Thanks, Nick and all
We are looking for a cost effective preamp for Raspberry Pi based audio str=
eamers.
We'd like to be able to use something like the Primo EM173 you point to. Th=
e Pi needs a preamp and usb audio-in, ideally with PIP to the microphones.=
If anybody knows of a solution we could buy or make or get made, that would=
be great.
Thanks
Grant
On 29 Oct 2013, at 08:34, wrote:
> E-Mail group of individuals interested i Group
> 6 New MessagesDigest #5947
> 1aRe: 3.5mm recording input crackle by nick_felmicamps
> 1bRe: 3.5mm recording input crackle by madl74
> 1cRe: 3.5mm recording input crackle by "Klas Strandberg" klasstrandberg
> 1dRe: 3.5mm recording input crackle by "Peter Shute" pshute2
> 2aME66/K6 for sale by "Emanuele" lamacchiacosta
> 3aRe: some questions about equipments. by lecarmo
>
> Messages
> 1aRe: 3.5mm recording input crackle
> Mon Oct 28, 2013 3:03 am (PDT) . Posted by:nick_felmicampsThank you all f=
or your kind words about our FEL preamps and cables. As mentioned the 3.5 S=
J preamp does not pass PIP on to the microphone, there just isn't enough cu=
rrent available after powering the amp.
>
> The cables Vicki mentions have moulded right angle 3.5 mm plugs, gold pla=
ted (for better or worse!), the cable is thin and light weight, yet fully s=
creened so ideal for small recorders.
>
> http://www.micbooster.com/products/felconnectorsand.html
>
> Peter, our postage charge is only 1.50 GBP so it should not increase the =
cost of an order too much, though it will take a week or more to reach you.=
>
> Nick Roast. FEL Communications Ltd. UK
>
>
> ---In <> wrote:
>
> Peter,
>
> I have sourced plugs from various places but don't recall where
> exactly. I know I bought some right angled gold-plated plugs ready-
> wired, with bare wires at one end, from FEL in UK, and these have
> proved very useful.
>
> Vicki
>
>
>
>
>
> On 28/10/2013, at 10:32 AM, Peter Shute wrote:
>
> > Do you know anywhere to buy that connector locally, Vicki? The
> > postage from the UK doubles tha price.
> >
> > I only use this particular recorder with PIP mics, so no chance
> > it's an incompatibility problem.
> >
> > I assume what was meant by "unsuitable for field work" was that
> > there's a more suitable solution, but it's not in my price bracket.
> >
> > Peter Shute
> >
> >> -----Original Message-----
> >> From: =
oups.com
> >> m("yahoo","naturerecordists");=">=
groups.com] On Behalf Of vickipowys
> >> Sent: Monday, 28 October 2013 8:45 AM
> >> To: =
ps.com
> >> Subject: Re: [Nature Recordists] 3.5mm recording input crackle
> >>
> >>
> >>
> >> I've happily used Neutrik right-angled gold-plated 3.5 plugs
> >> with my LS10, no problems, and they've had quite a lot of use
> >> too. I take care not to jiggle the connector when I am making
> >> a recording. Right- angled plugs are good because they don't
> >> put as much strain on the socket. When I switch over from
> >> using PIP electrets to a mono K6 mic I always turn off the
> >> PIP via menu before using the self-powered K6.
> >> If you don't, that can cause crackles.
> >>
> >> Someone said that 3.5 connectors 'are not suitable for field
> >> work', of course they are! Whatever equipment you use, work
> >> around the limitations. We have some truly wonderful
> >> equipment available these days, compared to what was on offer
> >> twenty years ago.
> >>
> >> Vicki
> >>
> >> On 28/10/2013, at 8:22 AM, Peter Shute wrote:
> >>
> >>> Dan Dugan wrote:
> >>>
> >>>> The answer is a shot shot of Caig DeoxIT D-5 on the plug,
> >> then insert
> >>>> and rotate. All better. Nothing better. It will have to be
> >> repeated,
> >>>> the 3.5mm connector is unreliable by design. Caig makes
> >> little spray
> >>>> cans and other applicators to go to the field with you. Us
> >> older guys
> >>>> remember it as Cramolin.
