I will make a few notes to add my two cents:
I would love to have a DA-P1 from looking at the specs. I would be
very happy with the output compared to what I use now for ambience
and I record some neat stuff.
The sass in stock configuration is a good ambience mic if you have a
target with a good signal.
The upgrades talked about here for the sass are only important for
faint signal recording.
a ME-62 can not be used in pzm configuration in a sass because of the
side slots and should not be attempted.
A MKH-110 is much more wind sensitive than a ME-62. I still prefer
two me-62's in a foam barrier for ambience as I am picking placement
in the best center of a soundscape I can find and want 360 degrees.
A MKH-110 can be disassembled and built into a sass and the switch
rewired so that a choice can be made between the 110, or the stock
mics which are very nice and flat on louder signals and very wind
resistant.
I don't think that Bob is the proper victim to test the rode mic on.
We need someone who hits the trade shows to test drive this.
Rich Peet
--- In Walter Knapp <>
wrote:
> bobbaub wrote:
> > Walter,
> >
> > I really appreciate your input to my recent post. I have
considered
> > getting the Sound Devices MP2 but I should probably focus on
> > analysing where the noise really resides in my system. Here's
what I
> > have:
> >
> > Tasam DA-P1
> > Crown SASS
> > (2) 3' Monster Cables
> >
> > A simple and mobile unit. I need to start seriously
troubleshooting
> > the recorder and mic. Maybe the preamps on the Tascam are not
good
> > enough?
>
> I've not used a DA-P1, so have no direct experience. It has been
> variously reported that it's pre's are noisy. And also that it's
phantom
> power can introduce noise.
>
> If you have been using the SASS with phantom power from the DA-P1,
try
> some batteries in the SASS to find out if the DA-P1's phantom power
was
> your problem.
>
> You also might try recording with the DA-P1 with no mic at various
gain
> settings. It does not give a true picture of the pre under load,
but
> will expose some problems.
>
> If you can borrow a low noise mic, you will get a lot more info
about
> the quality of the DA-P1's pre.
>
> If most of the unwanted noise is coming from the DA-P1, then the
MP2 may
> be the cheapest way out. It can supply both the phantom power, and
> bypass the DA-P1's pre's. At the annoyance of another lump to cart
about.
>
> I doubt that the cables are the problem. I use Canare Star Quad
cable
> with the high quality end of neutric XLR connectors. The monster
cables
> won't be near as good a quality, but nature recording is not that
> demanding, particularly in short lengths like that. If you are
getting a
> lot of handling noise off the cables, a longer length might help.
The
> original SASS I have is fantastically sensitive to cable noise, a
real
> problem. A section of thin, cloth covered cable near the SASS might
help.
>
> I should point out that the MP2 I have I got as one that had been
bought
> and returned unused, and paid $490. Took me several months of
looking to
> find one that low.
>
> > Is there such a thing as "low noise" PZM capsules? What are some
> > good recomendations for the Sennheiser MKH & ME lines? I've
spent
> > quite a bit of money already but probably nothing compared to
> > everybody else so I'm trying to go as cheap as possible.
>
> Crown, who dominate PZM (in fact they own that name), use
relatively
> noisy capsules across their line.
>
> Low noise is generally associated with larger mics than are used
for
> PZM. For most uses low noise is not as big a issue as it is for us,
so
> there is not a lot of pressure for Crown to develop low noise
versions.
>
> Note I've tested the modified SASS with and without PZM covers on
the
> mics. The PZM covers make the sound worse. They do best as boundary
mics
> where the diaphragm is on the same plane as the boundary. And
definitely
> beat the standard SASS with it's PZM mics.
>
> The first part of choosing a mic is choosing type. In the MKH & ME
> current lineup there is one omni, one cardiod etc. in each line.
So, if
> choosing a omni pattern (for the SASS or spaced omni setups) you
would
> use either the MKH-20 or the ME-62. The MKH-20 has a self noise of
> 10dBA, the ME-62 a self noise of 15dBA. Your SASS is a self noise
of
> about 20dBA. The MKH-20 will cost you about $1200 each, or, if you
are
> lucky off ebay about half that used, each. The ME-62 is about half
that
> price, or maybe less.
>
> If you decided to do a X/Y cardioid stereo, you would be looking at
a
> MKH-40 or ME-64. Again the price is about the same ratio between
and
> there is a similar noise spec, a dB or two above the omni's. Off
ebay
> MKH-40's don't go for as much as 20's. Sometimes as low as $400.
But you
> have to have lots of time to watch.
>
> There is a cardioid that's got really interesting specs, self noise
of
> 5dBA. It's a unknown for nature recording, is a studio mic big and
> bulky, would virtually require a stand I think, and a side mic, but
it's
> price is about $200. It's a risk to try it but might be a real
find.
> It's the Rode NT1A. Note I'm not recommending it to you, but
pointing
> out there are some other choices floating about.
>
> Note as a rule omni's are the least sensitive to handling and wind
noise
> compared to the directional mics. In practice what it takes to deal
with
> those differs little between omnis and others.
>
> Note one pattern you will not find in the ME series is the figure 8
mic.
> This is the necessary mic for M/S stereo, so if considering that,
you
> are into MKH mics, which have the MKH-30 with is a figure 8 mic and
the
> MKH-80 and MKH-800 both multipattern mics that can be set to figure
8.
> That's how I ended up committing to MKH mics.
>
> Note the other thing you need to clear up is if you are simply
trying to
> record something that's too distant for your mic. This is a common
> problem for those beginning in nature recording. And the usual
symptom
> is that you are cranking the gain to full and still getting weak
> recordings. Most stereo systems are limited as to range to
relatively
> close things. If you are trying to get stuff from way out there,
you may
> find a Telinga with DAT Stereo mic a more satisfying choice. Or
even
> spot recording at various locations and getting into mixing your
stereo.
> Which is a tough game.
>
> If it's close enough to get a good enough sound input, even the
original
> SASS will work well. It takes time to learn how to use a mic. You
may
> just need to learn your limitations with it.
>
> > Remember "ambience recording" is what I love to do best.
>
> I like it too. But it's costly to do if you are real picky about
sound
> quality.
>
> You might find Bernie Krause's "Wild Soundscapes" book interesting
to
> read. Not so much for equipment recommendations, but for ideas.
>
> Walt
>
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