HDTenEightyP/NetNews huggingface dataset:
From: tom@onyx.dartmouth.edu (Thomas Richard Erbe)
Newsgroups: rec.audio.pro
Subject: Re: How to mic drums.
Date: 15 Apr 92 23:47:16 GMT
Organization: Music Department, Dartmouth College


(Nathan F. Janette) writes:
 
"One interesting hint I read in some magazine was to use a second mic on the
 underside on the snare to pick up the resonating wires."

(Davie C. Harris) writes:

"I've heard/read of this, too.  One thing almost always mentioned with this is
 reversing the phase on one of the two mic's.

 I understand that the rationale for this stems from what I've been told is the
 "three-to-one" rule.  This refers to the relationship between the amount of
 separation between two in-phase mic's and a common sound source."

The reason for reversing phase between a mike above a drum and a mike below
the same drum is that the top of the drum is out of phase with the bottom
of the drum.
--
Tom Erbe * Technical Director * Center for Contemporary Music * Mills College
     tom@mills.edu * Mills College, Oakland, CA  94613 * (510) 430-2191
Newsgroups: rec.audio.pro
Subject: SHURE MIKES
From: Mike_Diack@kcbbs.gen.nz (Mike Diack)
Date: 17 Apr 92 01:33:11 GMT
Organization: Kappa Crucis Unix BBS, Auckland, New Zealand

>Can anyone compare and contrast the SHURE SM57 to the SM58

Both mikes are very similar in capsule construction, and as you guessed, 
the principal difference is in the windshield. Both have a place in 
a hard working PA system as reliable, predictable and largely feedback 
resistant mikes. They dont pretend to be flat response (both exhibit 
a peak around 3 khz- i think this was touted as a "presence peak"- whatever 
that is. The shock mounting of the 58 gives it good immunity to handling
noise , and that icecream cone windscreen resists most spit & lipstick
as well as making the thing usable on a windy outdoor stage without 
trashing your W-bins. The 57 has a slightly better top end due to the 
absence of the windscreen , and is a whole lot easier to sneak between 
the hi-hat and toms to mike a snare - 'cos its less bulky. Both are 
for "close miking". The 57 flys apart if hit with a drumstick, however, 
and they are bitches to put back together due to the head being held 
on by a feindish little (irreplacable) brass clip. I love 'em , and 
have owned & used dozens of them for years without failure, but dont 
claim they are the best tool for any specific job , just good basis 
robust mikes.
robust mikes.
cheers, Mike.
From: kjb@ (Kendall Bennett)
Newsgroups: rec.audio.pro
Subject: Balanced lines to unbalanced...
Date: 7 Apr 92 10:35:34 GMT
Organization: RMIT Computer Centre, Melbourne Australia.

I need to convert a number of balanced lines to unbalanced and vice versa.
There are a number of ways to do this, one of which is to guy a number of
small inline DI's containing a simple transformer to do the trick for 
you. The other is to get an active DI box to do the trick.

I have two questions. Firstly, what is the transformer that they use for
the conversion? I want to be able to build a box with approx. 8 DI's in
it, rather than have 8 inline versions hanging around (oh yeah, what 
is the impendance of balanced lines and unbalanced lines?). Secondly
when converting from balanced to unbalanced you can get the signal by 
simply ignoring the cold line and taking the hot line directly through
as your signal. Someone told me that I should ground the cold line, which
in my opion could cause earth loops. Can I do this or do I need to go
through a transformer?

