doug i know a guy that put a mike element in a piece of pvc pipe with a lttle
cotton in it. it sounded fantastic beat any 300.00 mike i ever heard.
crazy huh?
bob
all things are possible in Christ Jesus our savior
--------------------------------------------
On Tue, 2/25/14, Doug Reid <n1068d@aol.com> wrote:
Subject: Re: [TenTec] In praise of older technology
To: tentec@contesting.com
Date: Tuesday, February 25, 2014, 8:51 AM
Being the owner of a recording studio as well as a ham
for over 40 years, I can verify that cost has very little to
do with frequency response and audio quality of most
microphones. I have built condensor mics costing only
a few dollars that perform as well as $500.00
microphones. Like in the studio, the most valuable
piece of equipment is your "ears ". Everyone thinks
the solution to every problem is to throw money at it
instead of maybe using better " mic technique ".
I hate hearing stations where the compressor limiter is set
incorrectly and you can hear the audio pumping.
Doug
WD4LNW
-----Original Message-----
From: Richards <jrichards@k8jhr.com>
To: Discussion of Ten-Tec Equipment <tentec@contesting.com>
Sent: Mon, Feb 24, 2014 6:40 pm
Subject: Re: [TenTec] In praise of older technology
Well said, Bob.
Last summer, on a Brand X discussion forum, we discussed
what is the
best" microphone and what is the best EQ setting.
I suggested that,
ecause we only use +/- 2700 Hz audio and RF bandwidth -
pretty much any
ecent microphone costing $15 or more SHOULD be linear across
that
arrow spectrum, and I made recordings of several microphones
bearing
idely different price tags to prove it. No one has
correctly
dentified the $15 Samson RS10 from the $150 Heil PR-20
or even from
he $99 Sennheiser e835, and several others by RadioShack,
Shure, and
he real kicker in the bunch... a $1 computer mic I purchased
on eBay.
I dared to suggest audiophiles use EQ to "fix" or compensate
for uneven
oom acoustics ... but oddly enough audiophiles often employ
pre-amps
nd power amps lacking any bass or treble or EQ controls at
all -
nstead they seek uncolored input, and uncolored output,
using EQ
paringly or not at all to compensate for uneven room
acoustics. So,
n that logic, maybe we should use FLAT EQ on the
transmit audio, on
he theory of what goes in uncolored and natural, might come
out
ncolored and more natural than if we had messed with
it. After all,
ost decent microphones are linear across the 200- 2700 Hz
+/- range -
f we want to sound natural, why color it with phoney EQ
settings ?
I am sure there is some fallacy lurking in the weeds, but
this seems
ogical to me. Garbage in... garbage out...
Natural, simple audio
n... ok you get the picture.
So I keep it simple, I use reasonably good, but not overly
expensive
icrophones, and avoid excessive EQ coloration
(occasionally I add a
light boost to the mid range frequencies to be more punchy
in a
rowd... but not otherwise.)
Am I missing something?
-------------------------------------- K8JHR
--------------
On 2/24/2014 3:35 PM, Bob McGraw - K4TAX wrote:
Yep and likely he had a bunch of external processing and EQ
equipment as
well.
I hate to say it folks but we are using a communication
audio range
which is typically comprising a frequency response between
200 Hz to
2500 Hz out of the entire audio
spectrum That range is defined by the
filter, be it hardware or DSP, that is part of the SSB
generator.
Trying to cram wide band audio through a filter of this
bandwidth is
like trying to push a bumble bee through a drinking
straw. Nothing nice
is going to come out the other end. Just like I tell
the kid in the
band, it's easy to be loud, just buy another amp and crank
it to the
max. Now being good, well that takes skill, knowledge
and talent.
Now lets try to get the best quality out of the 200 Hz to
2500 Hz
spectrum of audio that's available. It is a lot more
of a challenge
than buying and using some external processing and EQ and
broadcast type
mikes.
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