Hi there. I tried to watch that video with the link provided but I got a message, "This video isn't available anymore"
Any chance this video can be found elsewhere? I'm eager to have a listen to these mics.
thanks


73 Eugene W2HX
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-----Original Message-----
From: [email protected] <[email protected]> On Behalf Of David Pinnegar via groups.io
Sent: Sunday, November 12, 2023 6:56 AM
To: [email protected]
Subject: Re: [MicBuilders] Simple set up for concert recording?

The AKG D200, D202, D220 and Oktava MD186 mics are all dual capsule, cardioid, with next to no proximity effect and excellent bass with their dedicated bass capsule.
was recorded with a pair of AKG D202 with a 10% mix of an upgraded cheap chinese to give extra high fizz.

Best wishes

David P

On Wed, Nov 8, 2023 at 11:14?PM eric benjamin <ericmbenj@...> wrote:

I have no experience with those particular microphones. But there is a general problem with the low-frequency response of cardioid microphones. Theytend to have a free-field response that begins to roll off below about 150 Hz. Proximity effect gives a compensatory LF boost. As an example, I have several Audio Technica AT3031s. AT specs them as having a response that extends down to 30 Hz. But there is a footnote stating that the measurement is at 12 inches. At that distance the proximity effect begins below 174 Hz. It's actually more complicated than that. But the net result is that the microphone is quite flat down to low frequencies when it is placed 12 inches from the source but it is down many dB at low frequencies when it is 20 feet from the source, as it would be when used in a concert recording.
So how to get the low frequency response that you desire? The simplest answer is to use an omnidirectional microphone. The Audio Technica omnidirectional microphone equivalent is the AT3032 and it has no attenuation at 30 Hz. Unfortunately spaced omni microphones do not give great stereo recordings.
An alternative method would be to use equalization in the form of a shelf filter to compensate for the LF loss in the microphone. I can't give a very good recommendation for how much boost to use.

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Wow. Yet another great video from Jules. And a really good mic.

I made this video on STAAG technique about 5 years ago. STAAG has some similarities to the dual Endora in that it is comprised of two coincident arrays separated by 17cm. It could be described as dual ORTF or dual XY.



Cheers,

Jonathan Duckett

I have no experience with those particular microphones. But there is a general problem with the low-frequency response of cardioid microphones. Theytend to have a free-field response that begins to roll off below about 150 Hz. Proximity effect gives a compensatory LF boost. As an example, I have several Audio Technica AT3031s. AT specs them as having a response that extends down to 30 Hz. But there is a footnote stating that the measurement is at 12 inches. At that distance the proximity effect begins below 174 Hz. It's actually more complicated than that. But the net result is that the microphone is quite flat down to low frequencies when it is placed 12 inches from the source but it is down many dB at low frequencies when it is 20 feet from the source, as it would be when used in a concert recording.
So how to get the low frequency response that you desire? The simplest answer is to use an omnidirectional microphone. The Audio Technica omnidirectional microphone equivalent is the AT3032 and it has no attenuation at 30 Hz. Unfortunately spaced omni microphones do not give great stereo recordings.
An alternative method would be to use equalization in the form of a shelf filter to compensate for the LF loss in the microphone. I can't give a very good recommendation for how much boost to use.

There's a number of imaginable ways in which microphones might change
their properties over time. I'm not so much thinking about components
like electrolytic capacitors etc. but the capsules themselves.

Diaphragms losing their tension or becoming more rigid would be one
example. What about the long-term stability of electret films and magnets?

Has this subject ever been studied and are the results available somewhere?

Ralf

--
Ralf R. Radermacher? -? K?ln/Cologne, Germany
Blog? :
Audio :
Fotos :

On Nov 12, 2023, at 06:14, Ralf R Radermacher <fotoralf@...> wrote:

?There's a number of imaginable ways in which microphones might change
their properties over time. I'm not so much thinking about components
like electrolytic capacitors etc. but the capsules themselves.

Diaphragms losing their tension or becoming more rigid would be one
example. What about the long-term stability of electret films and magnets?

Has this subject ever been studied and are the results available somewhere?

Ralf

--
Ralf R. Radermacher - K?ln/Cologne, Germany
Blog :
Audio :
Fotos :

I have no experience with those particular microphones. But there is a general problem with the low-frequency response of cardioid microphones. Theytend to have a free-field response that begins to roll off below about 150 Hz. Proximity effect gives a compensatory LF boost. As an example, I have several Audio Technica AT3031s. AT specs them as having a response that extends down to 30 Hz. But there is a footnote stating that the measurement is at 12 inches. At that distance the proximity effect begins below 174 Hz. It's actually more complicated than that. But the net result is that the microphone is quite flat down to low frequencies when it is placed 12 inches from the source but it is down many dB at low frequencies when it is 20 feet from the source, as it would be when used in a concert recording.
So how to get the low frequency response that you desire? The simplest answer is to use an omnidirectional microphone. The Audio Technica omnidirectional microphone equivalent is the AT3032 and it has no attenuation at 30 Hz. Unfortunately spaced omni microphones do not give great stereo recordings.
An alternative method would be to use equalization in the form of a shelf filter to compensate for the LF loss in the microphone. I can't give a very good recommendation for how much boost to use.

On 12 Nov 2023, at 21:40, ilya dontsov <ilya.dontsov@...> wrote:

That’s all correct except one thing.?

Spaced omnis do make great recordings and nice stereo. You just don’t put them a meter apart as is often suggested. Instead, use a narrower setup with 30-40cm between the capsules.?

Actually, when choosing a stereo system, one has to consider the width of the source. For wide sources a spaced pair is a better choice because of its extended recording angle (up to 180 degrees).?

On Nov 10, 2023, at 16:16, keantoken via groups.io <keantoken@...> wrote:

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[Edited Message Follows]

You don't want to use thin solder wire as you will spend unnecessary time pushing it into the joint, adding extra heat. I usually use 0.6mm to 0.8mm rosin core. The Pinecil64 soldering iron has served me well and +- 1 degree C makes a meaningful difference. You want to be able to melt the solder fast, but not so fast the flux is spitting or smokes away instantly.

A soldering iron is several times hotter than the maximum temperature you want to reach the diaphragm. Even low melting solder is hot in comparison. A true eutectic 63/37 solder has a normal melting point, but melts and solidifies instantly with complete certainty. I can't overemphasize how important this is. Uncertainty is the main thing that leads to overheating. Not being able to tell whether the solder is melted, needs more flux, whether it's solid yet, whether it needs to be redone. With a good roll of 63/37 (and many of them do not have an accurate alloy mix), soldering is very quick and decisive. You don't need to hold the iron on for any longer than it takes for both surfaces to be "wetted". The pad does not have to be completely covered in solder, you just want to look at the edge of the solder blob and see that it is joined with the pad, rather than sitting on top like a bubble, and the moment you see that you remove the iron.