Related topics

recording telephone interviews Line In vs Mic In
Both transfer the sound of my harp playing to a guitar amp just fine without any other equipment in the signal chain. The two sound different as a strat and a les paul. Playing in front of the mic is another thing all together. Not so good for the distorted low down tones as the cup mic method.

FAQ: rec.audio.* Wire 7/07 (part 8 of 13)
I thought about splitting the mic signals with some whirlwind transformer isolated splitter boxes to hedge my bets. this situation (other than soundproofing the house) is to have him keep his dynamics under control and move the mics in closer when you need a better signal-to-noise ratio going into the mics.

Reasonable Doubt: Car # 10 Where Are You?
However, once you get signal and you know everything is working, here's what I'd do to fix the impedance mismatch: He shouldn't need to do anything to fix the mismatch because a The LoZ mic has no problem, impedance-wise, driving the HiZ instrument input, it's just that the output voltage of the mic is too low.

Radiohead live setup
In that case, you won't be happy with a passive filter either, since you will have substantial signal loss in the passband too. The other solution, of course, is to filter it acoustically before it gets to the microphone in the first place. Like shooting down airplanes and stopping nearby road and railway trafic?

Pickups for acoustics.
When the audio modulation level goes too loud (or high) the circuitry feeding TR24 turns TR24 "on" causing it to conduct from collector to emitter thus lowering its resistance path and shorting the mic signal to ground... thus limiting it. If you totally remove TR24, then it can no longer bypass the mic audio

transistor
... the Line In and the Mic In plug that I would be getting such radically different results, each with their advantages? are they adapted for a different type of signal or something? which should Somewhere in your unit's menu there will be an option to adjust input levels, or to set the mic sensitivity to low.

DI Boxes and Acoustic Guitars
This aspect was substantially different on the tracks with the Blade involved, and though still present, it lacked the big low end 'boom' that the mic and the The #54 came really close to looking just like the mic signal (without the dogs!). The Blade signal by itself had some noticeable compression on the

low mic signal
I'm interested to know why George thinks that a speaker signal will cause a mic signal to become unusable. Can someone shed a little light on this theory? then because it is a low quality job and convience takes precedence over proper engineering As I mentioned above the original poster's intention was to run

A coupleof simple audio cassette recording questions
Using the Line In plug gives me the cleanest recording but very low levels. (So I have to use the amplify effect in Audacity when I am editing) and my In and the Mic In plug that I would be getting such radically different results, each with their advantages? are they adapted for a different type of signal or

Home Recording: 4-Track? Mic? Mixer?
Solution: use a quiet equalizer before the amp, to cut low bass, boost mids, and boost treble a little. Problem: you can get great Tone from the blasting guitar speaker and the equipment before it, but when you listen to tape playback, or monitor in headphones, the mic signal sounds terrible.

Mic recording
For those that use common electret mics with SB16 cards the recording level is often very low, as is explained on Tomi Engdahl's electronics web site There are three ways to remedy this, either get a high gain microphone, a soundcard with a more sensitive mic input stage or preamplify the mic signal to line

Advice requested: Home recording studio talkback device
I strongly suspect that the noise you are getting from your SM57 is because you are mis-matching the microphone and input. The problem is that your already low mic signal is being attenuated (reduced) inside the mixer before it even gets to the preamp. Add the fact that almost all preamps (and certainly those on

Boosting stereo mic signal
It seems counterproductive to step a line level signal down to mic level which then requires gain to get it back to line level. Even the 1k load postulated by Rane is too low for comfort. Sorry, but with almost all of the mixers out there, the passive option will put too much strain on the synth's output.

Import vinyl album to PC computer: low sound levels
This approach is *very* interesting, and is the next wave of guitar processing, in which amp modelling is combined with a low-watt power tube and load. The load could be bypassed, using a speaker isolation cabinet instead, with a mic signal returning back into the chain for final EQ and digital reverberation,

acoustic echo cancellation
Our best idea so far is to install PZMs and have some electronic gating so that the "best" or maybe loudest mic signal is turned on and all the others are turned off. Does anyone know of such a device ? Thanks, Rob Smith If low tech will do, your budget will provide a large number of push-to-talk wireless

vr design theory
In english it means a Mic signal needs to be amplified (has gain applied to it) while a line signal has trim applied to it (gets turned down a bit) to get the right I'm thinking the mic-in is geared towards really light input, whereas the line-in is a little more tolerant of powered low-level line inputing.

Guitar auto-loop playback for dialing-in power-tube Tone
The low signal levels mean that the shielding of the cable, and the presence of a separate drain/shield are more important, as is a good ground. If you are buying wire from an electronics distributor, some have successfully used Belden 1192A microphone cable. It is rubber insulated, so very flexible.

Live recording question
14dB low sensitivity, 34dB high sensitivity on a Sony with a switch. Fixed 28dB on R70/90. (Yeah what you said, just quantifying it.) If the mic signal is too hot With an extremely low sensititivity mic, I'd expect the FET's noise is increased in relation to the signal, and I'd also have to go through the extra

mic signal path shield
There are 3 amplifiers in the signal path, one for the microphone, one for the mixing and one for the output. Each amplifier can be thought of as having a noise generator at its input and output. If an amplifier's gain is set low, then the signal-to noise at its output is poor because the signal is probably going

A/B tests for 3-stage amp rigs
Not really, as I'm mostly recording outside soundscapes in rather quiet environments where the wanted signal is quite weak and the mics' gain is cranked way up. The other solution, of course, is to filter it acoustically before it gets to the microphone in the first place. Like shooting down airplanes and stopping