and was safely lost there. Therefore, it will not be. Yes, in principle, it by itself is not needed. this device is a logical continuation of the first attempts to light LEDs. The idea itself was to please my wife and prove to her that it was not in vain that I was sitting in the evenings with a soldering iron.

As you can see from the printed circuit board, there is nothing special about it:

• Atmega8-tqfp32
• Rezuk for 100k


• Conder at 0.1uF
• 22 smd leds
• 22 smd summaries

There is no connector for ISP programming in the usual sense. Stupid wiring. Yes, by the way, everything is signed there for convenience. The process of “LUTing” the board and explaining the technology, I think it’s not advisable to give here, because. who knows and knows will understand, and who does not Google to help him.

And of course, as in the Russian joke about the plane “And now roughly file it”
I'm just learning about soldering, so don't criticize too much, and in general this is one of my first projects. Regarding the code, I'm also learning so that there will be only a firmware file without sources (otherwise I think that they will peck at all).
Yes, I almost forgot the video. I apologize for the quality - what was at hand.
Perhaps that's all. Project file.

I do not pretend to be a novelty of the idea or execution, but it may be useful to someone. Actually, this device was made by my wife for her wedding anniversary, although you can quite easily reorient it for other holidays.

The electrical circuit diagram was found on the Internet and was safely lost there. Therefore, it will not be. Yes, in principle, it by itself is not needed. this device is a logical continuation of the first attempts to light LEDs. The idea itself was to please my wife and prove to her that it was not in vain that I was sitting in the evenings with a soldering iron.

Printing in Sprint Layout

As you can see from the printed circuit board, there is nothing special about it:

• Atmega8-tqfp32
• Rezuk for 100k
• Conder at 0.1uF
• 22 smd leds
• 22 smd summaries

Regarding LEDs and resistors, perhaps choose them so as not to exceed the threshold voltage value of + 5V. I took super bright ones at 3V, the current was 20 mA, respectively, the cutters were 120 ohms each.
In order not to think too much, there are a bunch of online calculators.

There is no connector for ISP programming in the usual sense. Stupid wiring. Yes, by the way, everything is signed there for convenience. The process of “LUTing” the board and explaining the technology, I think it’s not advisable to give here, because. who knows and knows will understand, and who does not Google to help him.

Immediately soldered handkerchief.
And of course, as in the Russian joke about the plane, “And now it’s rough to process with a file.” As for the code, there will only be a firmware file without source code, because this is a standard footswitch.

Yes, I almost forgot the video. For the quality I apologize for what was at hand.

Perhaps that's all. Project file:
About Fuse, we leave the factory. Happy repetition everyone.

I do not pretend to be a novelty of the idea or execution, but it may be useful to someone. Actually, this device was made by my wife for her wedding anniversary, although you can quite easily reorient it for other holidays.

Device photo

The electrical circuit diagram was found on the Internet and was safely lost there. Therefore, it will not be. Yes, in principle, it by itself is not needed. this device is a logical continuation of the first attempts to light LEDs. The idea itself was to please my wife and prove to her that it was not in vain that I was sitting in the evenings with a soldering iron.

Printing in Sprint Layout

As you can see from the printed circuit board, there is nothing special about it: Atmega8-tqfp32, a 100k resistor, a 0.1uF conder, 22 smd LEDs and 22 smd connectors.

Regarding LEDs and resistors, perhaps choose them so as not to exceed the threshold voltage value of + 5V. I took super bright ones at 3V, the current was 20 mA, respectively, the cutters were 120 ohms each.

There is no connector for ISP programming in the usual sense. Stupid wiring. Yes, by the way, everything is signed there for convenience. The process of “LUTing” the board and explaining the technology, I think it’s not advisable to give here, because. who knows and knows will understand, and who does not Google to help him.

Immediately soldered handkerchief.

And of course, as in the Russian joke about the plane, “And now it’s rough to process with a file.” I'm just learning about soldering, so don't criticize too much, and in general this is one of my first projects. Regarding the code, I'm also learning so that there will be only a firmware file without sources (otherwise I think that they will peck at all).