> >>>
> >>> I'll bear that in mind in case it gets worse. I'm seeing some
> >>> conflicting advice now:
> >>> - Use gold connectors to avoid tarnishing problems.
> >>> - Don't use gold connectors because tarnishing can be worse
> >> when the
> >>> gold wears through.
> >>> - Use a short "socket saver" cable permanently plugged in to avoid
> >>> wear.
> >>> - Don't leave connectors permanently plugged in, they'll corrode at
> >>> the point of contact.
> >>>
> >>> It sounds like there is no perfect solution, and I will
> >> just need to
> >>> be careful. I will work out some kind of plug protector so the tip
> >>> can't hit the ground if I drop it, and I'll start cleaning
> >> the tip and
> >>> socket occasionally (with alcohol or DeoxIT instead of just
> >> my shirt),
> >>> and I'll twist the plug a couple of times each time I insert it.
> >>>
> >>> Peter Shute
> >>>
> >>
> >>
> >>
> >>
> >>
> >
> > ------------------------------------
> >
> > "While a picture is worth a thousand words, a
> > sound is worth a thousand pictures." R. Murray Schafer via Bernie
> > Krause.
> >
> > Yahoo! Groups Links
> >
> >
> >
>
> Reply to sender . Reply to group . Reply via Web Post . All Messages (19)=
. Top ^
> 1bRe: 3.5mm recording input crackle
> Mon Oct 28, 2013 2:44 pm (PDT) . Posted by:madl74> I assume what was mean=
t by "unsuitable for field work" was that there's a more suitable solution,=
but it's not in my price bracket.
>
> Peter,
>
> What I meant was to take the home environment into the field and keep the=
> 3.5's clean and dry and with no movement.
>
> As for crackle, the major source is with PIP. With low mic level audio,
> slight misconnections only vary the level very briefly, but with 2V or so=
of
> DC PIP added, the slightest increase in contact resistance in a plug is
> applied to over 0dB in DC volts, in a mic circuit handling under -60dB. W=
ith
> 3.5mm jacks and sockets, only a tiny area of each connection makes contac=
t,
> so any movement is likely to cause trouble.
>
> I can remember when XLR plugs were coming into use instead of plugs twice=
> their diameter used by STC, Coles, etc. XLR's were designed by Cannon to =
be
> reliable and robust. This new range of "X" plugs incorporated a locking
> mechanism (the "L") and resilient rubber mounting of the female sockets (=
the
> "R"). Instead of jack plugs with a single point of contact, the plugs mee=
t
> in more than one area, usually using two sprung strips. Subsequently,
> Neutrix (pronounced "noytricks") mounted both halves rigidly and mad=
e the
> connectors resilient, and we have the present day XLR series.
>
> David Brinicombe
>
> Reply to sender . Reply to group . Reply via Web Post . All Messages (19)=
. Top ^
> 1cRe: 3.5mm recording input crackle
> Mon Oct 28, 2013 6:15 pm (PDT) . Posted by:"Klas Strandberg" klasstrandbe=
rgDavid, all,
>
> I partly disagree in this hate campaign against 3,5 mm and plug in power.
>
> Since I started running plug in power a few years ago, I never have
> problems with mini-jacks, unless worn out gold plated contacts on head ph=
ones.
>
> The by far most common problem in my workshop are cables which have
> broke where the XLR housing ends.
>
> Long ago, buying gears with XLR's meant buying quality. Vice versa,
> stuff with mini jacks were made for the poor ones and bad.
> That is not the case anymore. Mini jack gears might be really good
> and XLR stuff might be bad.
> Today there is no reason to feel "amateurish" because you use mini-j=
acks.
>
> I have two Zoom H4n and the XLR inputs are broken on both of them.
> (3,5 mm works)
>
> There are small closed bags that you can buy anywhere to clean your
> eye glasses. They work fine to clean connectors too.
>
> Klas.
>
> At 22:44 2013-10-28, you wrote:
> > > I assume what was meant by "unsuitable for field work" was that
> > there's a more suitable solution, but it's not in my price bracket.
> >
> >Peter,
> >
> >What I meant was to take the home environment into the field and keep th=
e
> >3.5's clean and dry and with no movement.
