The value of the shunt resistors depends on the number of inputs used and the value of your summing resistors. Recommended values are between 5-10k ohms depending on the input impedance and volume drop you're aiming for. All of these resistors must be the exact same value with as low a tolerance as possible. Inputs are summed to the bus wires via resistors. Every pair of preamps will impart their own sonic signature on your mix. The greatest benefit of this approach, in my opinion, is the tonal flexibility. This basic design has been proposed by " New York Dave" and Fred Forsell, and can be found in the monitor section of old Neve consoles. What we end up with is a passive bus mixer: 4 or 8 stereo pairs are summed via L and R buses, which are then sent to external microphone preamps for makeup gain. The design below leaves out panning/assigning and makeup gain in order to avoid the need for power and forgo toggle switches (≈$7.50/channel). This route, while superior in functionality, is rather complex and expensive. Most analog summing designs take a number of mono inputs and assign them to the stereo bus via either pan pots or L-C-R switches. Check out the video above for a quick run-through of how I built my 16-channel summing box. Luckily, passive summing is a pretty simple concept and one that's very wallet- and DIY-friendly to achieve. But with commercial boxes priced $600+ I wasn't that curious. I've been curious for a while about the fuss surrounding analog summing.
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