Yes, I almost forgot the video. I apologize for the quality - what was at hand. Perhaps that's all. Project file: . About Fuse - we leave it at the factory.

Source: we.easyelectronics.ru

At the same time, it does not matter at all what it is - an expensive "iron", or - in general, "virtual", in a computer. The main thing is that he is. You can't do without a mixing console - neither in the studio, nor at the concert venue, nor in the theater - anywhere.

In many ways, the mixing console is similar to Lake Baikal, forgive Greenpeace for such a comparison! Just like Baikal, many “rivers” and “brooks” - sound signals - from microphones, electronic musical instruments, reverberators, and so on, flow into it, and only one “river” flows out - the total sound signal.

Sound signals entering the remote control are amplified, attenuated, processed by various equalizers, compressors and other things (sugar and salt - to taste!), Mixed - and you're done! Hmmm ... That - the lake, then - the kitchen. So sleep is not long! But, we didn't invent it.

One of the English names for a mixing console is Mixing Board, which means “mixing board”. This name was born a long time ago, at the dawn of the development and formation of radio electronics, when the consoles did not yet have all the modern delights - no equalizers, no subgroups, not even the slightest automation - nothing! Longing, in a word... On the other hand, a modern mixing console is often such a complex device that even the most sophisticated professional will not always be able to figure it out right away.

There are a great many consoles - concert, studio, theater, etc. etc. However, despite their great diversity, there are many common features in the designs of all consoles. Any console contains, at a minimum, input cells and a master section. But this is not always enough, especially when working with a large number of signal sources. Therefore, as the working conditions become more complicated, many additional devices were invented - such as subgroups, “auxes” (AUX), breaks (INSERT), for multi-channel recording - special cells (IN-LINE), and much more.

An example structure of a mixing console is shown in the figure below.

Input cells Subgroups Master section

Input cells

Input cells, as the name implies, receive input signals from microphones and other sources. Here, preliminary amplification of signals is carried out, their processing - frequency, dynamic, as well as some other types, and distribution to further devices. In the most general form, the approximate structure of the input cell is shown in the following figure:

1.Entrance section.
2.Processing block.
3. Signal distribution block.

The signal from the source is fed to the input section, where the signal is selected, its normalization is brought to the level necessary for the normal functioning of further circuits, and preliminary filtering.

The input section typically has the following elements: a MIC/LINE input selector, GAIN control(s), a PHASE shifter (sometimes just an icon), and filter(s). Sometimes there is a PAD button for stepwise attenuation of the input signal of the microphone input - usually by 20 or 30dB. The signal level is adjusted by the GAIN knob of the input amplifier, and the term amplifier is somewhat arbitrary, since both amplification and attenuation of signals can be carried out here.

In professional equipment, as a rule, there are two separate inputs - a balanced MIC for a microphone and a line LIN - for signals with high levels.

Line input - most often unbalanced, but in a very serious technique - it can also be symmetrical.

One remark must be made here. In relatively cheap equipment, sometimes you can suddenly see, frankly, unexpectedly, a balanced line input. About free cheese - remember? So here, it would be nice to ask - why is it all of a sudden such generosity? If someone believes in the altruism of the manufacturer - forget it! Everything is much simpler - and worse. This is purely a publicity stunt, nothing more. Although the entrance is indeed symmetrical, this is true. But not all...

Remember the famous saying - "Always tell the truth, the whole truth, and nothing but the truth. But never tell the whole truth!" Here is just a similar situation.

Everything is very simple: the signal from this input is first attenuated, sometimes quite strongly, several dozen times, and then fed to the input ... yes, you guessed it right - a microphone amplifier! The task of one action - will the sound improve after such a transformation? Decide for yourself...

A good indicator of this trick is the presence of only one input sensitivity knob - instead of two separate ones, as well as the absence of an input select button.

