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 on: April 16, 2021, 03:31:10 pm 
Started by DanDan - Last post by DanDan
Always the gentleman Klaus. Thank you. My patient is S/N 4831. Sold by Neumann to Radio Tehran in 1960. My email is soundsoundstudio@gmail.com

 on: April 16, 2021, 03:22:49 pm 
Started by Eddie Eagle - Last post by Eddie Eagle
Twin Peaks music by I am Lazer Kat (my musical name)
Recently picked up a Korg Wavestate Sequencing Synth.
This demo of the Korg Wavestate was created in 1 take no editing using the Trance Domination preset. Sounds like it would be more Techno preset but really has the feel of Angelo Badalamenti.
The Wavestate is a beast in a small package. The sounds are huge and ever morphing. I connected it via midi with my Roland XP30 so I can have a bigger keyboard to play all the lush sounds.

 on: April 15, 2021, 04:03:59 pm 
Started by DanDan - Last post by klaus
Send me your email address and the approximate series/date of manufacture of the U47 you are interested in, and I will scan you the schematic.

 on: April 15, 2021, 03:52:57 pm 
Started by DanDan - Last post by DanDan
The common  U47 schematic knocking around seems to be a photo, not very clear.  I have searched quite a few times for a High Resolution image of a U47 Schematic. Anyone got one?

 on: April 08, 2021, 12:24:16 pm 
Started by Eddie Eagle - Last post by Eddie Eagle
Jokingly is one of my recent psychedelic/shoegaze recordings. I am Lazer Kat is my music moniker.

 on: April 07, 2021, 06:49:09 pm 
Started by Jim Williams - Last post by Kai
... chassis ground connected to audio ground is the norm in most vintage supplies.
It’s a user selectable option on a lot of studio equipment... vintage or contemporary.

 on: April 07, 2021, 02:36:16 pm 
Started by Jim Williams - Last post by David Satz
(to DarinK's question) Yes, the latter. The microphone cable can be connected as Klaus suggests (and as Neumann does it) only because a microphone isn't normally connected to any other external "ground" reference. In nearly all other cases it's a better bet to let the connector shells and cable shields connect only to the equipment enclosures, and to connect the cable shield to the ground pin only on one side of the cable.

Unfortunately this wasn't well understood when the conventions for XLR cabling were established, and now there's a lot of resistance (no pun intended) to realizing that the best arrangement for microphone cables isn't also the best for making connections between other types of equipment. People understandably want XLR cables to just be XLR cables; they want to use them for all purposes interchangeably. But that isn't the best actual choice in most cases.

I'm hedging my statements, though, from hard experience. Sometimes there isn't time to investigate the causes of a particular problem, and you gotta do whatever works to get rid of hum or other noise from interference. I'm a strong supporter of standards such as AES48--but to my knowledge, no one approach can instantly and reliably fix all hum and RFI problems. I think that all advice on this subject has to be hedged with "of course if there's still a problem, try something else, even if it doesn't seem to make theoretical sense at the time."

Things that you wouldn't necessarily think of can cause problems--for example, Jim W. mentioned that shield and ground are generally connected within microphones. But sometimes that's by means of a screw that holds the housing onto the body of the mike, and that screw can become loose or dirty, or it might be painted or corroded so that it doesn't make good contact. (I've had that happen.) Or sometimes the connection is by way of a wire that isn't short enough to be fully effective at the higher and higher radio frequencies that are increasingly prevalent, or the wire can break or come loose, or ... or ...

Decades ago, microphones weren't designed to protect against problems that didn't exist yet. At best they were built to work in broadcasting studios where a conventional AM, FM or TV transmitter was in the same building or nearby. That's a challenging enough problem--but what we have today is categorically more severe sometimes, e.g. boom operators for film and video sound who connect their microphones directly to digital wireless transmitters. Microphone manufacturers are having to keep up with rapidly changing conditions.

 on: April 07, 2021, 02:07:21 pm 
Started by Jim Williams - Last post by klaus
My first job is to never see a mic again after I work on it, due to something I did or did not attend to while the mic was in my care.

I always terminate the internal wiring inside the power supply between multi-pin mic connector and audio XLR exactly the same way I described: Ground and shield and connector to ground, both sides of the cable (by the way, chassis ground connected to audio ground is the norm in most vintage supplies. (See as example the grounding scheme in the NG).

If there were ever a problem in all the years I used that scheme, I'd think at least ONE person would have notified me that there was something wrong where there was nothing wrong before. I am still waiting for that call.

I will address the critics of the Neumann termination in a few days, and show more examples of factory-terminated mic cables.

 on: April 07, 2021, 01:55:19 pm 
Started by Jim Williams - Last post by DarinK
What's the best procedure for an XLR cable connecting a tube mic power supply to a mixer? The cable is not directly connecting to a microphone. Is it more akin to a cable between two powered units, even though it is not carrying line level?

 on: April 06, 2021, 12:06:52 pm 
Started by Jim Williams - Last post by Kai
It was indeed a cable going to a microphone! (So: connected to nothing else.)
At the moment pin 1 of the XLR on the microphone input was connected to the shell of the connector (=mains ground), a clear mains hum was audible. (I suppose this was due to a design fault in the mixer. This happened on every channel.)
The cable’s internal connection of Pin 1 to Shell bypassed and deactivated the mixer’s ground (lift) configuration, by interconnecting the formerly separated Audio Ground with Chassis Ground.

Specially bigger analog audio mixers have a hard time avoiding internal ground loops, usually there is one single central Audio Ground - Chassis link, or a really thick copper rail as ground reference.

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