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 on: Today at 02:38:13 am 
Started by Derek Samuel Reese - Last post by Kai
... I was asking for maybe a place to start but no one else is chiming in,
Ok I’m off on my own
You're not.

The best place to learn electronics is from books and practical projects.
Google (and specially Youtube) is the best place to laugh about people not knowing how to do it, telling other people to do stupid things.

Start learning the basics, like Ohm's Law, how tubes and transistors work, what a capacitor is good for and the like as starter.
From there you can dig deeper.

I have no direct recommendation for literature in English, but sure it exists.

A valuable vintage mic is the worst place to start learning - don't fix it if it's not broken, DON'T!

Building a tube mic from scratch could be a project for you.
This will even teach you - the hard way - how to safely handle higher voltages  ;D

 on: November 22, 2020, 04:31:56 pm 
Started by afterlifestudios - Last post by klaus
The only cable I would use is the Neumann 11-conductor + shield type. Others. like Mogami, use a variation of  the classic snake: several XLR-3 pairs in one jacket.
On and off through time you can order complete SM69 cables, and sometimes just the material, from Sennheiser in Connecticut, but Neumann in Berlin has these still available, last time I checked (2019).

 on: November 22, 2020, 02:55:08 pm 
Started by afterlifestudios - Last post by afterlifestudios
Thanks gentlemen.  I've followed the proper grounding and terminations at the connectors.  I've tried isolating sections of the cable for testing moving noise, but it's very hard to isolate.  This is why I ask if there is a newer, reliable 12 conductor that is know to be suitable as a replacement cable? 
(Fet version here by the way, so some of the conductors are redundant.)

 on: November 22, 2020, 01:08:25 pm 
Started by afterlifestudios - Last post by klaus
Here is another twist: Neumann changed cable suppliers for its stereo mics at one point. They never disclosed whether Gotham, Switzerland, which bought microphone cable technology and machinery from Dörfler Kabelwerk in Austria, the original supplier was still the source.
Read moer here: http://www.gothamaudiousa.com/history1.htm

 on: November 22, 2020, 11:04:06 am 
Started by klaus - Last post by mbrebes
Digitizing audio into a device (computer, phone, interface, etc.) has a latency of at least 5-10 msec through the device.  I find this barely acceptable.  With two devices, on the same Gigabit network, network/device latency is at least 10-20 msec, which is not acceptable to me.  Now move the connection onto the internet and it gets even worse. As an example of what you can realistically count on via the internet, Cubase's VST Connect (for recording remotely) defaults at a latency of 1 minute from the host to the remote record and back.

 on: November 22, 2020, 10:17:12 am 
Started by afterlifestudios - Last post by David Satz
I can empathize with the original poster. I owned an SM 69fet in the early 1970s and tried to use it for live concert recording. The cables just didn't seem to be made for that type of application; unrolling them and rolling them back up several times a week seemed to be too much for them, no matter how careful I tried to be. They spent nearly as much time in Gotham Audio's service department as they did in actual use, and I'm not exaggerating by much when I say that; I think I nearly drove poor Joe Leung crazy.

It wasn't a question of shielding and grounding, but of outright broken connections. I had to buy extra cables (each of which cost nearly as much as a good microphone) to serve as backups, bring them along to every recording (they're heavy!), and allow extra setup time, because I simply never knew whether they would work or not.

In a fixed installation I can see a role for this type of microphone, but not for the type of portable on-location recording that I've generally done, with a complete setup and teardown every time. By comparison the USM 69 isn't as flexible in terms of pattern selection--with the SM 69fet I often found myself preferring the "in-between" patterns that have no official names. But if you like the sound of this microphone design in general, and coincident stereo miking is what you need to do, it's a trade-off to consider, since four-conductor shielded cable is entirely manageable.

--best regards

 on: November 21, 2020, 09:05:21 pm 
Started by afterlifestudios - Last post by afterlifestudios
Thanks Klaus!  Must have been something like that.  Hasn’t happened again since.  I’ll exercise the power switch for good measure.

(Nice to have you back and to be on page 1 again!)

 on: November 21, 2020, 04:54:51 pm 
Started by afterlifestudios - Last post by klaus
When you experience moving noise, it is almost always related to defective or incorrect terminations. 

And here, the same devil shows up as the one that prevents quiet operation on other types of mic cables: improper ground/shield terminations, where

* ground and shield are NOT terminated at the ground pins of the connectors on both sides, AND
* the shield is not terminated directly to ground on both sides AND
* ground and shield are not terminated correctly to the connector housings on both sides

If even one of these steps was omitted, you can get cable noise and other gremlins like RF and hum.

 on: November 21, 2020, 04:47:44 pm 
Started by BluegrassDan - Last post by klaus
Great post form RuudNL. I do not use a Variac for adding additional ramp up time. It's overkill, I think.

 on: November 21, 2020, 04:45:09 pm 
Started by klaus - Last post by klaus
Update, Fall 2020. From my own experience and from talking to professional musicians whose livelihood depends on it, there are still no apps that allow for synchronized real-time jamming or playing, especially when tight rhythmic cooperation is required. The latency issue has not been resolved.

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