Thanks for the clarifcation Klas. There is
myth-busting to do. Last night I came across,
http://www.digitraxx.com/ma_dmp3.html
Any professional recording engineer will tell you
that quality microphone/instrument preamps are
just as important as the microphones themselves.
Unfortunately, the preamps found in most
affordable mixers don't do justice to the rest of
your gear=8A and most high-quality preamps cost
more than your computer. That's why we made the
affordable new DMP3.
As for other factors that only a expensive pre
can afford in addition: headroom and distortion,
in the 20+ years I've been recording, I've lost
maybe 3 minutes of sound from not having enough
headroom and even though I play the trumpet, no
one has ever encouraged me to record it.
Rob D.
=3D =3D=3D
At 1:50 PM +0200 7/28/05, Klas Strandberg wrote:
>"You must have a good mic preamp, otherwise your recordings get too noisy"=
.
>
>I have heard that statement since I started recording back in the 60's.
>But is it true?
>That is the point of this discussion.
>The statement is not true. And it is only a question of logic:
>
>A condensor microphone already has an internal mic pre-amp.
>Looking at the Rode NT1A, - for example - this preamp is "better" than the
>capsule. Errors with the frequency curve and other un-linear errors are
>caused by the acoustical characteristics of the membrane / electrode
>design, not by the electronic's.
>
>So - again - the microphone already has a "perfect", fully optimized
>mic-preamp.
>All condensor microphones / electrets have such internal pre-amps, even if
>some such pre-amps are not as good as the Rode / Sennheiser etc.
>
>But if the internal pre-amps of cheap microphones are noisy, the noise is
>already there, and all you can do with a HQ pre-amp is to amplify it. (Can
>anyone deny this???)
>
>The internal microphone preamp could (in theory) produce a line output!!
>Should you still connect it to a HQ microphone amplifier? Guess not....
>
>So why isn't it producing a line output?
>Answer: You can't drive a line amplifier on phantom power. The available
>current is too low. You will get distortion.
>
>But running on phantom power, - the capsule/ output amp combination can
>still produce high enough voltage (mv/Pa) to override the noise of the
>following preamp!
>Even if it is a noisy preamp!
>
>IF YOU CONNECT SUCH A HIGH OUTPUT MICROPHONE TO A NOISY PREAMP - YOU WILL
>STILL HEAR ONLY THE MICROPHONE SELF-NOISE, PRODUCED BY THE MEMBRANE/
>ELECTRODE DESIGN AND THE INTERNAL ELECTRONICS!
>
>It is just logics.
>
>When not using phantom power, but a battery or plug-in-power - the
>available voltage and current is still enough to give enough low-noise
>(dbA) and high output (mv/Pa) using modern FET-IC's for less than a dollar
>/ each!
>Sennheiser ME series, running on 1,5 volt battery - or the Telinga EM23
>running on plug in power - will still have enough high output to override
>the self-noise of a typical MiniDisc mic pre.
>
>I say again: You cannot improve self-noise figures with a HQ mic-preamp,
>unless you are using the wrong microphone! (Low self noise with a too low
>output (mv/Pa)).
>
>What you can improve with a HQ pre-amp, is distortion figures and headroom=
.
>The pro music studio guys and the pro on-location technicians, film-makers
>etc, need that.
>
>Conclusion: I do not deny that there is a use of HQ mic preamps. What I do
>deny is the statement: "You must have a good mic preamp, otherwise your
>recordings get too noisy". It is a 20 year old statement which lives on by
>itself.
>
>A HQ mic preamp is suitable when you want balanced inputs and phantom
>power, to drive certain mic's, or just because you want XLR plugs because
>you don't trust the small mini-jacks. Fine!
>Or if you want a new toy! That is fine too.
>
>But don't spend money on a HQ mic preamp because you want to improve
>self-noise figures!
>
>Klas.
>
>
>At 19:44 2005-07-27, you wrote:
>
>>I am not sure what your point is (more than some discussion why you
>>are satisfied what you have but at the same time would buy more
> >expensive gear if you could afford it).
>>
>>While I have not measured the Sony MD model Rob is discussing I did
>>at one time put my old HP Audio Analyzer and some other tools to good
>>use measuring a few other consumer MD:s in hope I could use them
>>instead of some heavier recorder. And there is a big difference. Not
>>so much noise level as in various forms of distortion that is
>>especially apparent when you feed in short stereo bursts (probably
>>the powersupply lines in a consumer MD is not stiff enough - or its a
>>multo-op-amp chip sharing a single supply-source) and I also looked
>>at the noise characteristic of some key components in the circuits
>>(which usually end up matching the actual sonic character og the
>>preamp pretty well).
>>
>>Now this may not be important at all when you want to record a
>>specific object with a highly directional mic. Noise matters more
>>than anything and you are not listening to the end result in a way
>>(and on replay equipment) that you would notice most of the
>>shortcomings.
>>
>>But in other types of recording capturing as much as possible of the
>>beauty and impact of a natural soundscape makes a real diff. And here
>>you probably need any help good quality equipment may give you.