After pre-amplification, there may be two not entirely obvious devices in the signal circuit - a phase shifter and a filter (s). Strictly speaking, it is more accurate to call the first phase inverter, since nothing in it “rotates”, but the signal phase is simply inverted by 180 degrees, but - apparently, “it’s so beautiful”. It is necessary for phasing microphones, and sometimes for other purposes. The signal can then be applied to filters to limit its bandwidth and remove unwanted components. In expensive (alas!) professional consoles, you can sometimes find a complete set of them, both for cutting low frequencies (LO-CUT) and for cutting high frequencies (HI-CUT), and even with tunable cutoff frequencies! But most often, alas, the simplest “one-button” filter is used, which, as a rule, cuts only low-frequency components below 80 or 100 Hz. This filter is sometimes referred to as the “step noise filter” because it serves primarily to reduce the "stomp" from footsteps transmitted from the supporting structures of the stage to the microphone through its stand.

Further, the signal after the input section is fed to the processing unit. This block includes various tone control circuits (equalizer), as well as inserts (INSERT) for inclusion in the signal path of external devices - compressors, flangers, etc.

These nests are usually paired. One socket - “Send” (“send”, “output”) is used to send a signal to an external device, the other - “Return” (“return”, “input”) to return the processed signal to the cell. In some models of inexpensive consoles, there are also combined jacks, on “stereo jacks”. This saves space on the back of the remote, but is much less convenient. By the way - in good consoles, INSERT jacks are mandatory in all its sections - in cells, and in subgroups, and in the master section.

Of course, strictly speaking, these nests (“breaks” - INSERT) - are not included in any blocks, because “physically” - are located between different nodes of the cell, but it is advisable, when considering the structure of the console, to consider their purpose here, based on their functional role. In expensive professional consoles, there are usually two INSERT jacks - one before the EQ, and one after. What are two for? Well, first of all, more is not less. (Joke!) And secondly, many processing devices “behave” differently, being included in a “clean signal”, or in an already “timed” one. Accordingly, the results obtained will be different.

For example, the property of strong compression is known to “eat up” timbres, as it were. That is, if you strongly “wind up” the timbre of the signal, and then apply it to the compressor, then all your “cheating” can “fall like a death of the brave”. To avoid this, it is better to turn on the compressor before the equalizer. From the same jacks, you can remove individual channel signals for feeding to - for example - a second console (monitor, video, etc.), so that independent tone control can be carried out there.

It is advisable to use the INSERT jacks after the equalizer, for example, to connect devices with a limited dynamic range - a flanger, etc., so as not to “steer” the equalizer along with the useful signal and processing noise. In many cases, it is also useful to apply an already equalized signal to the processing included in the insert - for example, to a noise gate, to an exciter, etc. etc. Of course, all of the above is “not” the ultimate truth. The author is not the Lord God, and not even Bill Gates (according to a well-known anecdote...). These cases are provided as examples only, to demonstrate the need to have two breakpoints in each cell. However, in most inexpensive consoles INSERT - alas! - just one, after the equalizer! Keep this in mind when using it.

The equalizers in the cells are very diverse - from the simplest bass and treble, with “shelf” controls, to the most complex fully parametric four-band ones. The latter, as a rule, on the extreme LF and HF regulators have the ability to switch the “bell / shelf” regulation characteristic. In a parametric equalizer for each band, all parameters are independently set (hence the name - “parametric”): the center frequency of regulation fо, the width of the regulation bandwidth and the amount of rise / cut of the frequency response, and in equalizers of the “shelf” type - only the amount of rise / blockage of the frequency response at the edges of the range, the remaining parameters are determined by its circuitry, and their change by the sound engineer is impossible. Name - corresponds to the type of frequency response. For a regulator of the “bell” type (from the English word BELL - “bell”), the frequency response has a really “bell-shaped” shape, with a maximum depth of regulation at the main frequency of its tuning, and gradually decreasing as it moves away from it. The regulator of the “shelf” type (from the English word SHELF - “shelf”) does not have a pronounced tuning frequency, its frequency response has a maximum depth of regulation at the edges of the sound range, and gradually decreases towards its middle. Sometimes, however, in (and what can you do? Again!) Expensive consoles have the ability to adjust the frequency for the “shelf” control, but this is a completely different adjustment: the frequency changes, HIGHER than which for the LF controller, (or BELOW - for the HF -regulator), the characteristic becomes smoothly falling. Below this frequency - in the first case, and above it - in the second, all frequencies rise or fall in the same way.