Thanks,

+------------------------------------------+----------------------------------+
| Kendall Bennett,                         | Internet:                        |
| Advanced Computer Graphics Centre,       | s892992@minyos.xx.rmit.oz.au     |
| Royal Melbourne Institute of Technology, | s892992@yallara.cs.rmit.oz.au    |
| Victoria, AUSTRALIA.                     | kjb@godzilla.cgl.citri.edu.au    |
+------------------------------------------+----------------------------------+
| CoSysop (Bossman), PC Connection Australia:                  +61 3 688 0909 |
+-----------------------------------------------------------------------------+
Newsgroups: rec.audio.pro
From: gmw1@cunixa.cc.columbia.edu (Gabe M Wiener)
Subject: Re: How to record a clarinet ?
Reply-To: gmw1@cunixa.cc.columbia.edu (Gabe M Wiener)
Organization: Columbia University
Date: Mon, 13 Apr 1992 00:50:09 GMT

In article <3281@inca.comlab.ox.ac.uk> tony@robots.ox.ac.uk (Tony Hague) writes:
>I wonder if anyone can offer me some advice. I've just started a few
>experiments with recording classical music. The works I am recording
>are for clarinet and piano, and violin and piano. 

"Sonata" recordings as I call these are very difficult to do, even for
skilled classical recording engineers.  So much depends on

	- The tonal characteristics of the instruments
	- The acoustics of the venue
	- The distance the isntruments are apart from each other
	- The distance you are from the two instruments

and lots more.

>So far I have tried a few different placements of a pair of
>microphones, both coincident and spaced.

For this kind of recording, coincident or near-coincident techniques are
likely to give a more convincing rendition, I should think, as one would
certainly listen for localization cues, and many of those would be lost with
a spaced-omni pattern.

>However, I am having some
>problems with the clarinet. With whatever combination I tried, the
>clarinet tone just doesn't sound right ... to me, it sounds sort of
>warbly. The musician claims that it sounds like she's got water in
>her clarinet, which is probably a reasonable description.

You may be losing some of the information in the overtones of the clarinet.
Make sure you've got the mic on axis with the *keys* of the clarinet.
It also may be that you're just in a bad-sounding room.

>Does anyone have any recommendations on microphone placement ? Or 
>favourite types of mic ? (I have an assortment of AGK mics, so far I
>have been using D190's).

Dynamic mics are a bad call for most classical recordings, to be honest.
A good pair of crossed hypercardioid condensers would be my starting point.

>Thanks in advance for any suggestions, and my apologies if this is not
>really 'pro' enough !

Oh, it's pro enough.  I don't know any classical recording "pro" who doesn't
wrestle with these sorts of questions on a regular basis.


--
Gabe Wiener - Columbia Univ.     "This 'telephone' has too many shortcomings 
gmw1@cunixa.cc.columbia.edu       to be seriously considered as a means of 
N2GPZ in ham radio circles        communication. The device is inherently of
72355,1226 on CI$                 no value to us." -Western Union memo, 1877
Newsgroups: rec.audio.pro
From: bill@verdix.com (William Spencer)
Subject: Re: Recording bass guitar
Organization: Verdix Corp.
Date: Thu, 16 Apr 1992 20:45:43 GMT

dcovell@hfglobe.intel.com (David Covell) writes:

>I have a pretty good start on my home studio setup and am working on my
>own demo material, but I'm having an incredible struggle with getting even
>a decent bass on tape. I've tried the obvious helps like compression,
>narrow-band EQ, etc but am still far from satisfied.

I don't see any application for severe EQ unless correcting for some 
tonal aberration such as a speaker cabinet. I like compression. Need a good
sounding bass. I was surprised to get good results recently miking my Awesome
Speaker[tm] with an AKG D200E. You need a speaker with deep bass, not boom
for this.

>1. For direct I'm using a basic impedance-matching in-line transformer
>rather than a more-expensive DI box. This could be hurting my freq response
>since I assume the transformer is a cheap one.

>I can afford to buy a DI box but I don't want to unless it'll provide an
>audible improvement.

Avoid any transformers, DI box or otherwise, unless there is some problem
like a ground loop. For impedance matching use an active box (most anything,
effect, etc.) or find a better input.

>2. The strings on my bass may not be my best choice. The bass is a good copy
>of a '64 Precision and has half-round strings. The tone is not overly bright
>like most round-wounds, but does seem to have more of a metallic overtone
>than I really need. I don't relish the prospect of going back to old flat-
>wounds ;^(

For direct input you may need a lowpass filter (EQ with top bands all the way
down maybe). A certain edge or growl should get through, but at proportionate
level. This can be done with roundwounds and Eq for less treble or flats with 
more, the difference is mostly a matter of attack and sustain of the harmonics.

