Related topics

Low-cut filter circuit?
A direct box is used to bring the pickup level which is High-Z down to mic level, which is Low-Z (or is it the other way around?) Well, kind of! Technically, a direct box's main purpose is to (1) change the topology of a signal from unbalanced (2 wires) to balanced (3 wires), which improves noise rejection;

Taking your voice to the gym
Can you try a different mic ? The problem is that steeper filters are harder to build and result in more signal loss above the passband. But it's okay because they have the Shure shock mounts on them and good windscreens, and there's very little low frequency trash on the mike, just lots of kick drum.

Phantom power question
And if you turn the volume down low enough, the amplifier hiss may be the only thing you record. You can weaken the earphone signal with a resistive divider (two resistors in series, with the earphone signal feeding accross both, but the mic signal taken off accross only one). An 11 to 1 divider could be made with

Audio interface grounding question
With the advent of consumer digital recorders, used pro analog recorders are becoming available for surprisingly low prices. Now may be the time for you to buy a microphone and recorder and make your first! 14.1 What is DAT? What is its status today? DAT (Digital Audio Tape) is currently the standard professional

side by side microphone tests
That's the whole point of digital recording, that it bypasses the problems associated with tape, namely, high SNR at low recording levels and distortion at high There's noise coming in the front end of the A/D converter, which gets digitized, stored, and reproduced just as accurately as the mic signal (well,

HELP: What is "headroom"?
BBN documented a level of 100 db re 2 X 10^-5 Newton per square meter at the microphone as the threshold for activation of the limiting circuit. and the absence of interaction between the continuous interference with a silent station whose radio signal belonged to a pair that produced the heterodyne tone.

Battery Box
It basically converts your low impedance mic signal to a high impedance signal that the 1/4" inputs of the 4-track will be happy with. If you were to just use a XLR-1/4" cable then no impedance conversion would take place, and you will lose some of your signal. The best option of coarse is to get a little Mackie

Speaker signal and mic signal in the same snake?
005 would be better if mic is Hi-Z) and touch the shield at the connector end at the podium to the L (low side) of the audio from the mic to the This cured the problem because the shield reduced the AM station (CB radios in our case as they drove by the church) signal because the shield blocked it.

Kick Mic Signal too hot?
Using the Q-10 With Phantom power and no pre-amp, my baby bottle Mic signal, which is supposed to be a very hot mic, is quite low, barely showing up as a wave form in the Sonar track view without increasing volume afterwords. Sonar expects me to adjust the record level with the Q-10 mixer and there apparently is no

FAQ: rec.audio.* Recording 7/07 (part 7 of 13)
Running it through the 1/4" jacks in a mic mixer/preamp, it requires a lot of gain to get a usable signal, and consequently a lot of noise. But, running it directly into a tape deck via the 1/4" jacks as I did years ago with the one my parents had, it sounds fine, hardly any noise at all. It is a low-Z unbalanced

Reasonable Doubt: Car # 10 Where Are You?
With this design I'll have a good low input Z and still retain reasonable gain. I'm thinking of a paralleled 12at7 with a 560R Rk and a 56K Rp. A large input cap I figure I need a total voltage gain of about 300-400 to get that mic signal up to line level. I would actually like to have an open loop design to

Jo And Jayne. Shilling For Idi. Roots. Soup Wick. Change. Batman ...
LeBaron & Alrich walki...@thegrid.net rec audio pro tferrell wrote: The problem: Because his music is so dynamic, I'm concerned that if I optimize pre levels for the loud stuff, that the quiet numbers will be too low. So...I thought about splitting the mic signals with some whirlwind transformer isolated splitter

Splitting a mic signal to hedge my bets...
Thor m...@arms.com alt computer Check to see whether your sound drivers allow for a mic signal boost setting. Go to the windows mixer panel, The input level is very low, to the point where it's unusable as a mic. I've tried two mics, and both were the same. All settings both within windows 2000 pro and the

OT - Radio Station heard over mic input on Church PA System
2) (unrelated to (1)) Should signal ground be connected to the case in a snake/stagebox? I believe signal ground should be connected to the xlr connector I still have a 50' 6-ch mic snake that's just about unusable due to its uncanny ability to invent hum and buzz at low levels in different lines with seemingly

Low mic signal?
gmail.com wrote: It seems counterproductive to step a line level signal down to mic level which then requires gain to get it back to line level. As in Rane's case it _can_ be done provided sufficiently low source impedance and appropriate loading. I suspect the synth's output to be high enough to drive an Imp

Low-cut filter circuit?
While you might have a 30 dB section of that range that is relatively linear, the range of microphone outputs available will be outside this range. Ie a low-output dynamic mic used on a harp would generate too little signal for the typical SR console, resulting in more noise in the final mix, and less dynamic range

Mic recording levels, high/low imp? transformer question.
If the sound you want to measure has a narrow bandwidth then filtering the mic signal to match will help get you down to the 10 dBA figure. Wrong. Narrow band filtering eliminates the ability to do A- weighted fiiltering: ** The OP wanted to measure a low level sound - it might be a tone. Filtering the mic's signal

-10 dBV -> +4 dBu Transformer Conversion Question
aa1qps2cnyvmN% fotor...@gmx.de: 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 A low cut isn't going to eliminate them, and any filter that *can* take them out will remove most of your desired signal as well.

IBP anecdotes... was: Out of phase, out of mind
This tour heralds a new approach, the new piano has a stereo sample built in, and originally we were going to use this as a last resort spare signal. Gone are the days of low end feedback, hi pass filters up on the mics, let the sampler do the bottom end. The Fender Rhodes is mic-ed with 2 SM57s one on each

High Z/low Z conversion -- line level or not
If not, will turning the gain all the off let the signal go through without coloring the sound? The gain control has little or nothing to do with "color. In that case, you probably should drop "low cost" from your list of requirements. Is the two-mic RME Firewire thingy too expensive (about $1000)?