So, the signal amplified, corrected - and went to the distribution block. It is this part of the cell that is distinguished by the maximum variety of designs, and often causes the greatest difficulties, although in terms of design it is the simplest part, “a set of buttons and knobs”. With the buttons you choose where the signal will be sent next, and with the knobs (if any) you set the level of this signal.

This part is called “Routing” in the literature and sometimes on the consoles themselves. The signals coming from the cells to subsequent circuits are taken from two points in the circuit: some of the signals are taken before the cell fader (PRE - Fader), and some - after it (POST - Fader).

As a rule, all signals that go further to the main mix and processing are removed after the fader, and those signals that go to the main mix and subgroups are removed after the pan control. The signals taken BEFORE the fader are, as a rule, only those that go to the monitors - stage or studio.

Why exactly? Yes, it's very simple - so that the balance of the monitors does not depend in any way on a possible change in the balance in the hall or in the main mix! Once you have built it - and you no longer think, you are doing your main business.

In the most general form, the following controls serve to distribute signals: a panoramic control “PAN”, feed buttons - to the main output (“MIX”), to subgroups (“SUB”, or “GROUP”), to a multi-channel tape recorder - “ODD ” and “EVEN”, (“Even” and “odd”), as a rule - with numbers from “1” to “24”. By the way, at the same time, on the panorama regulator, too, there are inscriptions not “L” and “R”, but “ODD” and “EVEN”. True, this, as a rule, is only on the “In-Line” consoles, but about them - later. The essence of the matter does not change, however.

There is one subtlety in the design of this regulator that is often forgotten. The fact is that there are two ways of panning - with constant voltage and with constant power. With the first method, the signal in the middle position of the PAN control is attenuated by 6dB. This is very good for sound recording, in terms of mono compatibility, but with “live” sound reinforcement, problems arise, because. the signal in the center “failed” in power by 3 dB. In the second method, the signal in the middle position of the PAN control is attenuated by 3dB. For sound amplification - great, no dips in the center, but when trying to record on such a remote - problems with mono compatibility, because. in this case, the signals in the center (in the "MONO" mode) increase in level by 3 dB. As a half measure, some consoles use the “arithmetic mean” - signal attenuation in the center by 4.5 dB.

Another node, which is also structurally and by location included in this part of the cell, is the control and listening node. (Buttons PFL, AFL, CUE, SIP, SOLO.) With these buttons you choose how the signal will be monitored at a given point on the console. By the way, this applies to the entire console, not just the input cell. There is often confusion with these buttons, because. they all perform similar but slightly different functions.

PFL stands for “Pre fader listen”, pressing this button takes the signal to be monitored before the volume control. This makes it possible to pre-monitor the signal in the still “closed” cell, before feeding it further to subsequent console circuits. In this case, as a rule, the corresponding indicators of the master section indicate the signal level at a given point, which allows you to accurately adjust it - to avoid overloads.

AFL stands for "After fader listen", listening after the fader. When this button is pressed, the signal for control is taken after the volume control, which allows you to control the real signal level in a given place in the path.

SIP is "SOLO - IN - PLACE", literally - "solo - in - place". When this button is used, the control signal is taken after the volume control and after the panoramic control, which allows you to listen to the signal not only taking into account its level, but also to control its position in the stereo panorama.

The purpose of other listening buttons (CUE, SOLO and some other, rarely encountered names) is not standardized, and various manufacturers can use them to perform a variety of functions - both PFL and AFL, SIP, etc.