>So, what's the right approach? Is a DI box really necessary? I have a good
>compressor and 31-band EQ, so perhaps I'm just not using them correctly.

I suggest trying the EQ and compression in each order. EQ before to correct for
instrument problems, EQ after to bring up the deep bass. Also might actually
get better results with a simpler EQ device, just a possibility.

>I'd appreciate any hints/helps, as the bass sound is the worst aspect of
>my recordings and is pretty frustrating.

Well, there's lots of different bass sounds to try. There's also the aspect of
playing. Bass tends to work best as a kind of understated thing.

bill s
From: chrisc@gold.gvg.tek.com (Chris Christensen)
Newsgroups: rec.audio.pro
Subject: Killer Kick- was Re: How to mic drums.
Date: 10 Apr 92 23:51:04 GMT
Organization: Grass Valley Group, Grass Valley, CA

>In article <1992Apr7.060616.5548@pasteur.Berkeley.EDU>, payam@landau 
>(Payam Mirrashidi) writes:

>> A question along the same lines: How do you eq a kick so it sounds strong and
>> tight and not boomy.  I usually mix off of a 26 channel Soundcraft 400, so I
>> have a low, a high and two parametric mids available.  In addition, I am 
>using a RE20 mic. 
 
Here is an OLD one!  Use a gate to gate an oscilator via the sidechain input.
You can tune the oscilator to what ever low frequency you want to, say 20 Hz!

Then you mix that in with the kick mic and the
gated-compressed-n-eq'ed signal that another poster suggested, Ya
that'll do it! :-)

-- 
Chris Christensen                  The opinions I express are my own,
chrisc@gold.gvg.tek.com            and sometimes they are wrong!
916-478-3419 FAX 916-478-3887      After all, I AM only human.
From: jrusby@darkwing.uoregon.edu (Jim T. Rusby)
Newsgroups: rec.audio.pro
Subject: sassp
Date: 9 Apr 92 16:39:24 GMT
Organization: University of Oregon Network Services


Recently, the SASS-p has been mentioned on this group. It was great to
find Crown now offers an upgrade.  Shortly after we purchased one (two
years ago) our students nicknamed it "the batmike".  I'll need to order an
upgrade in time for the new Batman movie release -Batmike II?

Ive recorded everything from a solo vocalist to an M-60 automatic rifle
with this unit.  It is quick to set up, easy to use, and is fairly durable.

I have also used it as a percussionist microphone during a recent Andrew
Hill big band jazz concert.  The percussionist, Charles Dowd,  has a fair
collection of percussion instruments from around the world.  The SASS made
it easy for him to play many of these without worrying too much about
exact position in front of the mic.  Of course, I had to keep the gain
down , but it sounded great. Other sound reinforcement work included
placing it in the center of a gospel choir to enhance the reinforced
definition.

I would not compare this mic outside of its price range.  I havent heard
the new version.  When I put the SASS next to a pair of Neumanns or an AKG
426, no comparison.  It also will present a hole in the middle at the
most inconvenient times. 

 You get what you pay for.  

Our inventory includes other mics, and we do not use the SASS for our most
demanding work.  But in the constraints of the educational environment
(like scheduling and time, money, time, money ...) it is a great asset.

Does anyone out there have the SASS version that uses B &K capsules?
From: kjb@ (Kendall Bennett)
Newsgroups: rec.audio.pro
Subject: Pre amplifying a mic
Date: 7 Apr 92 10:42:45 GMT
Organization: RMIT Computer Centre, Melbourne Australia.

