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OK, I have no expertise in mixer resistance networks which is what this comes down to. I drew 5 versions and don't like any of them all that much. But to start discussion what about this? The green

I see: I thought the mics would be mounted inside the bellows. If not then my comment becomes irrevelant. I'd be surprised that cardioid capsules change anything in feedback prevention.

Certainly, in order to accomodate for different styles, different players...

Yes. Correct. No need for that. > > > > > >

It may be useful to have separate outputs for left and right hands. The final balance can be made at the mixing desk. As for a mic array. indeed, since the mics are inside, it should be possible to

For an accordion mic is capsule balance a set and forget thing? ie could it be a trimpot on the board, and with limited range, just to make minor adjustments to almost balanced levels? Or does it need

I agree stick to the omni capsules for the reasons Jerry gave. As far as designing a mixing preamp system, it might help to have specs on the specific fet in the specific capsule that you want to use.

Eletret capsule do not pass absolute pressure, only its variations. When put inside a cavity, mics become omni regarding what's outside of the cavity. Feedback resistance is governed by distance. The

Thanks -- are you thinking that there might be some near-DC signal fluctuation from these pressure changes? At any rate, the capsules will be on the atmospheric-pressure side of the reeds, not inside

Maybe you should consider NOT using omnidirectional capsules... Omnidirectional microphones usually have their back chambers sealed. Your average omnidirectional capsule may have trouble dealing with

Yes I just read through that. It doesn't explain the circuit straight up, but one can glean quite a lot about how it works from reading that. TBH the floating balanced operation sort of does my head

Actually, the FET characteristics do not matter too much, as long as the voltage across them is enough to guarantee they are in their pentode region, but the sensitivity, being usually spec'd with a

I can't speak to the technical side, but once logged into the groups.io website you could check Ricardo's PDF in the files section for some more info; this link might work:

Hmm I'm no expert on SimpleP48. AFAICT they don't work right with transformer input mic preamps, which I mostly use, so i haven't investigated. Plenty of others here would know better what you can do

I agree with thet- don’t overthink it. There’s so much mixing and reflections and resonances that you can get away with quite a lot. The accordion pros that I know usually have two mics, top and

Thanks thet -- It's a piano accordion, so the reeds are linearly arranged. Doing some tests (with a single Primo omni Simplest P48 inside the right-hand side) I do hear a strong difference for the

if you have two mics inside the front of an accordion consider: * each reed is a different distance from each mic, and so the intermic delay for each reed will be different resulting in a different

Ah, so maybe I should stick with 2 capsules per side? I wonder how the six-capsule pro solutions deal with it, then... maybe they don't worry about it...

Yes, sorry, I think from the perspective of a keyboard player :-) -- I meant height. Yeah my original thought was to use two mics arranged as I believe you are suggesting: bass / treble, basically. If