Sometimes - for convenience of work and saving space - instead of many different buttons, only one is placed, then this is most often the CUE or SOLO button, and the function currently performed by it (PFL, AFL, SIP, etc.) is selected by the control mode switch to the master -sections.

In cheap remotes - most often, regardless of the name of the button, only the PFL mode is used.

Another interesting control is the MUTE button. In terms of its functions, it is similar to the ON button of the cell, only it works, as it were, “on the contrary” - when it is pressed, the cell signal is turned off. Sometimes, however, this button - labeled MUTE - is actually the button for turning on the cell, only standing “upside down”. In some consoles, when MUTE is activated, the entire signal of the cell is turned off, and in some, only that part of it that enters the subsequent circuits after the fader (POST FADER). What is it for? Yes, and, in fact, why the whole MUTE at all?

Imagine that a large collective concert is being voiced, with a large number of performers. At the same time, the number of simultaneously used microphones can be different, from “all at once” to one, for an artist of a conversational genre or a presenter. It is better to turn off unused microphones at this time so as not to catch any extraneous sounds, or simply so as not to hiss. Doing it manually, one at a time, is long and inconvenient. It is much better to be able to pre-program which microphones are not used in which room - and mute them all at once, by pressing one button. The monitor lines going to PRE FADER remain functional. As a rule, they do not add much noise in the hall. Other applications of MUTE are possible, of course. But this is already at your discretion. Often the MUTE function has MIDI automation, more on that in a moment.

To send a signal to additional processing devices (common to all signals in the console), the “AUX” controls are used to individually control the levels of signals sent to effects devices (for example, to a reverb), and the “PRE / POST” buttons, which allow you to choose where the signal will be sent, before or after the fader.

Here it is necessary to make a small digression. The fact is that the full name of these busbars and their corresponding outputs is “Auxiliary Sends” (“Additional sends”). Over time, this name "halved" and shortened, and now you can find the names both "AUX" and "Sends", although the former is much more common. In domestic literature, the Russian name “messages” is more common, and for the regulators themselves - “selections for messages”.

Basically, that's all there is to say about the input cells. Oh yes! Where are the promised "In-Line"? Now the turn has come to this.

Consoles of this structure are intended for sound recording, and therefore are less known in wide circles. As follows from the name itself (“In-Line”, literally - “in line”), the recording process itself is, as it were, “stretched into a line”. A cell of such a structure consists of TWO conventional cells connected in series, one after the other. The signal that came to the first cell (for example, a microphone one) is processed in it and goes to the input of one of the channels of the tape recorder for recording, and the signal reproduced by the tape recorder (usually the same channel) goes to the second one, where it is processed in the process information to get the final mix. Thus, there are no problems with switching, nothing needs to be switched - everything is in its place, and the work process is greatly accelerated and facilitated.

Naturally, in this case, in each “physical” cell - everything is in duplicate. Two EQs, two faders, etc. etc. True, this is the "ideal".

Why ideally? Because, in order to reduce the cost, many firms make some of the nodes combined. For example - one equalizer, switched back and forth, or divided in half - part in one half of the cell, part in the other. Similarly with “AUX”s, and with some other nodes. Only the microphone input is always the same...

There are also two summing stereo buses, similar to “MIX” on a conventional console. In order not to confuse them, in the “In-Line” console they have different names - as a rule, “A” and “B” on the cells, and in the master section you can then choose which signals will consist of the main mix - “A ”, “B” or both.

Due to the large possibilities - such remotes are much more expensive. As a rule, they have a very complex structural scheme, so there is not much point in going into subtleties here. In addition, there is a great variety of these structural schemes, and for each specific remote control a separate story is needed, in terms of volume - significantly larger than can be placed on magazine pages.

So - with the input cells like more - less sorted out. What's next? And then begins the area of ​​​​the greatest diversity in the designs of consoles - subgroups and the master section.