I am setting up the audio in our video animation lab. We are getting a
Tascam DA-30 DAT player as our main audio source. We are also going to
get a microphone for doing narrations etc and we need to be able to
pre-amplify the mic signal up to line level to record directly onto
the DAT or a Betacam SP deck. Basically we need both balanced and unbalanced
lines from the pre-amp but we dont want to stuff around with a real
mixing desk since we will NOT be doing any audio production work in the
lab (we will be taking audio on DAT and using it directly). Does anyone
have any ideas of what can be done? The solution to the problem seems to
be getting a local firm to custom make a pre-amp for us. Otherwise, what
sort of small mixing consoles would be appropriate to use but have 
very good specs?

Thanks,

+------------------------------------------+----------------------------------+
| Kendall Bennett,                         | Internet:                        |
| Advanced Computer Graphics Centre,       | s892992@minyos.xx.rmit.oz.au     |
| Royal Melbourne Institute of Technology, | s892992@yallara.cs.rmit.oz.au    |
| Victoria, AUSTRALIA.                     | kjb@godzilla.cgl.citri.edu.au    |
+------------------------------------------+----------------------------------+
| CoSysop (Bossman), PC Connection Australia:                  +61 3 688 0909 |
+-----------------------------------------------------------------------------+
Newsgroups: rec.audio.pro
From: caudle@hawk.owlnet.rice.edu (Chris Aaron Caudle)
Subject: VCA's
Organization: Rice University
Date: Wed, 15 Apr 1992 03:53:04 GMT

What method of remote control of attenuation is considered
the best sonically? What method do the most respected
manufacturers (Neve, SSL, Trident, etc.) use for automation?
I'm considering designing some sort of remote fader system,
and I'm wondering if VCA's still have the bad sonic reputation
that they used to. 
Also, what are some references I could look up on VCA theory.
I only need the basics on the VCA's themselves, as I would 
probably use monolithic devices, but I would need some 
comprehensive application data for the devices to construct 
a prototype.

thanks,

Chris Caudle           
caudle@owlnet.rice.edu
From: chrisc@gold.gvg.tek.com (Chris Christensen)
Newsgroups: rec.audio.pro
Subject: Re: Long Cable Runs?
Date: 10 Apr 92 17:30:51 GMT
Article-I.D.: gold.4264
Organization: Grass Valley Group, Grass Valley, CA

In article <gdtF=Ly00Uh_A__Jsy@andrew.cmu.edu> rc4n+@andrew.cmu.edu (Raymond C. Chick) writes:
>I record classical music on location and often have long cable runs from
>microphones to preamps or mixer.  To find a good monitoring room I may
>have to use 150' to 300' of cable. Will this have any effect on s/n,
>frequency responce, or any other things ?

Really long cable runs may effect the hign end a bit.  It will really
depend on the mic and mixer impedance.  Set up the rig and listen for
yourself!

A really long cable run may encounter more posiblities of hum and
noise but that is the purpose of running balanced lines and mixers
that spec CMRR at frequencies other than 50-60 Hz!
-- 
Chris Christensen                  The opinions I express are my own,
chrisc@gold.gvg.tek.com            and sometimes they are wrong!
916-478-3419 FAX 916-478-3887      After all, I AM only human.
From: timv@ccad.uiowa.edu (Timothy VanFosson)
Newsgroups: rec.audio.pro
Subject: Where can I get...
Date: 8 Apr 92 22:21:23 GMT
Organization: CAD-Research, University of Iowa, Iowa City

...a flexible gooseneck with XLR connecters (M-F) so that I can hook up
   a (cheap) mike to our mixing console's talk-back input?  Mixer
   is a Yamaha 1642, which has an unbalanced (I think) XLR input above
   the main sliders.

...a small low-intensity light w/magnetic base that runs off 117V AC
   to use with the same mixer, and a similar one with a clip for an
   amp case?

...a decent set of headphones that won't fall apart, reproduces sound
   accurately ;-), and costs less than $50? $100?

