The Microphones choice - Understanding Specifications

!±8± The Microphones choice - Understanding Specifications

This article provides an overview of five important steps that are typically listed on the tabs microphone data: frequency response, sensitivity, impedance, self-noise and signal to noise ratio. The understanding of these specifications can help if they try to decide on the best microphone for a particular purchase application.

Frequency Response

Frequency measures how a microphone responds to different sound frequencies. An ideal "flat" response (the same sensitivity)Microphone would have responded well to all frequencies of the audible spectrum. This gives a more accurate reproduction of sound and produces the purest tone. The truth is that microphones that are advertised as having a "flat response" may vary slightly at certain frequencies. In general, the data sheets may be the frequency response as a series like "20 Hz to 20 kHz, which means that reproduce the sounds of the microphone, the fall list in this area. What explains this is not likeclearly the different individual frequencies are played. Some microphones may react differently to certain frequencies. For example, the instrument for the bass drum microphones generally developed to respond better to the lower frequencies, while microphones would rather the frequency of a human voice.

As a general rule, condenser microphones have a flatter frequency response dynamic. This means that a capacitor will tendbe the best choice if the accuracy of sound reproduction is the fundamental objective.

Sensitivity

microphone sensitivity measures how much electricity input for a certain sound pressure is generated (in "millivolts" measured mV). In general, when measuring the sensitivity of the microphone, microphone in a sound field of reference is the place where a sound pressure level (SPL) of 94 dB (1 Pascal) at 1,000 Hz, the microphone is held. (Some manufacturers use 74 dB as Shure Pascal 0.1). The difference is that94 dB SPL is typical of the sound intensity is spoken by some twelve inches away and 74 dB SPL would be the same speakers are an inch away. A typical condenser microphone can be valuable both as "7mV/Pa" or-43dBV in the technical data listed. These two values ​​indicate the same thing - they are just expressed differently.

If two microphones are subject to the same SPL, and produces a higher output voltage, said that an assessment of the microphone for greater sensitivity. Althoughable to read / compare the sensitivity of the microphone (output) is important, assessment of the current sensitivity is not usually very careful in selecting the microphone. In general, the design of a microphone for a particular application is playing a role when the producers to determine the appropriate quantities. For example, dynamic microphones are generally less sensitive than condenser microphones, as used in the rule are fairly close to the source. The following are typical values ​​for threedifferent types of transducer of the microphone:

Capacitor: 5.6mV/Pa (high sensitivity)

Dynamics: 1.8mV/Pa (medium sensitivity)

Ribbon: 1.1mV/Pa (low sensitivity)

Impedance

The impedance of a device is the flow of an alternating current (such as the audio signal) and is measured in ohms resist. Usually when it comes to microphones, "low" everything is treated as less than 600 ohms. "Medium impedance" would be 600 ohms to 10,000 ohms and "High" is greater than would be10,000 ohms. All microphones have a specification in terms of impedance - sometimes the value is written somewhere on the microphone, other times you may have the technical manual or manufacturer site to check to determine the number. In general, low impedance microphones are better than high impedance and impedance often can be used as a guideline to determine the overall quality. The advantage of the low impedance microphones is that they are used with long cableruns and negligible signal loss. Hard-wired microphones with cables and a 1 / 4 "connectors are high impedance, while the mics and balanced XLR audio cable needs are low.

When you connect the microphone, it is important to know the ohm level of the mixer or amplifier. A low impedance microphone should always be connected to an input impedance greater, or cause loss of signal. Typically, "low" audio mixers provide inputs1000-2000 ohm impedance and designed to work with levels of low-impedance microphone.

The sound pressure level

Self-noise is the electrical noise that produces a microphone. In general, the specific noise "weighed", ie the highest and lowest frequencies in the response curve flattened to a better simulation of the signal response to the human ear. (We tend, in the mid range audio frequencies aloud.) As a general rule, an A-weightedSelf-noise spec of 18dB SPL or less is great (very low), 28 dB SPL is good, while just over 35dB SPL is not good for recording high quality audio.

Because dynamic microphones do not have active electronics (no individual phantom power) that have very low noise compared to condenser microphones. Most of the technical specifications for dynamic microphones do not include measurements of background noise.

Signal to Noise Ratio

The signal to noise ratio (S / N) is the difference in dBbetween sensitivity of the microphone and the sound of cars. A higher S / N means that the signal is cleaner (less noise) and that the microphone is more "reach." can achieve can be defined as the accurate recording of quiet / distant sounds of high S / N obtained is usually not as a metric to record on a sheet of filter technology, as a distant sound of each microphone, when the source is quite strong. For example, an inexpensive microphone to take a thunder in the distance.

As a general rule for evaluating S / NTerms of 94dB SPL, little more than 74dB is excellent, a / N 64dB S specification is good.

Summary

We hope that these definitions have helped to provide some local knowledge on the specific microphone. The truth is that there is no microphone "ideal" is ideal for every situation. Manufacturers design their microphones audio specific applications in mind - such as live concerts or reproduction, and therefore have adapted to the specific way inthat the microphone has a better sound than with a specific hardware configuration. microphones are generally more expensive with better hardware, specifications and a better performance results.

The Microphones choice - Understanding Specifications

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Brand : Roland | Rate : | Price : $349.99
Post Date : May 22, 2011 14:42:03 | Usually ships in 1-2 business days

Roland SP-404SX Portable Sampler with Effects

Roland's acclaimed SP-404 performance sampler takes an exciting leap forward with the SP-404SX. In addition to the fun, fast, hands-on features of the original, this model offers enhanced sound quality with pure 16-bit linear sampling, improved DSP (digital signal processor) effects, smooth effects switching, a more versatile pattern sequencer (with a shuffle feature), and easier data management with SD-card compatibility. This portable sampler is a powerful, creatively stimulating tool for DJs, musicians, producers, and live-sound engineers.Instant samplingSample anywhere, anytime using the Roland SP-404SX's built-in microphone. And since the SP-404SX portable sampler can run on AC or battery power (six AA batteries), it's easy to record wherever and whenever inspiration strikes. Just power-up, point, and record. Line and mic inputs are also available for recording direct or with an external microphone. The Roland SP-404SX's sampling format is uncompressed wave for high-quality audio capture.Hands-on performanceThis Roland sampler is made to be played since its packed with interactive controls for jamming along with loops and patterns. Put your fingers on the three non-slip control knobs, 12 trigger pads, and Sub Pad for rapid repeat triggering in real time. On dark stages or DJ booths, the Roland SP-404SX is a performers dream with its illuminated rubber pads and bright LED screen.Extreme effectsCreate a signature sound using the SP-404SX's 29 DSP effects, which switch seamlessly during live performance. Essential onboard effects include spacious reverbs and choruses, plus filters and delays. There are also unique, esoteric effects built in, including a voice transformer and looper. With the DJFX Looper, you can create short loops (such as machine-gun-like "da-da-da-da-da" sounds) and control reverse playback with the knob. You can also create scratch effects like on a turntable. Connect the SP-404SX to a DJ mixer and use it as an effect processor. Seventeen of th

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Post Date : May 20, 2011 23:56:03 | Usually ships in 1-2 business days

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