Subgroups

What are subgroups and why are they at all? It would seem that the sound of individual sources is already ready, with all the timbres and so on. What else is missing? Oddly enough - something that has nothing to do with sound. Namely, hands! A man is not an octopus, unfortunately... (Probably, many sound engineers will agree with this.)

Imagine - you have a large team, with many instruments. And in one of the parts of the song there is a long, loud drum solo (for example). You need to quickly turn up the volume of the ENTIRE drum kit... and there are only two hands!

This is where subgroups come into play. They carry out intermediate, before the main mix, the summation of several signals. In the case described above, it is possible to apply all drum sounds from individual cells first to one subgroup, and from it to the main master. And control the volume of ALL instruments of the percussion group with ONE knob! Conveniently? Still would! (However, for a stereo subgroup, you will have to use two subgroup cells. But it’s still more convenient!)

Similarly, when recording, you can collect any group of instruments into a subgroup, and submit them all together for recording directly from the subgroup, bypassing the main master, who is then freed up for other work.

The device of the subgroup cell has no fundamental differences from the usual input cell. As a rule, here are the same equalizers (only usually simpler), aux controls, panoramic controls, etc. Only the input part is missing (completely), and the send buttons to subgroups are excluded.

Although, of course, there are "possible options." For example, in many inexpensive consoles there are no equalizers in the subgroups at all, there are also subgroups without AUX. Sometimes - though not often - there are also stereo subgroups. In such cases, you can occasionally see a "tricky" pan control, based on MS-conversion, with two separate controls, one for the stereo width, and one for the direction. But this is very rare...

Recently, in expensive consoles - as a rule, studio ones, for sound recording, sometimes there are also so-called "virtual subgroups". What is it?

Yes, it's okay, this is not “virtual reality”, but something quite tangible. (Although the subgroups themselves, in their usual form, are completely absent!)

In individual cells of such consoles, instead of variable resistors-faders, the signal level is controlled by controlled amplifiers - VCA. In this case, the faders themselves produce only the electrical control signal to control the VCA. In this case, it becomes possible to combine the VCA of several cells into one group BY CONTROL, and the control signal of one fader - control the gain of several cells at once! One of the cells is assigned as the master, and the rest as slaves. At the same time, of course, all individual adjustments are also saved, because. all control signals to the VCA of an individual cell simply add up. Sometimes this method is also called “VCA GROUP”. Similarly, the work of “virtual dynamics” is carried out, but this is already a topic for another conversation.

Since, due to the design features - due to the absence of some nodes on the subgroups - there is free space on the front panels of the cells, it is very often used to accommodate various additional console nodes. So, for example, on the sub-group cells in many consoles there are various kinds of additional inputs - for returning signals from external effects devices AUX RETURN to the console, and some others.

In these cases, it turns out, as in the In-line cell: in one - two. In this case, similar building techniques are often used - the ability to switch equalizers, selections for effects (AUX), and so on. Like - about subgroups, basically, everything.

Master section

Now we have reached the most, perhaps, the most important part of the console - the master section. Why the most important? Yes, because it depends on its construction how good the whole console will sound, and how convenient it will be to work with it. It is in the master section that the maximum number of controls is concentrated, the highest quality radio elements are used, and there is a maximum indication.

It would seem that the main function of the master section is simply to sum up all the signals and “give out” the final stereo mix. In principle, this is true. But - not quite. In any console there are many nodes that do not belong to any part of it “personally”, but are common to the entire console. All these nodes are usually concentrated in the master section.

First of all, of course, this is the main adder, master fader, MASTER INSERT insert jacks and the main stereo output with a level meter. These elements are in all consoles, without exception, in which there is a main master. Another node, also present in almost all consoles, is the AUX MASTER - a place where the signals of all sends to external effects AUX are summed, with individual output level controls for each AUX line. As a rule, these outputs have one of the types of listening buttons described earlier - PFL or AFL.