I'm just trying to make our soundman's life a little easier, ya' know.
-- 
Timothy VanFosson                             E-mail   : timv@ccad.uiowa.edu
Senior Systems Analyst                        US Mail  : CAD-Research
University of Iowa                                       228 ERF
Phone: (319) 335-5728   FAX: (319) 335-6061              Iowa City, Iowa 52242
Newsgroups: rec.audio.pro
From: rmontgom@orlith.bates.edu (Robert Montgomery)
Subject: How to mic drums.
Organization: Bates College, Lewiston, Maine
Date: Mon, 6 Apr 1992 20:00:16 GMT


Howdy all,
   I'm trying to figure a way to mic a drum set for output to a radio station
which will then broadcast the event. However, we are extremely shorts of cash
and mixer inputs. What I do have access to is a wide selection of (somewhat
cheap) cardoid Mics. Also, we have access to a couple of 'piano mics.' Does
anyone have any advice on how I can position these mics so as to use  minimum
number?
   Secondly, does a direct input do anything more than drop line level to mic
level? They seem to me to be a waste of time for most uses they are put to.
               Thanks alot,

______________________________________________________________________________

Rob Montgomery                                 (aka Murdock)
rmontgomery@bat.bates.edu                      rmontgom@orlith.bates.edu
                        "I'm too sexy for .sig"
-------------------------------------------------------------------------------
Newsgroups: rec.audio.pro
From: payam@landau (Payam Mirrashidi)
Subject: Re: How to mic drums.
Organization: /etc/organizaton
Date: Tue, 7 Apr 1992 06:06:16 GMT

In article <4233@gold.gvg.tek.com> chrisc@gold.gvg.tek.com (Chris Christensen) writes:
>In article <1992Apr6.200016.11370@orlith.bates.edu> rmontgom@orlith.bates.edu 
>(Robert Montgomery) writes:
>
>>Howdy all,
>>   I'm trying to figure a way to mic a drum set for output to a radio station
>>which will then broadcast the event. However, we are extremely shorts of cash
>>and mixer inputs. What I do have access to is a wide selection of (somewhat
>Mic the  kick drum the snare drum and put up one overhead.  I don't
>know what you mean by "piano mic" unless you speak of the Cducer
>pickup or something like that.

A question along the same lines: How do you eq a kick so it sounds strong and
tight and not boomy.  I usually mix off of a 26 channel Soundcraft 400, so I
have a low, a high and two parametric mids available.  In addition, I am using
a RE20 mic. 

I guess any hints for miking a snare with SM57 would be appreciated too!





-- 
Payam Mirrashidi                  payam@langmuir.Berkeley.EDU
          So he asks me if I knew how fast I was going
          I said "No, but I knew exactly where I was."
What difference does it make?  It makes None...  - The Smiths
Newsgroups: rec.audio.pro
From: bdm1@Ra.MsState.Edu (Billy D. McNair)
Subject: Speaker Enclosures for Auto
Organization: Mississippi State University
Date: Tue, 14 Apr 1992 01:45:09 GMT

Hi.  I'm not sure if this is the correct group, but .....

I am considering designing a speaker enclosure for my brother's
Volkswagon Beetle ( '67 ).  Any constructive comments on the 
enclosure shown below would be most helpful.  Thanks!

		________
		|       \
		|        \  <----- speaker here firing forward
		|         \
		|          | <---- 2" port here 
		------------   


Thanks again for any comments.

Dewayne McNair
bdm1@ra.msstate.edu
From: jeq@i88.isc.com (Jonathan E. Quist)
Newsgroups: rec.audio.pro
Subject: Re: awesome Klipschorns and speaker lifespan
Date: 6 Apr 92 21:24:57 GMT
Article-I.D.: i88.1992Apr06.212457.14550
Organization: INTERACTIVE Systems Corporation, Naperville, IL

In article <11185@ksr.com> kenyee@ksr.com (Ken Yee) writes:
>What do you audiophiles think about the sound of humungous Klipschorns

What does "audiophile" have to do with "rec.audio.pro"?   :')


