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 21 
 on: June 13, 2017, 11:34:50 am 
Started by klaus - Last post by soapfoot
Even if you isolate one variable-- say "frequency response"-- invariably, other variables creep in.

One microphone might be "perfectly flat" in an anechoic chamber directly on-axis at a distance of 1m, but what happens when you're 90 degrees off-axis? What happens when you're 10 cm away, or 20m away?

 22 
 on: June 09, 2017, 02:34:42 pm 
Started by DML - Last post by truff
We only have DMR-4000s here, but as I recall an advantage of the DMR-2000 vs the DMR-4000 was that while fast spooling on the 2000 the tape is unthreaded from the transport path.  This was more kind to tapes but I believe might also mean no TC while fast winding.

Have you tried reaching out to Sony Music Studios or maybe one of the DADC plants?

As you are probably aware, you can still program start and stop points on the DTA that will read off the TC XLR in.  We do this for our 1630 archival transfers.

I suspect there aren't many of us left with working 1630 systems.  I'm curious as to how many tapes you have to transfer?  Most labels here seem to have made transfers to audio files already.

Best,

curly


 23 
 on: June 08, 2017, 09:31:45 pm 
Started by DML - Last post by DML
Hi folks, we are still searching.  The required cable has a 33-pin connector as per the photo, and a 36-pin Amphenol at the other end.  It is needed for the DTA-2000 to display timecode during spooling, but also so that the DTA can control the DMR-2000 to cue it up etc.  You can run without it, but it's a bit messy.

Hoping that a mastering facility with DTA-2000 and DMR-2000 will be familiar with this.  Is there anybody out there?  Cheers - Brett.

 24 
 on: June 06, 2017, 11:37:40 am 
Started by klaus - Last post by Jim Williams
Until a microphone can duplicate the locational sensing of the human ear none of them are even remotely accurate. A person with only one working ear can point and determine a sound's location easily in a 360 degree field.

At this point of microphone design we are at the same point as the romantic painters were in the 17th century before the advent of modern photography. Yes, those paintings are very emotionally pleasing to look at but are not in any sense accurate.

 25 
 on: June 06, 2017, 09:40:26 am 
Started by Mikeyod - Last post by Mikeyod
Hi Doug thanks for asking !
I changed all those components but no luck.
I felt like I needed to look elsewhere for the problem. So, I measured the voltages at the spooling motor transistors. The right hand voltage was always 5.8 volts which to me meant it was working as hard as it could all the time. After changing the diode bridge and the 68 ohm current limiting resistor it came up to about 12 volts, only at the beginning of a reel. When I changed the diode bridge and resistor for the other side things really started happening, the machine tensions went all over the place. After resetting them I had 25 volts on the right side. Today I'm going to change the 10 ohm resistors that are right on the RCA411 spooling motor transistors and see what happens.
  The manual says for 1.080.384 card. Stopped 126 volts, I get 165. Play 65 volts, I get 25 volts.
Rew/Ffwd 6 volts, I get 5.8 volts. So, I'm trying to make heads or tails out of this.
What do you think ?

Thanks, Mikeyod
 

 26 
 on: June 05, 2017, 11:35:13 pm 
Started by Noah Scot Snyder - Last post by Noah Scot Snyder
I did ask Martin, and Andreas Grosser as well as Berhard Vollmer and many other sources that were all generous with their knowledge, but no one had any info on the CM9b capsules or this version of the 221. They do sound great and I like the M934A capsule as well. It sounds different from my M221B with 934B capsule but has its own beautiful tone.

 27 
 on: June 05, 2017, 07:40:34 pm 
Started by Mikeyod - Last post by radardoug
Mikeyod, any joy on this??

 28 
 on: June 05, 2017, 01:29:00 pm 
Started by RuudNL - Last post by klaus
Your ears hear the complete mic, including the capsule. Your "Mess-Eingang" frequency response does not incorporate the capsule's contribution to the sound of the mic. As I mentioned earlier, you need to disassociate the capacitor value used for the calibration input from the mic's amp response. Changing that value has no bearing on the mic's overall frequency response, with the capsule as source.

If anything, in my experience, Neumann's mic amps (not capsules!) are uniformly tight in tolerance, measuring rarely more than 1/2 dB deviation from mic to mic.

 29 
 on: June 05, 2017, 12:49:52 pm 
Started by klaus - Last post by klaus
Can we really make a distinction between “colored” and “accurate” microphones? Who decides what mic falls into what category, and on what basis?

Proponents invariably define an “accurate” mic as one that does not add to or take away from, or in any other way alter the musical event: what goes in comes back out, exactly and precisely.

I think the premise that such a microphone currently exists is false. "Accurate" means that no audible or measurable difference could ever be claimed between brands and models, because, by definition, any “accurate” mic you chose would sound exactly like the next, given the same polar pattern. 

The reality looks different. Some like the sound of one mic they believe is 'accurate'. Others like the sound of a different mic, with the same claim of accuracy. But if there is a 'sound' (i.e. color), which one then is accurate?

It’s frustrating to read discussions of the term 'accurate' in forum posts, because quasi-scientific arguments are used to prove something that, in my opinion, is not currently provable, given the available (and rather primitive) parameters available to quantify data related to sound.

End (or start) of discussion...

 30 
 on: June 03, 2017, 11:53:57 am 
Started by rbond - Last post by panman
Hi Russell, I found this in my archives by accident. The only difference from yours looking from outside seems to be the bass roll-off.

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