>>
>>The internet is always so full of opinions and "advice".
>>Fieldrecordings are made for different purposes and with different
>>scope and one simply cannot generalize equipment advice like often
>>done ... there is no perfect (or "best") mic, pre or recorder on the
>>market - you simply have to balance your choice to your own personal
>>preferences, budget and demand. You cannot always rely on the
>>equipment choice of others - I have heard some really fascinating
>>fieldrecordings made on portable analog audio cassette recorders, but
>>that does not make me rush out looking to buy one.
>>
>>
>>
>>
>>
>>27 jul 2005 kl. 17.25 skrev Curt Olson:
>>
>> > Rob Danielson wrote:
>> >
>> >
>> >> No doubt people who can afford 722's and Lunatecs will tend to hear
>> >> the improvement in quality they're dollars are paying for.
>> >>
>> >> <snip>
>> >>
>> >> The common belief is that "premiere," low noise, high gain, good
>> >> sound mic preamplification comes only at a cost either in a great
>> >> recorder or a great outboard pre.
>> >>
>> >> <snip>
>> >>
>> >> Klas Strandberg insisted for years that the chips used in the
>> >> consumer
>> >> grade pres shouldn't be the source of this low performance--that
>> >> indeed they are high quality in themselves and that the the noise an=
d
>> >> output performance of th mics _should_ be the limiting factor.
>> >>
>> >> <snip>
>> >>
>> >
>> > Klas Stromberg clarified:
>> >
>> >
>> >> Just like to add and remind:
>> >>
>> >> A costly preamp is needed when you want low noise, low distortion an=
d
>> >> good headroom!
>> >> All three.
>> >>
>> >
>> > Prior to last week I would have kept quiet on this to avoid a
>> > firestorm
>> > of controversy. But the atmosphere has improved, so I'll toss out an
>> > overall perspective I've arrived at over the course of 30 years as an
>> > audio engineer/producer.
>> >
>> > In my career, I've made thousands upon thousands of nationally
>> > syndicated network radio broadcasts, engineered hundreds of live
>> > concert broadcasts for network radio (most of them very large and
>> > complex), recorded & mixed scores of studio albums and jingle package=
s
>> > for local, regional and national clients. On only three or four
>> > occasions have I ever gotten my hands on the most serious high-end
>> > gear
>> > that's available. I say this not to pump myself up, but rather to mak=
e
>> > the point that it is absolutely possible to achieve excellent results
>> > with lower-to-mid-level equipment. I've had little choice in the
>> > matter, and it has forced me to understand the whole process inside
>> > and
>> > out and to develop good working practices and techniques. By contrast=
,
>> > a studio owner I know rather well proudly promotes his collection of
>> > exotic microphones (including a number of rare ancient Telefunken and
>> > Neumann models) and preamps, but routinely puts out poor
>> > recordings. Go
>> > figure.
>> >
>> > Again, I say this is only to offer a perspective. If you don't think
> > > you can afford a Sound Devices 722 or a Lunatec mic pre or a set of
>> > Sennheiser MKH mics right now, don't despair. As Klas has insisted an=
d
>> > Rob has confirmed, the Sony MD mic pres are not the weak link in the
>> > chain that many have thought them to be. Dan Dugan, who is very
>> > familiar with high-end audio gear, called our attention to the
>> > inexpensive Shure 183 as a fine mic for nature recordists. I totally
>> > agree. (But I've discovered that *HOW* you deploy them makes all the
>> > difference in the world. Again, it comes down to working practices an=
d
>> > techniques.)
>> >
>> > I don't despise anyone who has made a commitment to top-line gear.
>> > Believe me, I have a long wish list of my own. But for now, I've
>> > decided to do the best I can with stuff I could afford to replace
>> > if it
>> > ever gets lost, stolen or damaged in the field. There. Now you have m=
y
>> > $.02.
>> >
>> > I'm anxious to see if the new M-Audio recorder lives up to its
>> > promise.
>> > If so, it'll definitely shoot to the top of my short list.
>> >
>> > Curt Olson
>> >
>> >
>> >
>> > "Microphones are not ears,
>> > Loudspeakers are not birds,
>> > A listening room is not nature."
>> > Klas Strandberg
>> > Yahoo! Groups Links
>> >
>> >
>> >
>> >
>> >
>> >
>> >
>>
>>
>>
>>"Microphones are not ears,
>>Loudspeakers are not birds,
>>A listening room is not nature."
>>Klas Strandberg
>>Yahoo! Groups Links
>>
>>
>>
>>
>
>Telinga Microphones, Botarbo,
>S-748 96 Tobo, Sweden.
>Phone & fax int + 295 310 01
>email:
>
>
>[Non-text portions of this message have been removed]
>
>
>
>"Microphones are not ears,
>Loudspeakers are not birds,
>A listening room is not nature."
>Klas Strandberg
>Yahoo! Groups Links
>
>
>
>
--
Rob Danielson
Film Department
University of Wisconsin-Milwaukee
[Non-text portions of this message have been removed]
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