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 1 
 on: Today at 12:56:23 pm 
Started by karlengel - Last post by David Satz
Klaus, thank you for your kind words. I don't know much about this beyond the basics. There are possible causes of distortion in RF modulator/demodulator circuits that linear "baseband" circuits don't have. These can be minimized, though, and the capsule (so laden with artifacts of its own, if that is what you would call them) can still determine the sound quality of a microphone.

The "RF-ness" of a microphone describes only the circuitry immediately around its capsule. The rest of the amplifier can have any characteristics that audio design allows. Sennheiser uses the non-RF parts of the circuit in their MKH-series microphones to shape the frequency response of the microphones, for example. This lets them use capsule designs that would otherwise be considered "underdamped"; then they compensate electronically to flatten and broaden the frequency response.

Of course that can also be done in DC-polarized microphones, and is done in some cases as you know. The point is that the circuitry closer to the output side of an "RF" microphone would be familiar territory to anyone who works with more traditional condenser microphones.

--best regards

 2 
 on: Today at 05:32:25 am 
Started by karlengel - Last post by klaus
Thank you, David, for your precise, jargon-free explanations of technical processes on this forum.
It's refreshing to read your posts. They keep reminding me that in writing, less is always more.

Regarding the efficiency and fidelity of RF condensers: Does the modulation/de-modulation process and its associated oscillator circuit components add more sonic artifacts, compared to those that are inherent with the classic (DC-charged) condenser principle?

I have not had enough experience with RF mics to be able to tell.

 3 
 on: Yesterday at 08:24:45 pm 
Started by karlengel - Last post by David Satz
Yes. It means that the microphone contains a high-frequency oscillator circuit that includes the capacitive capsule as a tuning element. The frequency of this oscillator circuit deviates in proportion to momentary changes in sound pressure at the capsule. The output is then demodulated, as in an FM radio receiver, to obtain the audio-frequency signal.

I find Røde's terminology rather awkward. There's no such thing as an RF electret, so it isn't necessary to say both "external" and "RF-biased" at the same time; "RF-biased" implies "externally biased". "RF-modulated" vs. "FET" would be a somewhat false dichotomy, however, since an RF circuit can use FETs.

A better classification--the one that I see used most often in technical literature--is radio-frequency vs. audio-frequency circuitry. Of course the latter term is needed only when a contrast has to be drawn between the two approaches.

--best regards

 4 
 on: Yesterday at 07:17:06 pm 
Started by karlengel - Last post by karlengel
Sorry if not high-end enough but I figured folks here would know.
The Sennheiser MKH range uses an RF Modulated design principle which sets it apart from FET designs as I understand it. Rode's NTG3 (and NTG8) are described as "external RF biased". Is this the same thing?

 5 
 on: February 21, 2019, 11:08:42 am 
Started by Avgatzeblouz - Last post by mbrebes
I believe Tim Campbell does have the mounting adapters to mount his capsule in a 414.

 6 
 on: February 20, 2019, 05:31:03 am 
Started by Scott_Smith - Last post by Timtape
Something you almost never find in factory measurements is the proximity effect's variance.
This is, in practice, one of the most important factors when recording musical instruments or voices.

Yes it seems increasingly rare. Even a single plot published often has no reference to distance.

On another forum a fellow bought the latest Shure stage vocal mic, the expensive KSM8. It is ingeniously designed for minimum proximity effect in a cardioid mic. He  tried it and gave it to his performer friends to try it also. All of them rejected it. It seems that over time they had become so used to proximity effect  that  they couldn't cope without it and went back to the much cheaper mic.


Some do boost the upper bass, some the lower and some are especially constructed to reduce the boost like the Electrovoice RE20 with it's "Variable D" system.

Yes and the EV principle goes back to the 1950's.

https://www.prosoundweb.com/topics/education/variable_d_and_beyond_classic_ev_microphone_design_evolution/



 7 
 on: February 20, 2019, 12:56:52 am 
Started by Avgatzeblouz - Last post by afterlifestudios
Excellent. Thank you very much.


 8 
 on: February 20, 2019, 12:18:30 am 
Started by klaus - Last post by klaus
Please forgive the shameless abuse of my own forum rules (benevolent dictators take liberties sometimes): 
I am in search of a pre-1966 Strat or Tele (preferred), stock, unmodified, with original frets.
Would entertain a trade/partial trade for a collector's grade mic.

Offered on the usual sites, I have lately seen nothing but overpriced crap - which is not surprising, as I often tell clients: the cleanest mics never see eBay or Reverb, but usually find a good home through trusted collectors and their networks.

I will delete this post as soon as someone contacts me with a find at: klaus@germanmasterworks.com

Thanks for your attention, KH

 9 
 on: February 19, 2019, 11:26:20 pm 
Started by Avgatzeblouz - Last post by klaus
https://www.barryrudolph.com/recall/manuals/akg414eb.pdf
Read page 3, with picture of jumper bridge shown.

 10 
 on: February 19, 2019, 10:26:10 am 
Started by Oleh Malyy - Last post by gtoledo3
You may want to consider testing the wall socket you are plugging into for ground continuity. If the socket doesn’t have proper grounding there is a possibility it can result in this kind of hum.

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