> >
> >As for crackle, the major source is with PIP. With low mic level audio,
> >slight misconnections only vary the level very briefly, but with 2V or s=
o of
> >DC PIP added, the slightest increase in contact resistance in a plug is
> >applied to over 0dB in DC volts, in a mic circuit handling under -60dB. =
With
> >3.5mm jacks and sockets, only a tiny area of each connection makes conta=
ct,
> >so any movement is likely to cause trouble.
> >
> >I can remember when XLR plugs were coming into use instead of plugs twic=
e
> >their diameter used by STC, Coles, etc. XLR's were designed by Cannon to=
be
> >reliable and robust. This new range of "X" plugs incorporated a locking
> >mechanism (the "L") and resilient rubber mounting of the female sockets =
(the
> >"R"). Instead of jack plugs with a single point of contact, the plugs me=
et
> >in more than one area, usually using two sprung strips. Subsequently,
> >Neutrix (pronounced "noytricks") mounted both halves rigidly and ma=
de the
> >connectors resilient, and we have the present day XLR series.
> >
> >David Brinicombe
> >
> >
> >
> >
> >------------------------------------
> >
> >"While a picture is worth a thousand words, a
> >sound is worth a thousand pictures." R. Murray Schafer via Bernie Krause=
.
> >
> >Yahoo! Groups Links
> >
> >
> >
> Telinga Microphones, Botarbo,
> S-748 96 Tobo, Sweden.
> Phone & fax int + 295 310 01
> email:
> website: www.telinga.com
> Reply to sender . Reply to group . Reply via Web Post . All Messages (19)=
. Top ^
> 1dRe: 3.5mm recording input crackle
> Mon Oct 28, 2013 7:09 pm (PDT) . Posted by:"Peter Shute" pshute2That's go=
od to hear, although I note you say "partly disagree". I assume if I'd been=
more careful about dropping the lead on the ground, and cleaned the tip oc=
casionally then I wouldn't have had any trouble.
>
> I also probably would have fixed the problem sooner if I carried headphon=
es to at least check the signal before leaving the equipment. At least I ha=
ve one good channel from the two recordings that were affected.
>
> Good idea about the cleaners, I've put it on the weekly shopping list.
>
> Peter Shute
>
> ________________________________
> From: =
On Behalf Of Klas Strandberg
> Sent: Tuesday, 29 October 2013 12:13 PM
> To:
> Subject: Re: [Nature Recordists] Re: 3.5mm recording input crackle
>
> David, all,
>
> I partly disagree in this hate campaign against 3,5 mm and plug in power.
>
> Since I started running plug in power a few years ago, I never have probl=
ems with mini-jacks, unless worn out gold plated contacts on head phones.
>
> The by far most common problem in my workshop are cables which have broke=
where the XLR housing ends.
>
> Long ago, buying gears with XLR's meant buying quality. Vice versa, stuff=
with mini jacks were made for the poor ones and bad.
> That is not the case anymore. Mini jack gears might be really good and XL=
R stuff might be bad.
> Today there is no reason to feel "amateurish" because you use mini-j=
acks.
>
> I have two Zoom H4n and the XLR inputs are broken on both of them. (3,5 m=
m works)
>
> There are small closed bags that you can buy anywhere to clean your eye g=
lasses. They work fine to clean connectors too.
>
> Klas.
>
> At 22:44 2013-10-28, you wrote:
>
> > I assume what was meant by "unsuitable for field work" was that there's=
a more suitable solution, but it's not in my price bracket.
>
> Peter,
>
> What I meant was to take the home environment into the field and keep the
> 3.5's clean and dry and with no movement.
>
> As for crackle, the major source is with PIP. With low mic level audio,
> slight misconnections only vary the level very briefly, but with 2V or so=
of
> DC PIP added, the slightest increase in contact resistance in a plug is
> applied to over 0dB in DC volts, in a mic circuit handling under -60dB. W=
ith
> 3.5mm jacks and sockets, only a tiny area of each connection makes contac=
t,
> so any movement is likely to cause trouble.
