The Mixer, My Grandfather, and the Looming Crisis of Unfixable Electronics

đź’ˇ The Mixer, My Grandfather, and the Looming Crisis of Unfixable Electronics

My weekend project—a powered mixer for a friend—was a powerful, hands-on lesson in the changing nature of electronics and the fight for the Right to Repair.

For a friend, I made an exception to my usual “no bench work” rule. The diagnosis was classic: a blown channel, likely from speakers incorrectly wired in parallel. Instead of a minimal patch job, I opted for a full refurbishment, the way I was taught: new, high-quality Panasonic FC caps and fresh, matched transistors. A labour of love, not profit.

The true difficulty wasn’t the soldering; it was the manufacturer. My simple request for a 25-year-old service manual was flat-out denied. They are for “authorized repair depots only.”

This experience, though successful for my friend, crystallized a serious concern: we are rapidly entering a world of unservicable, unfixable electronics.

The Three Costs of Non-Repairability

The Cost of Time, Parts, and Labor:

I spent far more on parts, time, and labour than the powered mixer is worth on the used market. This is the reality of non-authorized repair—every component decision, every circuit trace, becomes a painstaking reversal of proprietary design. It was a labour of friendship, but it’s an impossible model for a business.

How can an electronics business operate today when manufacturers actively make repairs slow, opaque, and expensive?

The Environmental Cost (E-Waste):

When repair becomes economically or technically impossible, replacement is the only option. This fuels a massive surge in electronic waste (e-waste). That 25-year-old mixer, which is now ready for another decade of service thanks to a few dollars in components, would otherwise have been destined for the landfill. Denying access to manuals is effectively an enforced, premature death sentence for functional equipment.

The Loss of a Craft and a Livelihood:

My grandfather fixed electronics for 60 years. His profession, and the fundamental consumer assumption that “if it’s broken, it can be fixed,” is being systematically dismantled. The miniaturization, the proprietary software locks, and the refusal to share documentation are creating a technical barrier that few independent technicians can overcome.

The Hope in Right to Repair

My frustration is why the global Right to Repair movement is so critical. This isn’t just about saving money; it’s about:

Ownership: When we buy a product, we should own it—and the right to repair it, or have it repaired by whomever we choose.

Sustainability: Extending the lifespan of devices is the most effective form of recycling.

Competition: Allowing independent repair shops to thrive fosters competition, lowers costs, and drives innovation in repairability.

Legislative movements are gaining ground across North America and Europe, pushing manufacturers to release documentation, tools, and parts. It’s a fight to preserve the longevity of our technology and the expertise of those who can fix it.

For now, the mixer is singing again—a testament to what can be done with skill and dedication. But the struggle to keep 25-year-old gear alive is a clear warning sign for the future of new equipment.

Guitar Pedal – Balanced in to Low-Z unbalanced ==> HiZ to Balanced out

A client asked for a way to balance a guitar pedal so he could send and return Line Level to his guitar pedals.   He wanted a way to use his pedal collection as effect sends.  We came up with a modified Ward-Beck Systems POD-1.  The POD-1 offered op-amp gain adjustment trimmer pots so you are adjusting the gain of the balancing amplifiers.

The un-balanced output impedance is roughly 30Ω and the unbalanced Input Impedance is 47kΩ.  It’s a pretty safe assumption that mopst guitar effects can operate within these ranges.

You could also use this as a re-amp tool and a hyper-transparant Direct Inject box for keyboards and anything unbalanced.

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XLR input Balanced +4dBu differential Receiver to an RCA connector to a 1/4″ TS jack that feeds the pedal then return to the opposite.

 

If you are interested in trying one out contact Ward-Beck Systems IMG_0477-2015-03-04

sound guy xmas!!! Day 1 – Syscomp Curve Tracer

Xmas is around the corner.  Sound guys and gals are the hardest people in the world to shop for… I will be posting a stream of gift ideas!

Day 1:  The Syscomp CTR-101 Curve tracer:

Key Features
-Plots device characteristics for diodes, transistors, MOSFETs, JFETs, and more!
-Up to 30V test voltage at 1A test current
-True voltage and current source drive ampliers
-High resolution measurements
-Pulsed test mode to minimize device dissipation
-Auto-scaling real-time plotting during analysis
-Sample-by-sample power and current limiting
-Open-source software
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My first microphone pre-amp design

Doing a school project is the PERFECT excuse to design build a test my first ground up original Microphone pre-amp!

I learned these buzzwords from the Kimber cable guy:

The imaging is fantastic, totally forward sounding with edge AND detail on the soundstage.  Though precise, there isn’t that analytical flavour tainting the dry sound in the copper typically found in other microphone pre-amps.  Micro-clipping isn’t an issue anymore!  By a factor of at leased 10, the noise floor is lower than you’d ever expect.  With an un-constrained matrix, painting the sound stage will be a pleasure.  Tipping the value curve, the proportions are just right.

But honestly… I’ve not heard it yet, or kimber cable for that matter.

Seriously though…  it’s a transformer coupled double balanced class A instrumentation pre-amp using only the best.  Actual results to follow!

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Going to re-manufacture some WBS daughter boards

As a part of my school program, I’ve decided to take a shot at re-designing 2 WBS components.

First the 4-110 mic pre-amp for the M460 – M461. In the 90s WBS redesigned the card using 5534 but I’m looking at something even more modern.

Second the 109 cards. While at Revolution Recording, Joe D redesigned his version of the 109 card and it was a HUGE improvement. He described it as “taking the cheese cloth off the audio” and he was right.

The idea is to have a plug and play module available for users with a few new features not incorporated in past designs.

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Once they’re done I hope to have them for sale on www.AudioAholics.com