Also in any master section there is a signal control unit, from the simplest to the very complex. In the simplest case, this is a button for selecting the source being listened to (the main stereo output or the PFL bus), a level meter and a control volume control (headphones). In complex consoles, as a rule, there are much more opportunities here.

Firstly, if there is one multifunctional button in the cells - CUE or SOLO, then the wizard has the ability to switch its modes - PFL, AFL, SIP, etc. Secondly, it must be possible to supply a controlled signal to an external sound control system - as a rule, from the C.ROOM sockets (control room). At the same time, in addition to the smooth level control, a stepwise decrease in the control volume is also provided, usually this is a DIMM button. The attenuation introduced to it is most often 20 or 30 dB. Thirdly, in addition to the usual control buttons on the cells or subgroups themselves, a separate block can be provided for selecting various sources for control that are not “explicitly” available - for example, stereo pairs of returns from external effects, pairwise listening to subgroups in stereo mode, control external recording devices (tape recorders), etc.

In addition, in some models of expensive remotes - to check "everything and everything" - there is a built-in sound generator. It can be either the simplest - for several fixed frequencies - or quite serious, with smooth tuning of the signal frequency over the entire audio range. In the simplest cases, the generator signal is fed to its output jack and / or to the main stereo output - MASTER OUTPUT. In more "fancy" consoles, it is possible to send a signal using internal switching to any point of the console.

Another indispensable part of a serious remote control is the TALKBACK intercom. As a rule, it is possible to connect only one microphone to it (naturally, with its volume control), and the possibility of choosing a “destination point” - that is, where exactly this signal will be sent further. This could be the main output, monitor lines, etc. etc.

Very often in the master section there is also a block for returning signals from external effect processors AUX RETURN, or sometimes - EFFECT RETURN, the essence is the same. Incoming signals here are regulated by level, by panorama, sometimes - and are subjected to frequency correction. In such cases, the presence of its own equalizer is also provided - as a rule, it is simple.

In serious remotes, each individual AUX RETURN input has its own individual path - with an equalizer, a panoramic control, a level control, etc. Sometimes there is also the possibility of a “secondary send” - from the return of one effect to the send of another, or even to its own send, for example - to control the FEEDBACK level on a reverb, delay line, flanger, etc. In small consoles, for convenience and space saving, often the FX return inputs are made stereo, with common EQs (and everything else) for both channels.

In addition to the main functional units of the console itself described above, the master section usually contains controls common to the entire console, and sometimes commutations. (This refers to the recently becoming more widespread mixing matrix - MIX MATRIX.) Common controls include, for example, devices such as MUTE control and automation, switching the modes of studio IN-LINE consoles to recording or playback, etc. As a rule, the latter in good consoles should be able to be done centrally, for many - or even all - cells at once, so as not to mess around with dozens of buttons on a bunch of cells in turn.

The MUTE functions can be controlled in two ways. One way is that the console itself can be programmed with several different combinations (“scenes”) of activating these shutdowns (“plugging” the cells). Then - instantly, by pressing one button, call the desired scene. This method is often used in inexpensive consoles, while the number of memorized scenes is relatively small. The second way is to use external MIDI devices to record and then play back the desired scenes. Naturally, the number of scenes is not limited, but this method is much more expensive, and is used only in expensive, serious consoles.

As a rule, MIDI automation of mutes "does not go alone", but is usually used in those consoles where there is the possibility of automation and other functions - for example, automation of mixing. The latter is carried out either with the help of motorized faders, or by using the VCA. But that's a topic for a completely different article...

Unfortunately, the limited volume does not allow to fully cover all the issues of “console building”. Such interesting topics as remotes for broadcasting and television, digital, reportage, theatrical, etc. remained outside the scope of the article. However, all remotes have many common features, and if you can figure out the IN-LINE studio remote, then studying the rest of the remotes is unlikely -li will be of particular difficulty for you.

If you have any questions or suggestions - write directly to the author. Your questions will help to better understand the range of your interests and make this site more interesting and useful for you.

Mikhail Chernetsky