>
> I can remember when XLR plugs were coming into use instead of plugs twice
> their diameter used by STC, Coles, etc. XLR's were designed by Cannon to =
be
> reliable and robust. This new range of "X" plugs incorporated a locking
> mechanism (the "L") and resilient rubber mounting of the female sockets (=
the
> "R"). Instead of jack plugs with a single point of contact, the plugs mee=
t
> in more than one area, usually using two sprung strips. Subsequently,
> Neutrix (pronounced "noytricks") mounted both halves rigidly and mad=
e the
> connectors resilient, and we have the present day XLR series.
>
> David Brinicombe
>
> ------------------------------------
>
> "While a picture is worth a thousand words, a
> sound is worth a thousand pictures." R. Murray Schafer via Bernie Krause.
>
> Yahoo! Groups Links
>
> Telinga Microphones, Botarbo,
> S-748 96 Tobo, Sweden.
> Phone & fax int + 295 310 01
> email:
> website: www.telinga.com
> <http://www.telinga.com/>
>
>
> Reply to sender . Reply to group . Reply via Web Post . All Messages (19)=
. Top ^
> 2aME66/K6 for sale
> Mon Oct 28, 2013 3:55 am (PDT) . Posted by:"Emanuele" lamacchiacostaHello=
,
>
> by mistake I bought a used Sennheiser K6/ME66 but I really don't need it=
> and is sitting on the shelf.
> If anyone is interested I give it away at the same price I bought it:
> =A3210 plus delivery.
> The microphone is in London, UK.
>
> Thanks a lot.
>
> Emanuele
>
> Reply to sender . Reply to group . Reply via Web Post . All Messages (7) =
. Top ^
> 3aRe: some questions about equipments.
> Mon Oct 28, 2013 6:02 pm (PDT) . Posted by:lecarmoDavid,
>
>
> Thanks for the response.
>
>
>
> My apologies to return so late on this subject, but things were completel=
y out of order here.
>
>
> I believe that I've been thinking "into the box" of the Dolby LtRt rules =
for so long (although the Dolby's analogue system still saves the show when=
Dolby 5.1 "goes sour") that I've got kind of short sighted by the phase-co=
herent/non-coherent "small world" of channel assignment allowed by the Dolb=
y LtRt encoding system.
>
>
> I referred again to the Shoeps' MS array page and found out they propose =
the use of the front cardioid mic as the center channel and the figure-eigh=
ts as the sides, using the three channels to produce what used to be done b=
y matrixing to a "true" stereo mixdown. It won't work on LtRt but it should=
sound very nice in any system that interprets whatever sound as "discrete"=
;.
>
>
> Just wondering how Juan Pablo could produce a double MS using just one om=
ni as the mid for both ends.
>
>
> Luis
>
>
> ---In <=
> wrote:
>
> > I would add that a double MS will give you 4 discrete channels, which i=
s a great surround sound experience, but it lacks the center
> > channel of a 5.1 system.
> >
> > A double MS array is an agile "point and shoot" type of gear, which is =
very handy for documentaries, and if you have a narrator or whatever spoken=
material covering the center channel, no one will really notice its absenc=
e. But if one has the time for setting up a bulkier gear and are in the fie=
ld to record just the sound I would go for a 5 channel setup.
>
> Luis,
>
> I haven't used a Schoeps myself but a former colleague of mine is now a
> Schoeps dealer and hires them out. The double M/S is useful for orchestra=
> recording as a space and ambience mic and its great advantage is that you=
> can adjust its lobes remotely by matrixing.
>
> It is essentially a indoor mic and generally not suitable for outdoor wor=
k.
> As far as I understand it, you can derive a front mid channel with a
> hypercardioid pattern, and independently matrix four surround sound chann=
els
> producing a 5.0 setup. All a 5.1 adds is s derived mono LF channel.
>
> The disadvantage of a double M/S is its wide lobe angles and thus less
> ambience reduction in uncontrolled situations, for instance with noise fr=
om
> top and bottom directions. I note also the references to needing a sound=
> engineer in the PDF I posted. Where it wins out is in controlled studios =
or
> concert halls where it gives you effectively several directional mics all=
at
> one three dimensional point source and you can vary these remotely.
>
> David Brinicombe
>
> Reply to sender . Reply to group . Reply via Web Post . All Messages (24)=
. Top ^
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