--- In "Mike Rooke" <> wrote:
>
> Since we were discussing the Shure WL183 / MX391O:
>
> The Sony D50 set to gain 5 will show -1dB Full scale re 94dB. with the Sh=
ure capsule.
>
> The low noise omni (notice I still don't give the part number?) capsules =
require gain 4.3 to show the same, thats about 10dB less.
>
> For future reference when using the low noise omni capsule, a gain of 3 i=
s sufficient for the Sony D50 to capture the full dynamic range, add the li=
miter and its very versatile.
>
> ----
>
> In terms of the LS10, 94 dB will show -1dB full scale at gain level 2 whe=
n HIGH sense is
> used, and around -23dB FS at the same level with LOW sense for the capsul=
e I measured
>
> Thus LOW level 3 gives around 20dB headroom above 94dB. OR without reduci=
ng the noise floor, gain level 7 will show -5dB Full scale re 94dB SPL @ 1K=
hz.
>
> The Sony D50 is still quieter / has a more pleasing noise when using the =
low noise omni capsules than the Olympus LS10. Which i suspect is due to it=
s lower pip voltage which results in a less sensitive capsule.
>
> In summary LOW and gain 7 is sufficient for field recording if there is n=
o sound pressure above 100dB.
>
> I prefer Ribbon Mics when the SPL gets going.
>
> BR
> Mike.
>
I find it a rather pointless exercise expounding the virtues of a particula=
r microphone system with different audio recorders. It would be far better =
finding a microphone system which provides the best match for a particular =
recorder. Reference comments made about better noise levels at particular g=
ain settings, it is known that with modern amplifier chips, the best signal=
to noise ratio will be when the amplifier is being fully driven, ie. at ma=
ximum gain. Both the PCM-M10 & LS-XX discussed have virtually identical low=
est equivalent input noise [EIN (A)] at approx. -122dBu with maximum gain s=
ettings 'High 10', but the LS-XX can run with a 60% 'hotter' microphone inp=
ut than the PCM-M10, hence the need for a different microphone system for t=
he LS-XX compared to the PCM-M10.
The possible reason for capturing better low noise recordings (for low leve=
l ambience) at particular gain settings far removed from high gain, requiri=
ng the use of post-edit-amplification to make up the difference, is most pr=
obably due to the fact that the microphone is not best matched to the recor=
der.
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