(looking for my Nomex underwear)
-- 
Jonathan E. Quist                              INTERACTIVE Systems Corporation
jeq@i88.isc.com                                        Naperville, IL
'71 CL450-K4 "Gleep"  - "Worth the Obsession"
DoD #094        "I'm not mad; just terribly, terribly hurt."  HDM #007
Newsgroups: rec.audio.pro
From: cashby@dsd.es.com (Cary Ashby)
Subject: Re: Balanced lines to unbalanced...
Reply-To: cashby@dsd.es.com (Cary Ashby)
Organization: Evans & Sutherland Computer Corp., Salt Lake City, UT
Date: Tue, 7 Apr 92 19:52:14 GMT

In article <4236@gold.gvg.tek.com>, chrisc@gold.gvg.tek.com (Chris Christensen) writes:
> In article <kjb.702642934@godzilla> kjb@ (Kendall Bennett) writes:
> >I need to convert a number of balanced lines to unbalanced and vice versa.
> >There are a number of ways to do this, one of which is to guy a number of
> >small inline DI's containing a simple transformer to do the trick for 
> >you. The other is to get an active DI box to do the trick.
> 
> You do not need a transformer to convert a balanced line to an
> unbalanced line. Unless you really want to!
> 

I was interested in this question because I would like to do the same
thing.  The answer that came back was sufficiently nebulous that (as an
uneducated novice) I can't see how to implement the desired result. 

Let me rephrase the question.  You have a electric guitar with the typical
unbalanced high Z output.  You want to plug it into a 100 ft snake (or some other
black box) going to a mixing board over a low-impedence balanced line.  
In between there is a magic little transformer, usually hiding inside
an adaptor or a DI box.  Lots of companies make said adaptors with the
transformers in them, but I don't want to mess with the adaptors, I want 
to wire the functionality into the snake box, or whatever kind of box.

Does anyone know *exactly* where to find the magic little transformer,
and *exactly* how do you wire it to go from unbalance high Z to balanced
low Z?  


	Cary Ashby
	cashby@dsd.es.com

Newsgroups: rec.audio.pro
From: caudle@spotted.owlnet.rice.edu (Chris Aaron Caudle)
Subject: dynamic speaker impedance
Organization: Rice University
Date: Tue, 14 Apr 1992 04:02:09 GMT

A couple of years ago, the JAES printed an article on dynamic impedance
of multiple driver speaker systems.  The main point seemed to be that
dyanamic impedance of an 8 ohm system could drop below 2 ohms, but
I can't remember much more than that.  I would appreciate if someone
who remember the issue, or even the year could mail me that info so
I could look up the article.

thanks,
Chris Caudle           
caudle@owlnet.rice.edu
From: wsware@mosaic.unccvax.uncc.edu (William Scott Ware)
Newsgroups: rec.audio.pro
Subject: need help putting toget her a system
Date: 5 Apr 92 00:14:29 GMT
Organization: University of NC at Charlotte

I need som advice for my band.
We play in small clubs and a few out-door gigs.
We have been renting but what our own system.
 
Here is what we have: (2 of each)
     Pevey MF1-X (22A)
     Pevey MB-2  (Black Widow 1202-4 12")
     A JBL Single scoop design with no speaker (plan to put a Black Widow
                                                in it..any seg?)
 
 
We plan to get:
   CS-400  (for the highs)
   CS-800  (for the mids)
   CS-1200 (for the scoops)
 
Is this two much power for any part?
 
For the 22A alone us says 80W Program..But in the MF1-X which has
a 22A in it says it can handle 300 Program and 150W Continous.
can someone explan this to me? both @8 ohms.
 
We use mostly pevey because of price and it seems pretty good.
We what good sound and if we can't get it from this we may move to
something else.
 
We also need a good crossover...
what would be the best to use? could you use the plug-in modules for the
amps? What would be the best..the V4X crossover or the Dynamic System
Controller?
 
Right now we are just thinkin of everything after the EQ and effects.
If you have any Ideas let me know!
 
Thanks
Scott Ware
wsware@mosaic.uncc.edu
Newsgroups: rec.audio.pro